Michael Davies is head of Stix Design, the graphic design and branding arm of architecture firm Sheppard Robson. He’s worked on BBC Cardiff, UCL Marshgate and Freshfields law firm’s London HQ. Design What would your monograph be called? No, I don’t shop at High and Mighty. I am the first-born son of West African parents, and growing up, I stood out because I was very tall – I’m now 6’ 7” – and also one of the only black kids at school. This led to a strong desire to fit in. Maybe this has made me always feel really comfortable as part of the team, working shoulder-to-shoulder to create work that stands out. But, of course, this instinct to collaborate is balanced with my idiosyncrasies and expressing my own perspectives on work and life. And yes, I shop at the same places as everyone else. What recent design work made you a bit jealous? I really like the wayfinding scheme at Borough Yards by f.r.a. When I first went there, the designs really spoke to me as a body of work. The work hit every button – intuition, intrigue, interaction, story-telling. The lot. It’s how I would love to have answered the brief. f.r.a.’s wayfinding work at Borough Yards What’s an unusual place you get inspiration from? I have a few. Salts Mill at Saltaire – a former mill housing art galleries, shops, and cafe and diner – and The Pheasantry Cafe at Bushy Park, but my current favourite has to be the ground floor cafe at the V&A. The sheer scale of its beauty and ambience is always surprising. They’ll throw in a quartet every now and then, in case you might think it isn’t atmospheric enough. It’s great for people-watching, too – I bet it’s a good spot for writers. Name something that is brilliantly designed, but overlooked. It has to be a brand new pencil. The very sight of one conjures up so much potential before you’ve even made a mark. What object in your studio best sums up your taste? Perhaps not strictly an object, but I Iove the cupboard-sized meeting room in the far corner of the second floor of our Camden office. It has a huge, cantilevered window that looks out onto our green roof. In the summer it turns into a full-on meadow. It’s a great place to feel the breeze, feel connected to nature and think. The view from the second floor meeting room Leadership What feedback felt brutal at the time, but turned out to be useful? Earlier in my senior career I worked for someone who’d employed a number of us from a previous agency. The familiarity was a key factor in why I took the position. A good friend and design director there advised me to step up and assume full responsibility for all aspects of the projects I worked on – “Don’t wait for instruction from your design leader, try to come forward with solutions rather than asking what should you do.” His implication was, “Don’t be too comfortable” and try not to lean into my design leader too often. Be more proactive. This proved to be a difficult period of transition for me at the time, with lots of sleepless nights questioning my every decision. Eventually, I learned there’s a value to making mistakes as it afforded me the opportunity to grow. That outcome was career-changing. What’s an underappreciated skill that design leaders need? Make the process as enjoyable as you can. A little self-deprecation and good humour goes a long way. Don’t take yourself too seriously, and be honest with praise – say when something goes well or looks great, just as you would when it doesn’t. What keeps you up at night? I work with a smallish team in a large organisation, so occasionally, several jobs might come in from different directions, all at the same time. That can be quite stressful. There’s always that one job that’s taking too long to land, you take on others to fill the gap and then it suddenly drops – arrrgh! What trait is non-negotiable in new hires? Working alongside so many different skill-sets here at Sheppard Robson affords us the luxury of attacking problems from all sides. The key to doing this successfully is through open lines of communication. I need good communicators and great listeners. Their work will always speak for itself, but those two traits make all the difference. Complete this sentence, “I wish more clients…” …would allow us to just lead the way. I know this isn’t always easy for clients, seeing as creativity is a totally different language/science to some. However, there’s no need to fight the process. Take your time selecting the right agency, then trust us, and enjoy the journey.

Swiss Cottage scheme had previous 2016 consent which was never completed Source: RegalCGI of the 100 Avenue Road scheme by Cartwright Pickard Camden council has approved two major residential schemes designed by Cartwright Pickard and Morris + Company, both brought forward by developer Regal. At 100 Avenue Road in Swiss Cottage, Cartwright Pickard has drawn up revised proposals for a long-stalled 24-storey tower above the tube station. Originally designed by GRID Architects and approved in 2016, the scheme had seen demolition and basement works completed, but above-ground construction halted under the site’s previous owner, Essential Living. Regal acquired the site in March last year and submitted updated plans retaining the original height and massing but adding two additional floors, increasing the number of homes from 184 to 237. The scheme now includes 70 affordable homes across social, affordable rent and intermediate tenures. Revisions also include a reworked brick facade and the introduction of a second staircase. Regal will act as both developer and contractor on the scheme. Source: Morris + Company33–35 Jamestown Road and 211 Arlington Road in Camden Town, which will deliver 178 purpose-built student bedrooms, 27 affordable homes, and over 3,600 sq ft of commercial space Elsewhere in the borough, Camden also granted planning permission for a student housing-led development designed by Morris + Company at 33–35 Jamestown Road and 211 Arlington Road in Camden Town. Brought forward by Regal in joint venture with 4C Group, the scheme will deliver 178 student bedrooms, 27 affordable homes and over 3,600 sq ft of commercial space arranged around a retained 19th-century pub. Steve Harrington, planning director at Regal, said: “Our work with Camden has proven that it is possible for both public and private sector to work together with the speed and pragmatism that the planning system needs. This is the kind of delivery that makes a difference – not just more homes, but better ones.”

When YARA + DAVINA became mothers within a month of each other, they didn't step back from their practice – they stepped forward together. The socially engaged artist duo began collaborating as a job share, determined to remain visible in an industry that too often sidelines mothers. Their work – which spans everything from poetry to bronze public sculptures – is rooted in play, accessibility and political intent, often exploring themes of care, identity, and who art is really for. In this candid Q&A, they reflect on making time (and peace) with imperfection, the pressures of doing it all, and why motherhood has only deepened their creative drive. How has motherhood influenced your creative process or career choices? Brian Sewel, the art critic, said in 2008 that "Female artists fade away in their late 20s or 30s. Maybe it's something to do with bearing children". Yes, motherhood has had a profound influence on our career choices. We became a duo after becoming mothers, and we had a deep wellspring of desire to nurture our babies and also nurture our art practice, not letting it fade away. Being a mum gave us a wider range of being and a deeper depth of what it means to be human. It filled us with more ideas, not less… we had more determination and more creative ideas than ever. In 2016, our hack on motherhood was to start collaborating as a duo as a 'job share'. We had been friends and admirers of each other's work for 11 years prior, and both of us became parents within a month of each other. We realised we both wanted to be present mothers but also visible artists. We literally started working together so we could work part-time but have a full-time practice between us. We are driven to make powerful, playful and fun contemporary art, alongside being mothers, to challenge ideas like Tracy Emin, who said, "There are good artists that have children. They are called men." We are good artists, and we are not only women; we are mothers! Photo credit: Alice Horsley What's been the biggest challenge in balancing creativity and caregiving? Time and some guilt! Quite literally, there is little time to parent and make art. But we were both determined to be part-time mums, part-time artists and full-time friends. This duo works because we both understand the limitations of our free time: we are always there to step up when the other needs a break, has sick children, or craves space for ourselves. It was almost like an intuitive dance, where we had become in tune with each other's outside demands and rhythm. As artists, we often have to travel extensively for work, which can put considerable pressure on our partners and be unsettling for our children. So guilt slips in every now and then. Luckily, we both support each other in those times and remind each other that to parent and care for others effectively, it is essential that we make time for our art practice and thus ourselves. With time, we hope our children will respect and understand the role art played in our lives and why we had to find a balance that worked for us as creative beings. We work together every weekday, and we always find ourselves talking and supporting each other with our parenting alongside making work. We both deeply feel that we were put on this planet to create great art, to push the boundaries of what art is and can be, and with whom it can be made and for whom it can be made. And we can do this while raising children. Photo credit: Alice Horsley Have you felt pressure to 'do it all,' and how do you navigate that? Yes, we feel it all the time, from ourselves as much as from society! One of our mottos that we tell ourselves is 'Good Enough'. We have talked about getting these as matching tattoos ( we love to wear matching outfits). Essentially, it is impossible to do everything really well. We need to prioritise what things need to be brilliant and what things can just be good enough. These priorities shift daily, creating an interplay between our personal and professional lives. Being a duo allows us to pick up each other's slack when needed. Photo credit: Nick Turpin What changes would you like to see in the creative industry to better support mothers? In 2016, we participated in a British Council residency at Portland State University titled 'Motherhood: A Social Practice'. We explored motherhood in the creative world, and our passion was to create more family-focused residencies and secure funding to support childcare. We wanted programmers to consider simple things, such as family-accessible residences, and work around term times. Things have dramatically changed since then, but we need to see more changes. People like Lizzie Humber and her daylight collective are doing amazing things, thinking about programming parent-accessible daytime culture. When we live in a time where Evening Standard art critic Brian Sewell says things like, "Only men are capable of aesthetic greatness.", women, in general, have a tough time, never mind mums! We are passionate not only about supporting artist mothers but also about working with and for mothers. Our public artwork, WOMAN - WHOLE, was created alongside, with, and for mothers on the Regents Park Estate, commissioned by ODAC, Camden. We subverted the idea of manholes, creating a series of bronze-cast covers embedded in the pavements of Camden. These permanent public artworks playfully remind us that, as women, we are whole. Photo credit: Hugo Glendinning

London King's Cross railway station is a passenger railway terminus in the London Borough of Camden, on the edge of Central London. It is in the London station group, one of the busiest railway stations in the United Kingdom, and the southern terminus of the East Coast Main Line to Yorkshire and the Humber, North East England and Scotland. The station was opened in King's Cross in 1852 by the Great Northern Railway, and has been expanded and redeveloped several times since. This panoramic photograph shows the western departures concourse of King's Cross station, which was designed by John McAslan and opened in March 2012 as part of a major renovation project. McAslan said that the roof was the longest single-span station structure in Europe; the semi-circular structure has a radius of 59 yards (54 metres) and more than 2,000 triangular roof panels, half of which are glass. Photograph credit: Colin Recently featured: Daft Punk Eastern quoll Battle of Diamond Rock Archive More featured pictures

Baxter & Bailey could've taken the safe route for their Friday evening talk at OFFF. They could've showcased slick work for the Royal Parks, the Royal Mail, or the London Soundtrack Festival. Instead, they pulled back the curtain on what really goes on behind the pristine curtain of the design industry, revealing a tangle of mistakes, mishaps and moments of pure chaos. "We live in a world where everything we see is finished, polished and presented, which can be quite a daunting prospect for young designers entering the industry," they explained. "It's a nice reminder that even the most experienced designers mess up sometimes." With that, Matt and Dom launched into an hour of confession, comedy, and collective therapy. It was an airing of creative dirty laundry, shared in the spirit of learning and laughter. Practice what you preach Baxter & Bailey started with their own biggest fumbles, warming the crowd up for what was to come. Dom kicked things off with a tale from a night train journey in Russia en route to a crucial pitch for a telecoms giant. Sharing a cabin with a snoring stranger called Constantin from Moscow, he awoke to find his roommate enjoying breakfast in nothing but his pants. In the panic to flee, Dom left his carefully crafted presentation boards on the train. "What I learnt from that mistake was: even if you wake up and the first thing you see is an old Russian man's crotch, keep cool, don't panic and remember what you're doing," Dom told the crowd. Matt followed with a story from a concept presentation a decade ago. Just a few minutes in, the client's top boss entered the boardroom, watched in silence… then stood up, gave a thumbs down, and stuck out his tongue with a rude noise of disapproval. "I still cringe every time I hear that story," said Dom. A little help from their friends The pair soon revealed they weren't alone in their confessions. Before the talk, they'd floated the idea to British design legend Rian Hughes, who not only approved but offered his own disaster story. On screen, Rian recalled his first job interview at a Camden agency. Lost, rain-soaked, and 45 minutes late, he finally arrived with his portfolio strapped to a trolley. As he lifted it onto the table, he noticed something brown on his sleeve and realised he'd rolled the trolley through dog poo. One side of his portfolio was covered, and so was the director's mahogany table (not to mention the stench). "Despite this auspicious beginning, I got the job," said Rian. "But I don't recommend it as an interview technique – and the job was shit anyway. I lasted three months." With proof of concept secured, Baxter & Bailey launched The Design Laundry, a growing archive of creative calamities submitted by designers across the industry. The idea is that people share their worst moments, get them out in the open, and maybe learn something in the process. Here are just a few they aired at OFFF. Email fail Jamie Ellul, founder of Supple Studio, joined in from the remote countryside to share his cautionary tale. Early in his solo career, he landed a job designing a brochure for an accountancy firm. "I think it might have actually looked worse than it did in the beginning when I was finished," Jamie admitted. He sent the final artwork to print, then forwarded the printer's quote to the client before hopping on a train. Following weeks of radio silence, the client finally replied: 'Hi Jamie, I've been wondering how to respond to your email, having seen your note to the printer below on the email chain'. That note read: 'Please don't judge me—this is the shittest thing I've ever designed'. Cue laughter from the crowd – and a lesson in double-checking email chains. As Matt and Dom pointed out, email fails were the most common type of submission. We've all been there. Rude royal Next up: Francis Jackson, formerly of MetaDesign and OPX and now a psychotherapist, shared her story in a letter. Years ago, she worked with The King's Trust on a beautifully designed book promoting the value of art in the built environment, Art in the Public Environment. The problem was that a glaring typo was revealed by none other than the King of England himself after hundreds of printed copies went out across the country. What the front cover actually said was: 'Art in the Pubic Realm'. When the King was handed a copy while visiting the offices, he swiftly returned it, eyebrows raised. I'm sure Francis was hoping for the ground to open up beneath her at that moment! Rock shock Daljit Singh, co-founder of pioneering digital agency Digit, appeared onscreen in sunglasses, mid-holiday, to recount a transatlantic disaster. After landing in the UK from New York in 2007, Daljit got a message: Gene Simmons (yes, from KISS) wanted to meet him. Being a huge fan, he turned around, caught the next flight back, and headed straight to the hotel. But as he flew, doubt crept in, and he asked himself: could it be a prank? He'd played an elaborate hoax on his friend Simon not too long ago, so when told to ask for "Simon Smith" at reception (apparently Gene's alias), his suspicions grew. Still, he went upstairs, knocked on the door, and shouted, "Simon, come out, you massive tosser." None other than Gene Simmons opened the door. "You English guys have got such strange senses of humour," he said, before ushering Daljit in. The meeting lasted three awkward minutes. They didn't get the job. Lessons from the laundry After airing these disasters, Matt and Dom returned to each story to highlight the learning points. Jamie reminded us to treat every job (and every email) with care. Francis' typo showed that even major mistakes fade with time. Daljit's story offered a reminder not to let doubt derail bold decisions. The laundry pile grew with more stories, laughs, and stains, and the pair could've gone all night. Luckily, this won't be the last spin cycle for The Design Laundry. Dom and Matt are bringing the idea to future events and inviting more submissions through their website. Because if creativity is a messy process, there's no shame in airing a little dirty laundry.

Some decorating trends will come and go (see millennial pink) while others have longevity, no matter what era we're in. One such aesthetic? Tasteful horse decor. Between Netflix's recent hit Ransom Canyon, the U.S. Polo championships back in April, and the many home tours we've published featuring horse motifs, everyone, including the design world, is enthralled with these creatures right now. While luxury fashion brands such as Ralph Lauren and Hermès may have introduced equestrian vibes into interiors (horses being an instantly recognizable part of both brands' identities), the look has evolved beyond just their ateliers. "Horses have always been a popular subject in the art and design world, going back to early cave drawings in the Lascaux Cave, France. It is so fun to see them back in the spotlight in interiors," designer Maria Burke says. "We have definitely seen a resurgence in layered, British interior style, so I think it is fitting that all sorts of equestrian subjects and patterns have also seen a rise in popularity." While several designers we spoke with mentioned the influence of British style in homes right now, others link our current fascination with the Wild West to a yearning for a different time. manufoto llcA horse sculpture nestled amongst candle holders is the perfect final decorative touch.Anson SmartMix and match art mediums, like textured pieces and a photo, in a room."Across the board, we're seeing a major shift back to traditional, cozy, old-world design. I think it's everyone's desire for comfort and reassurance during these rocky political and technological times. A return to our roots. It's the antithesis to AI," award-winning interior designer Lindsay Gerber Northart says. "The resurgence [of horse decor] seems to stem from a deep-seated yearning for connection with nature and a romanticized notion of freedom and open horizons," L.A.-based designer Jennifer Miller adds. "Horses embody both untamed beauty and a sense of serene strength in their powerful yet graceful presence. This inherent duality resonates with contemporary desires for authenticity and a touch of the organic within our living spaces." Indeed, in a world where we are scrolling endlessly on TikTok, checking our work emails while on vacation, or being spammed with fake phone calls daily, returning to a world that ran at a slower pace seems idyllic. Designers everywhere, from Los Angeles to Virginia, are seeing an uptick in client requests for incorporating horse decor into their homes. Burke notes that in one of her projects, they recently took the client's collection of riding crops and turned them into a gallery on their second-floor hallway. Meanwhile, Jeanne Barber, founder of Camden Grace Interiors, recalls a client in the New York City suburbs asking them to adorn her husband's office in oil paintings featuring hunts and horses. As you may be able to tell, if you love these majestic animals, there are plenty of ways to capture their essence in your home. "There's a romanticism to equestrian imagery that evokes both rustic countryside charm and old-world luxury, making it incredibly versatile across styles, from modern farmhouse to classic traditional and even minimalist spaces," designer Katie McCaffrey says. Tasteful horse decor is here to stay—forever—so check out the expert styling tips ahead on achieving the look seamlessly in your home. Related Story Make It Feel Modern Patrick BillerThe office is a great place to show off your love of the equestrian sport.Mixing new pieces with vintage finds is a tried-and-true furnishing method that gives your home its character. Even though this takes time, we're firm believers in slow decorating. When it comes to horse decor, Burke recommends employing the same method by merging "old master-style oil paintings with horse subjects above more modern pieces of furniture." If you already have such works of art, you're one step ahead of everyone else. However, if you're sourcing art from scratch, Burke says, "These works can easily be found on auction sites and even consignment stores if you are up for the challenge, and they make for a wonderful mix with newer pieces." We suggest checking out places like Chairish, 1stdibs, LiveAuctioneers, and Everything But the House.Related StoryLean Into Antique SculpturesJeanne BarberSculptures can be placed anywhere, including on a bar cart.Besides framed artwork, designers suggest adding horse sculptures to your space, whether that's a small statue of a stallion nestled on your bookshelf or a giant horse head that commands attention near your staircase. The best part about these pieces is that you can move them around the house anytime without having to deal with annoying photo hooks or adhesive strips. "In my own home, I have a large, cast-iron horse head that meanders through my house, depending on my mood," Barber says. "Lately, he's hanging out on our porch bar, greeting guests with a cocktail." Opt for Striking Photography© Rustic White Photography,LLCBuy a big print from your favorite photographer and hang it where everyone can admire it.Whether you dabble in photography or follow a National Geographic photographer who shoots the most amazing wildlife, if this is your art medium of choice, incorporating a stunning visual of a horse in your space is a no-brainer. "Professional equine photographers are increasingly producing some spectacular large-format images in both black and white and color. These can be striking statements alone or as a collection, and really set a sophisticated, luxurious vibe to any space," says designer and passionate equestrian Megan Winters. Don't Be ObviousAlanna HalePlaid, iron, brass, and leather can help you tap into the look more subtly.Yes, you can display tasteful horse decor without horses! If you're not into the animalcore look, you can instead hint at your love for them through horse-adjacent decor. "I think horse decor needs to be more of a nod and hint rather than literal...otherwise you're very easily getting into a tacky decor situation," Gerber Northart says. "Introduce patinated old leather pieces and brass accent pieces, which hint at the look and feel of horse tack. Wool and plaids hint at a fox hunt." Similarly, McCaffrey suggests using "checks, plaids, natural materials such as woven baskets to evoke equestrian style without being too literal." Related StoryLittle Touches Go a Long Way Michael CliffordShow restraint when leaning into the equestrian theme.All the designers we spoke with agree on one thing when it comes to making your horse decor feel tasteful: moderation is key. "I like to try to limit the use of a 'themed' element to one or two items per room," Burke says. "Instead of layering all sorts of prints with an actual horse on it [throughout the home], we will use one and then draw inspiration from other sorts of horse-related items, such as leather, thick wool blankets, and dark iron [for the other spaces].""The key is to ensure the execution feels intentional and contributes to the overall narrative of the space," Miller adds. "In our Sun Valley project, we incorporated a few horse drawings and a red horse painting I created myself, which felt especially fitting for the setting and served as a nod to the Western heritage and natural beauty of the area. The artwork reflects the landscape’s rustic spirit while adding a personal layer of storytelling." Shop Our Favorite Horse Decor PicksHermès Cheval Deco Ashtray$800 at HermesGucci Velvet Cushion With Horsebit$1,150 at GucciCharles MARECHAL (1865-1931), Horses in landscape oil on canvas$300 at liveauctioneers.comCarol Walker Leopard Appaloosa - Limited Edition of 100 Photograph$1,830 at saatchiart.comRalph Lauren Home Dalton Accent Table$18,790 at Ralph LaurenWilliams Sonoma Cashmere & Wool Equestrian Throw$499 at Williams SonomaKathy Kuo Monty French Country Black Aged Metal Round Side End Table$141 at kathykuohome.comRalph Lauren Home Brennan Clock$1,195 at Ralph LaurenArt Deco Style Silvered Brass Etruscan Horse Sculpture$4,250 at 1stDibsJoon Loloi Morison Leather Wrapped Table Lamp$199 at joonloloi.comFollow House Beautiful on Instagram and TikTok.

Source: Bureau de Change Architects / HGGThe proposed scheme A proposal by Bureau de Change Architects to redevelop a single-family home in Dartmouth Park, Camden, into a five-storey block of flats has drawn national attention, including opposition from Dame Justine Thornton, a barrister and judge, who is also wife of energy secretary Ed Miliband. The project, submitted for developer HGG London, would see the demolition of a 1930s detached house on Dartmouth Park Road, located in the Highgate ward of the London borough, and its replacement with six apartments ranging from one to three bedrooms. The proposal seeks to increase the site’s density while referencing local Victorian architecture in its massing and façade design. In its design and access statement, Bureau de Change describes the proposal as a “sensitive and site-driven design” that aims to deliver “much needed new housing for the area”. The site sits within the Dartmouth Park Conservation Area. Thornton wrote that the proposed block was “too tall, too bulky and too dense for its plot given the context of the surrounding houses and the wider conservation area”. While expressing support for additional housing in principle, she cited the nearby Highgate Newtown residential development as “a brilliant example of thoughtful design in harmony with neighbouring properties” and suggested that the application represented “another opportunity for the Council to demonstrate its commitment to the provision of sympathetically designed housing by acknowledging the benefit of redevelopment whilst rejecting this particular design”. The project has highlighted the ongoing tension between national planning policy objectives and local resistance to change. The Labour government has made housing delivery a key part of its growth agenda, pledging to prioritise brownfield development and to take a more assertive stance against anti-development sentiment. Architects Joanna van Heyningen and Birkin Haward, founding partners of van Heyningen and Haward Architects, also submitted a formal objection to the scheme. In their response, they stated that the proposal was “too tall for its context, too deep, too close to the houses to its south and east, provides poor living standards for its intended inhabitants, and ignores the requirement for bio-diversity net gain”. Referring to the design, they described the illustrated façade as “a naïve architectural response that attempts to be contextual by aping some of the proportions of neighbouring buildings, whilst completely failing to respect them”. The proposed schemeSource: Bureau de Change Architects / HGG The proposed schemeSource: Bureau de Change Architects / HGG Proposed ground floor planSource: Bureau de Change Architects / HGG 1/3 show caption Actor Benedict Cumberbatch and his wife, theatre director and playwright Sophie Hunter, who also live nearby, submitted their own objection. They argued that the scheme would be “out of keeping with the architectural style of the area” and warned it would “disrupt the aesthetic of the street” and be “directly in opposition to the nature of a conservation area”. They also expressed concerns about the impact on privacy and daylight, writing that the proposed building “will dwarf houses on both roads” and “look directly onto adjacent properties and gardens”. The objection concluded by cautioning that approval could “set a precedent for the area”, asking: “Could I now demolish my property and replace it with flats and not require the same extensive planning approval?” Camden Council is yet to decide on the application. Bureau de Change Architects and HGG London have been contacted for comment.