work for; they don’t have to sit there with the logo and colours all around them because that doesn’t necessary convey the culture or ethos in any meaningful way.’ ‘I think employers – particularly after the pandemic – have become much more aware of the fact that they’ve got a culture to build because they were in danger of losing that,’ added Khurana.


‘Anybody can keep a red and white logo and put it on a screen, but actually you lose good people if you don’t have a strong culture.’


Richardson-Prescott said: ‘A lot of big brands choose red logos because it is seen as quite a strong, powerful colour. But within interiors, it’s an emotive colour and can be seen as angry when you are actually inside a red space, for neuro-divergent people – or in fact for anyone. So, in terms of inclusion, it’s seen as more important to achieve softer, neutral spaces and then perhaps also having the brighter spaces for certain areas, such as tea points or other spaces where vibrancy would be useful.’


‘A lot of big brands choose red logos because it is seen as


quite a strong, powerful colour. But within interiors, it’s an emotive colour and can be seen as angry


when you are actually inside a red space.’


Rosie Richardson Prescott


Immersed in colour


Colour – when done well – has the potential to add a whole new level to any design scheme. Dowling recalled visiting the Verner Panton: Light and Colour exhibition at London’s Design Museum in 1999. ‘I can remember it for walking through colour. T e way whole rooms were lit with colour; it was a bit like on a really bright day walking through a fi eld of


Supported by:


Above Rosie Richardson- Prescott, director of interiors, TTSP


Left The 20th century Dutch designer, Verner Panton, was renowned for his use of vibrant colours


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