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      Rust Architects softens modernist Tel Aviv apartment with oak details

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      Tel Aviv studio Rust Architects has renovated an apartment in the Israeli city for a couple who both work from home.The apartment is in a residential building in the city centre built in the modernist-era international style.
      Rust Architects renovated the one-bedroom unit with a pared-down material palette and colour scheme.

      “It is in a modernist building, so we designed the interior as simple and modern,” Rust Architects founder Ranaan Stern told Dezeen.

      “Similar to Bauhaus buildings principles, the apartment has a large span that brings in natural light but maintains comfortable proportions for the space and the hot temperatures of the Tel Aviv summer months.”

      The apartment is for a young couple who are both professional photographers and designers.
      “Both homeowners work from home, so proximity and visual angles between different spaces such as the workroom and living room were essential,” the studio added.

      The apartment comprises an open-plan kitchen, living and dining area with sliding glass doors that access a terrace.
      An L-shaped hallway accommodates the entry and accesses a home office, which was custom-made by Rust Architects and enclosed by a metal frame with glass doors. The partition allows natural light to pass into the corridor.

      Various wood details also feature in the design, particularly a kitchen cabinet made of oak that houses the refrigerator and oven. Its rounded corner meets the hallway and has a series of shelves and doors.

      Maayan Zusman retrofits Tel Aviv apartment for tall sporty couple

      A built-in media console in the living room nearby is also made of wood, and a wall in the office is clad in the same natural material.

      The touches of wood are contrasted with industrial details, such as an exposed concrete block wall in the living room and electrical systems on the ceiling.
      There were left exposed by the studio in order to keep the apartment’s original height.

      A variety of floor coverings provide visual depth across the unit, which otherwise features white surfaces and black window frames.
      Small, black tiles cover the bathroom floors and walls, the home office has wood floors and large concrete tiles cover the kitchen and living room.

      “The concrete tiles on the floor produce a cool and pleasant feeling, especially during the summer months, and the natural oak in the carpentry creates a relaxed and warm feeling,” Rust Architects said.
      The studio, which was founded by Stern in 2016, has also redesigned a 1960s apartment and created a home with cubby holes, shelves and cabinets – both are in Tel Aviv.
      Photography is by Yoav Peled.

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      Forte Forte fashion boutique in Madrid is filled with shapely details

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      A pale geometric relief wall offsets brass and green-marble decor details in this Madrid boutique designed by creative duo Giada Forte and Robert Vattilana.Madrid’s Forte Forte store occupies a corner plot in Salamanca – a glamorous district of the city known for its boulevards lined with luxury fashion boutiques and upscale restaurants.

      It was designed by the brand’s co-founder, Giada Forte and her partner, art director Robert Vattilana.

      The pair devised opulent interiors for Forte Forte’s London, Milan, Tokyo and Paris stores, but wanted the new Madrid branch to have a more restrained aesthetic that still offered moments of “poetry and feminine delicacy”.

      “[The store] is charged with a sensual energy polarized on the offset of masculine and feminine, curves and angles, geometry and sentiment,” Forte and Vattilana explained.
      “There’s a recognizable grammar of surfaces, treatments, colors uniting the different spaces that’s born from our creative dialogue, but the narration takes on a different metric and tone.”

      An off-white relief wall that features a haphazard array of raised geometric shapes runs down one side of Forte Forte’s ground level.
      A structural column in the store has been given a similarly geometric form. It extends up through a circular opening in the ceiling that has been backlit to look as if natural light is beaming through from the outdoors.

      At the centre of the store is a low-lying semicircular bench perched on a mottled pink rug. The flooring that runs underneath has been inlaid with mismatch cuts of grooved and plain stone, as well as tiny triangles made from emerald-green Iranian marble.
      The same veiny marble has been used to make the store’s door handle and its rounded service counter.
      Directly above the counter, thin brass stems have been loosely arranged in a grid-like formation to form a hanging sculpture. It supports a handful of warped glass orbs.

      Heavy gold velvet curtains help screen-off the cylindrical changing booth that dominates the rear corner of the store.
      Brass doors punctuated by small portholes can be pulled back to grant access to the inside of the booth, where teal-blue carpet has been fitted to match the blue underside of the curtains.

      Fashion sits alongside found objects at the Forte Forte boutique in Milan

      Garments are hung from spindly brass rails, while accessories and lifestyle items are presented on a set of brass shelves held up by a pole that’s been made to resemble an oversized bolt.

      A curving blush-pink staircase leads up to the store’s second floor. Forte and Vattilana have used the expansive landing that sits between the staircase’s two flights of steps as an additional display area.
      It’s dressed with a huge leafy plant, another brass clothes rail and an organically-shaped mirror.

      Forte Forte opened its first brick-and-mortar store in 2018 – until then, the brand’s clothing could exclusively be purchased online.
      The inaugural store in Milan has been decorated with a curious array of found objects including a nude sketch, a lump of coral and a bust of the goddess Venus that came from an old French foundry.

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      Debaixo do Bloco Arquitetura remodels 1960s Brasília apartment

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      Brazilian studio Debaixo do Bloco Arquitetura has opened up the layout of an apartment in Brasília built in the 1960s to meet a family’s contemporary requirements.The remodelled apartment is located in residential building 308S in Brasília’s model superquadra, one of the first completed apartment blocks of the urban design scheme conceived by architect Lucio Costa and landscape architect Burle Marx.

      Local studio Debaixo do Bloco Arquitetura reconfigured the apartment’s standard layout, which split the main living areas into two separate spaces.

      In the updated floor plan the exposed concrete walls are cut open to form a single, shared space for the family to gather.

      The studio was careful to preserve modernist design elements in the apartment, including its granilite flooring and white cobogo screens.
      “The project is summed up in an exaltation of the Brazilian architecture lighting what is most typical in the city’s residences and buildings while joining the modernist and contemporary office technologies and references,” said the studio.

      Black cabinetry with corrugated glass doors contrasts with the white countertops in the kitchen. Natural light passes through the square cut-outs on the cobogo wall to brighten the narrow space.
      In the living room low-lying wood shelving units wrap around the space forming a bench in front of the large windows and a surface for storing objects along the interior wall. The lounge is furnished with a grey couch and wood tables.

      Bloco Arquitetos reconfigures 1960s Brasília apartment with translucent walls

      In the dining area and library, a massive wooden bookshelf is stacked with books and audio equipment.
      Three doorways that lead to the bedrooms and bathroom are concealed within the unit, which the studio custom-built.

      In the master bedroom, the backside of the shelf forms a decorative wall of wood panelling. Opposite the large windows, a row of black doors creates a closet that doubles as a doorway to enter the bathroom situated between the two bedrooms.
      Walls in the shared bathroom are clad with vertically-laid green tiles. A large rectangular mirror hangs above the wood vanity, which is topped with two circular sink basins.

      The existing cobogo screen and concrete wall from the kitchen continue into the second bedroom. In this bedroom the closet is covered with a series of mirrors that reflect the space’s wood furnishings and the decorative window treatment.
      Several of the wood furniture pieces in the apartment are designed by Debaixo do Bloco Arquitetura architect Clay Rodrigues. The studio also cut a hole into the cobogo wall so the client’s cats could access their litter box.

      Brazilian studio Bloco Arquitetos also renovated an apartment on the same building block in Brasília. As part of the remodel the studio added sliding translucent glass walls.
      Other projects by Debaixo do Bloco Arquitetura, which translates to English as Under the Block, include an abandoned hospital transformed into a contemporary art gallery.
      Photography is by Joana France.

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      Cabinette co-working space in Valencia plays off Jacques Tati's film Playtime

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      The 1960s film Playtime by renowned French director Jacques Tati set the tone for this whimsical co-working office that Masquespacio has designed in Valencia.Cabinette is a co-working space for creatives set inside a mixed-use building in Valencia’s La Fuensanta neighbourhood.

      It takes over a ground-floor unit that was originally fit-out to serve as an apartment. Leaving the existing bathroom facilities in place, interiors studio Masquespacio reconfigured the rest of the floor plan to accommodate a series of work areas for Cabinette’s members.

      The studio’s founders, Christophe Penasse and Ana Milena Hernández Palacios, wanted to give the 200-square-metre space a retrofuturist aesthetic that’s attractive to millennials but also makes “a clear wink to the past”.

      A particular point of reference was Playtime – a 1967 comedy film directed by Jaques Tati that follows character Monsieur Hulot as he navigates a gadget-filled version of future Paris.
      It’s revered for its satirical take on modern life and was also included in Dezeen’s list of 10 films with amazing architecture.

      Masquespacio creates colour-clashing interior for phone-repair shop in Valencia

      “We once visited a museum installation here in Valencia where they showcased some fragments of the movie, especially a moment where the leading actor goes to a meeting,” Penasse told Dezeen.

      In the film, when Hulot arrives at the meeting, he enters a huge office where each employee’s desk is closed in by a cabinet-lined box – a feature which inspired Cabinette’s name.
      Penasse and Palacious have similarly divided desks in the co-working space, but instead of individual boxes have erected low-lying partitions.
      As with the interior of the boxes in Playtime, the desks and chairs in Cabinette are a pastel green-blue colour.

      The same colour features across the floor, as well as the counter, tiled splashback and a couple of cupboards in the kitchen, which sits in the corner of the room.
      Walls and part of the floor here are painted chocolate-brown, complementing the steel stools from Masquespacio’s Déjà-Vu collection that appear beside the counter. They each feature tiers of brown, ochre and blue fringing.
      Another wall in Cabinette is clad in mirrored panels, while one on the far side of the office is a bright lilac hue. It’s decorated with various graphic-print canvases and rows of illuminated tube lights.

      A set of stairs leads up to a mezzanine where there are a pair of intimate meeting rooms that members can use for group work or take private phone calls.
      They’re screened off by the same shiny silver curtains that hang in front of the full-height windows at ground level that look through to an outdoor terrace.

      There is also a more formal boardroom that features deep-purple surfaces. The central lacquered-wood table is surrounded by Masquespacio’s gold-framed Arco chairs, which are upholstered in burnt-orange velvet.
      The studio’s eye-shaped Wink lights are also mounted on the wall.

      Masquespacio was established in 2010 by Penasse and Ana Milena Hernández Palacios. The studio has applied its colourful aesthetic to a number of projects.
      These include a phone repair shop that features a clashing mix of salmon-pink and turquoise surfaces, and a tropical green and maroon restaurant that offers Brazilian-Japanese cuisine.
      Photography is by Luis Beltran.

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      Zayed University students present 10 interior design projects

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      Graduates from Dubai’s Zayed University present projects including an Arabic calligraphy centre and a place of worship that challenges “repetitive approaches to mosque design” in this VDF school show. The 10 works exhibited below were created by undergraduate interior design students at the College of Arts and Creative Enterprises (CACE). Projects from the rest of this year’s graduating class can be viewed in the school’s 360-degree Virtual ShowCASE.
      University: Zayed UniversityCourse: BFA Interior DesignTutors: Lina Ahmad, Karim Musfy, Omid Rouhani, Mehdi Sabet and Marco SosaStudio: ADR 496 Senior ProjectGraduate show: Virtual ShowCACE
      Course statement:
      “The Interior Design Senior Project at CACE is an advanced course, requiring students to utilise the depth and breadth of their conceptual and technical abilities to conceive, develop and present an original interiors project.
      “Usually, CACE would have hosted its end of year graduate ShowCACE in spring but due to the global Covid-19 pandemic, we are highlighting students’ work via a virtual online exhibition this year. The interior design department has developed a dedicated website to highlight the work of its graduates.”

      Calligraphy Hub by Aysha Al Hashmi

      “With the gradual loss of the Arabic language, Arabic identity has begun to fade away. I wanted to highlight this problem through a proposed Calligraphy Hub, which was designed for the Manarat Al Saadiyat arts centre in Abu Dhabi.
      “The space draws visitors’ attention to the beauty of their language in an artistic way, to help them regain a sense of pride in their identity and origins. I wanted to create a space where all people but especially the young could learn, experience and enjoy the art of calligraphy to help save their culture and history.”
      Email: aysha.alhashmi@outlook.comWebsite: marcososa.com/caceidexhibition2020/sadaa-almansoori

      Al Shindagha Architectural Incubator by Alia Al Maktoum
      “This proposal encompasses an architectural incubator in the Al Shindagha neighbourhood of Dubai. The incubator will aid the development of new business ventures by providing low-cost commercial space, management assistance and shared services.
      “The proposed space will cater to designers, in particular, helping them to start up businesses that contribute to the development of the creative industries in the area. Via the incubator, visitors, students, faculty and professional architects and interior designers will have the chance to explore the district as well as the neighbouring museums.”

      Bait Al Shabab by Maryam AlAmeri 
      “Bait Al Shabab’s primary focus is on the young people in the Emirate of Sharjah through creating a dedicated space to share knowledge, experiences, hobbies, interests and relaxation with people from all walks of life.
      “Bait Al Shabab, or the House of Al Shabab, will provide Sharjah’s youth with an opportunity to have it all in one place – a place that is made just for them and will serve their needs and desires. The project is based on a building that is more than 100 years old, which is preserved and reused to serve the needs of Bait Al Shabab.”
      Email: MaryamAl3amri@gmail.comWebsite: marcososa.com/caceidexhibition2020/afra-khalil-almalki

      Elham by Maryam Albannai
      “Elham means inspiration and muse, signifying a belief in the creative abilities and joys of autism. It is a place where children with autism can develop their creativity and express themselves through art.
      “Through the medium of design, this project seeks to eliminate learning and communication difficulties faced by autistic children and help them develop their confidence. Elham is about possibilities, focusing on what autistic children can do instead of what they can’t. The project nurtures the creative ability of each child and provides them with the skills to lead active and fulfilling lives in the future.”

      Purity Cafe by Sadaa Mubarak Almansoori 
      “In my childhood, I spent most of my time in the garden of my family house surrounded by the sight and smell of trees. The sun peeking through the branches and the occasional breeze of clean air helped me to feel comfortable and relaxed.
      “Due to harsh weather conditions in the United Arab Emirates, there is a lack of outdoor seating that can actually be used in the summertime, which made me miss the feeling of being close to nature. In response, Purity Cafe creates the experience of being outdoors throughout the year inside an environmentally-controlled interior.”
      Email: 201409798@zu.ac.aeWebsite: marcososa.com/caceidexhibition2020/sadaa-almansoori

      Enlightenment by Khawla Ahli
      “As an interior designer, I believe my role is to design solutions that are both aesthetically pleasing and sustainable. This senior project represents both a futuristic and environmentally-conscious space. The design of Enlightenment implements new techniques in terms of space division and lighting design as well as its materials and colour scheme.
      “Its atmosphere creates the illusion of living in the future while housing a future-focused academy that aims to educate students about how to plan and propose solutions to climate change by adopting new technologies.”
      Email: 201509798@zu.ac.aeWebsite: marcososa.wixsite.com/caceidexhibition2020/maryam-tahir

      The Flame by Najat Saif Albraiki
      “As an interior designer, I’ve always been interested in human psychology, as well as studying the way human bodies move and occupy a space. I am committed to designing with sustainability in mind whenever possible and with a primary focus on clients’ needs and visions.
      “I attempt to design with a focus on the human interactions that will take place within a space and the functionality of the design at hand. My design proposal The Flame is a multipurpose space that allows young Emiratis to interact in a fun and safe environment.”
      Email: Najat.albraiki@outlook.comWebsite: marcososa.com/caceidexhibition2020/najat-saif-albraiki

      Rahma by Amna Al Shamsi
      “Mosques are iconic Islamic architectural features that have gone through a series of great transitions throughout history. They are places of worship and places were the community can gather for vital social interactions.
      “Rahma is a mosque that is designed to offer services for the benefit of the local community, providing them with a calming and spiritual place. The project is situated at the Al Ain Mineral Water warehouse in Dubai hopes to serve the high number of low-income expats in the area while also challenging repetitive approaches to mosque design.”

      Difa’a by Afra Khalil Almalki
      “Difa’a, which means warmth and cosiness, provides a safe, clean home to domestic animals in need. It’s a home for pets! Most animal shelters place animals in cages instead of allowing them to move freely.
      “But Difa’a is designed as a welcoming place for pet lovers, owners and those looking to adopt a pet. It includes a daycare, boarding service and playroom to create a positive environment.”
      Email: afralmalki@gmail.comWebsite: marcososa.com/caceidexhibition2020/zainab-ashoor

      Coffee on Track by Zainab Ashoor Saeed
      “DMX Motocross Club is a place where anyone interested in biking can practice and participate. I designed a three-story coffee shop made from repurposed shipping containers that were dumped on the site, stacking them on top of each other to create outdoor and indoor seating areas and an exhibition space.
      “The proposal focuses on incorporating nature into the sandy surroundings, to give visitors a feeling of relaxation and help them feel energized after a long day on the tracks.”
      Email: 201307126@zu.ac.aeWebsite: marcososa.com/caceidexhibition2020/shamsa-al-mazrouei
      Virtual Design Festival’s student and schools initiative offers a simple and affordable platform for student and graduate groups to present their work during the coronavirus pandemic. Click here for more details.

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      Moody interiors of Le Pristine restaurant by Space Copenhagen take cues from the Old Masters

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      Danish design studio Space Copenhagen has used subdued shades of green and grey to deck out the dining room of Le Pristine restaurant in Antwerp, Belgium. Le Pristine, which is headed up by three-Michelin-star chef Sergio Herman, occupies a 1960s modernist building. Years of unfinished renovation works meant that the building’s interior had several patchy
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      United in Design aims to provide a “road map” to make the interiors industry more diverse

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      Interior designers Sophie Ashby and Alexandria Dauley have set up United in Design, an organisation that aims to increase racial diversity within the interiors industry.The initiative, which is supported by designers Martin Brudnizki and Joyce Wang, as well as Dezeen columnist Michelle Ogundehin, will invite studios to pledge committing a series of actions to make the interior design industry racially inclusive.
      “Our goal, together with our esteemed steering committee, is to create a UK wide initiative and provide an actionable road map for design studios, magazines and suppliers to follow,” said Ashby and Dauley.
      “We are the definition of grassroots for now, but we are thinking big and in it for the long-haul,” they continued. “We aim to create equal opportunities to those who may previously have been overlooked, side-lined or worse.”

      United in Design was founded by interior designers Alexandria Dauley (left) and Sophie Ashby
      A steering committee comprised of the founders, Brudnizki, Wang, Ogundehin, and a roster of others such as Graeme Brooker, who is head of design at the RCA and Emily Senior, who is digital editor at House & Garden magazine, will determine United in Design’s direction.

      United in Design members will commit to supporting the BAME community
      The organisation aims to support the BAME community in two ways – the first is the creation of a resource hub-cum-online journal, which will provide guidance on how to get a career in interior design and share employment and training opportunities.
      This resource will be overseen by Simon Hamilton, an interior design career coach and former international director of the British Institute of Interior Design (BIID).
      United in Design will also ask interior design professionals to commit to its seven-point action pledge.
      Five of the actions focus on commitments to the BAME community: school outreach, career insight days and work experience, mentoring, apprenticeships, and talks with art schools, design colleges and universities.
      The other two actions – diversity training and promoting the work of BAME designers through press and PR – are commitments that professionals will carry out within their own businesses.
      Members will pay an annual subscription fee
      Those that are able to commit themselves to at least three of the seven pledges will become “a member of the United in Design movement”.
      Members will also have to pay an annual subscription fee to the United in Design charity which will go towards funding initiatives and widening their outreach.

      “Hire black designers first and foremost,” say organisers of Where are the Black Designers? anti-racism conference

      The launch of United in Design comes in light of the murder of George Floyd and wave of anti-racism protests across the globe.
      In the days following Floyd’s death – when several creatives were sharing black squares on Instagram to show solidarity with racial equality – Ashby issued a statement that called out “uncomfortable home truths” about the exclusionary nature of the interiors industry. She also addressed her own “blatant failure” of running a diverse design company.
      “The outpouring of energy and sheer drive for change I received in response to this post was the fuel I needed to take it one step further and start to provide actionable avenues for change,” Ashby told Dezeen.
      United in Design “powered by first-hand experience”
      “My passion for United in Design was ultimately powered by first-hand experience of this reality,” added Dauley, who noted the lack of BAME people when she both studied and tutored at the KLC School of Design. “I began outreach to leading industry figures to specifically promote the benefits of addressing inequality.”
      Others in the interiors and wider designer industry are trying to tackle and talk about the issue of inclusivity. Last month, in an opinion column for Dezeen, Michelle Ogundehin shared her personal experiences with racism and said that more open discussions about diversity need to be provoked.
      Interior designer Rukmini Patel and writer Kate Watson-Smyth, who runs interiors blog Made About the House, have recently collaborated to launch the Design for Diversity campaign.
      It asks brands, influencers and publications to post a sticker to their website or social media channels – by using the sticker, they pledge to consider the visibility, opportunity and accessibility of different races, genders and sexualities.
      Visual designer Mitzi Okou and interaction designer Garret Albury also teamed up to organise Where are the Black Designers?, an online conference that looked into the underrepresentation of black talent in the design and education industries.

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      “Interior design casually borrows from cultures it finds aesthetically pleasing without hiring people from those backgrounds”

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      Borrowing aesthetics from a range of cultures masks the lack of racial diversity in interior design and it is now time to change this says Bhavin Taylor.As a BAME designer, I am well aware of the lack of diversity and the dearth of representation within interior design. The issue is not new and has been going on in our industry for years.
      Coming from an Indian background – with its own strong cultural heritage – a creative career is not often understood, nor seen as a stable career path by those around me. Growing up, I was hindered by the fact that there were no role models that looked like me who could offer aspiration or relatability. This made the decision to become a part of the industry a difficult one. It is not an environment for those who aren’t comfortable standing out – luckily, I am not one of them.

      I was only one of two people of colour in my class. All the teaching staff were white

      This lack of diversity was apparent throughout my younger years and especially so when I entered the industry. Starting at interior design school, I was only one of two people of colour in my class. All the teaching staff were white. This has continued throughout my career. In the professional workplace and at industry events, I am always in the minority. This is particularly noticeable in media and television, where the representation of BAME (black, Asian and minority ethnic) designers is sadly lacking.
      Our industry, which is all too often one seen as being crafted only by Magnolia-coloured hands, has a tendency to casually borrow from cultures that they find aesthetically pleasing, without thinking about the context or hiring experience from the backgrounds they find so inspirational.

      “I aim to shed light on what it is like walking in the shoes of a black woman within architecture”

      Everyone will have used or heard the term “tribal”, “boho” or “ethnic”, but do they know where these actually come from and what they mean?
      Tribal is a blanket term usually applied to crafts from the African continent. Quite often, you will see traditional textiles and patterns being used, such as the Kuba cloth, to denote a tribal aesthetic. Such cloth is created by the Kuba people of the Congo and requires a technique that is very time consuming and laborious.
      Boho comes from Bohémien, a French word referring to a group of people who travelled from a region in the Czech Republic known as Bohemia. Later, this term broadened to include the artist, writer, actor, or musician, often poor, who led a nomadic lifestyle making stops at major European cities. Bohemian design today is about incorporating many different things from different philosophies, parts of the world, and ways of life. The result is an eclectic style that’s as diverse as the people who inspire it. Note the key word there – diverse.

      Crafts are translated by the industry as interior design, quite often without the correct exposure or recognition

      Ethnic design is influenced by patterns, motifs and handicrafts from non-industrialised cultures, drawing its ideas from indigenous communities across South America, Africa and Asia. For example, Persian rugs – also known as Iranian Carpets produced in Iran (historically known as Persia) – are rugs of various types that were woven in parallel by nomadic tribes, in village and town workshops, and by royal court manufactories alike. They represent miscellaneous, simultaneous lines of tradition, and reflect the history of Iran and its various people.
      From a quick dig into the history of these styles, it is clear that they stem from traditional local crafts in the countries that they originate from. These crafts are translated by the industry as interior design, quite often without the correct exposure or recognition given to these hardworking, talented men and women.
      My question is if you take inspiration from another culture, are you giving them enough credit? Or are you inadvertently suppressing the faces and voices of these cultures for your personal preference or gain?

      It is our duty to proudly represent our diversity so that we can inspire and educate the younger generation

      This pattern of repackaging cultural artefacts as trends has minimised the visibility of diversity within the industry, even though it has actually been present for years. Everyone that has an influence on how the industry is portrayed should investigate this tendency to erase creative people of colour, as they in some way or another have played their part in creating the misrepresentation of the industry.
      Unfortunately, the past cannot be changed, but the narrative going forward can. I am calling upon our industry, including our major and trade media outlets, our social, our publications and our events to ensure that we collaborate, employ, contract, buy and promote diversely – and be vocal when we see that we are failing to do so.
      I also call upon other BAME designers such as myself, who are already a part of the industry, to come forward and be visible. It is our duty to proudly represent our diversity so that we can inspire and educate the younger generation – and their families – that a creative career is for everyone. In doing so, we may eventually get to a stage where we will only be recognised for our talents and not the colour of our skin.
      Main image is by Juliet Murphy.
      Bhavin Taylor is the founder of award-winning interior design studio Bhavin Taylor Design, based in London. Taking inspiration from his Indian heritage and with his extensive experience in both the fashion and interiors industry, Bhavin creates unique spaces that are bursting with personality, according to his motto “Love Colour. Embrace Pattern.”
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