In a distinctive architectural project in London, Fahad Malik, founder of Wadhal architecture studio, reimagined a modest garden flat behind a nondescript shopfront into a dramatic home centered around an extensive art and design collection. The client, a young couple passionate about artwork that engages with the legacies of immigrant artists who arrived in Britain between the 1950s and 1970s, agreed to an unconventional redesign that sacrificed a bedroom and reduced overall floor space to prioritize gallery-like display areas.

At the heart of the residence, Malik crafted a double-height gallery space illuminated by a three-metre-square skylight, showcasing expressionist paintings by Guyanese artist Aubrey Williams and British painter Frank Bowling, as well as sculptures by British creators Phoebe Collings-James and 2024 Turner Prize winner Jasleen Kaur. The transformation sought to place the art on equal footing with the living quarters, a decision Malik described as risky but ultimately rewarding. Removing a second bedroom allowed for a more thoughtful spatial arrangement that eschewed conventional layouts in favor of a home designed "as much for the art as it is for the people who live here."

The interior melds sculptural elements and functional design, with a steel mesh bridge spanning the gallery and leading to an open-plan living area. The high ceilings accommodate large works such as a bubble machine sculpture by Filipino artist and activist David Medalla and a gold crumpled wall piece by Lebanese artist Dala Nasser. The bedroom itself, accessed through the gallery, features a kid goat leather bed and headboard by Howe London, contrasted with a 1970s weaving by Indian textile artist Monika Correa, geometric wall lights by Sydney-based Olivia Bossy, and a layered mesh lamp from design studio LS Gomma.

Interior designer and gallerist Max Radford emphasized that the spaces were intentionally adaptable, enabling artworks to be moved or replaced with ease, and praised the museum-quality lighting, which enhances the textural quality of materials like fumed oak, fossil-filled British stone, and concrete. The design deliberately avoids the minimalist white walls typically associated with galleries, favoring interventions that act as sculptural elements in their own right.

Drawing from the clients’ shared Asian heritage, Malik incorporated references to traditional stepwells—stair-lined reservoirs common in India and Pakistan—into the landscaping and structural elements. The terraces outside are constructed using gabions, mesh wire structures filled with limestone rocks selected for their aesthetic qualities, blending functionality with sculptural form. This mesh motif extends through the home, appearing in the steel walkway and kitchen joinery composed of end-cut oak arranged in grid patterns resembling traditional jali lattice screens.

Malik noted that the design consciously avoids nostalgia or traditionalism despite its cultural references, seeking instead to envision a future-oriented interpretation of heritage. He stressed that these specific details reflect the clients’ personal passions and that he does not intend to replicate the style in future projects, underscoring his commitment to innovation rather than authorship.

Standing beneath the expansive skylight and four-storey structure above, Malik expressed satisfaction with the project’s ambitious scope, asserting that impactful homes integrating art and culture can be created regardless of scale or budget, provided there is intentionality in the design process.