Richard Taylor’s investments shaped the destiny of the Furniture & Arts Building long before it became a Chelsea design landmark. When he leased the former Brown & Pank Bottling Plant in 1969, the building was a cavernous industrial shell. Taylor saw potential where others saw vacancy. He established his stripped‑pine furniture business and began subletting units to antique dealers, creating a vibrant commercial ecosystem that would evolve into The Furniture Cave — a place defined by discovery, craftsmanship, and entrepreneurial spirit.
The 1974 fire threatened to erase everything. With the GLC preparing for demolition, Taylor and a group of determined tenants stepped in, purchasing the building under Firm Four Ltd and safeguarding its future. His leadership deepened when Jeremy Norman joined the partnership in 1986, bringing new energy and strategic vision.
In 1989, Taylor and Norman formed Blakenhall Ltd, consolidating ownership and laying the corporate foundation for the building’s modern identity. Their stewardship ensured that the site could evolve, adapt, and ultimately become the Furniture & Arts Building — a multi‑floor destination where heritage, design, and craftsmanship thrive.
Long before it became a landmark for design lovers, the building at the corner of King’s Road and Lot’s Road began life as the Brown & Pank Bottling Plant, a vast industrial warehouse serving London’s growing commercial trade. Its scale, steel structure, and generous ceiling heights were engineered for production — but they also created the bones of a future creative hub.
By the late 20th century, the building had transformed into The Furniture Cave, a sprawling maze of antiques, curiosities, and architectural salvage. Dealers, collectors, and designers wandered its floors in search of rare finds, giving the building an early reputation as a place where discovery and craftsmanship lived side by side.
This legacy — industrial strength combined with artistic curiosity — became the foundation for everything FAB would become.
In the early 1980s, the building underwent a significant architectural reconstruction led by Andrews Downie & Partners, commissioned by Firm Four. Their work reshaped the upper floors and roof, modernising the structure while preserving its character. This marked the beginning of the building’s evolution from a cavernous warehouse into a curated design environment.
Over the decades, the site attracted a new generation of makers, dealers, and design studios. Antiques sat alongside contemporary furniture; lighting designers shared space with interior architects; galleries introduced fine art, sculpture, and rare 20th century objects. The building’s identity shifted from a single retail destination to a multi floor ecosystem of creativity.
Today, the Furniture & Arts Building stands as one of Chelsea’s most distinctive design destinations — a place where heritage, innovation, and craftsmanship meet under one roof.
Every showroom inside FAB shares a common philosophy: QUALITY ABOVE ALL.
Whether it’s a hand‑carved marble sculpture, a bespoke dining table, a restored mid‑century classic, or a contemporary lighting installation, the building champions makers who value precision, authenticity, and artistry.
FAB’s community includes antique specialists, furniture designers, restorers, architects, interior designers, fabric innovators, and lifestyle brands — each contributing to a culture built on expertise and passion. The building’s commitment to craftsmanship extends beyond the objects themselves; it’s reflected in the relationships between dealers, designers, and the clients who return year after year.
This dedication is why FAB continues to be celebrated by the design press and trusted by collectors, homeowners, and industry professionals. It is not simply a place to shop — it is a place to learn, to be inspired, and to experience the enduring value of well‑made things.
David Frost Design played a defining role in shaping the modern identity of the Furniture & Arts Building. Working with the building’s industrial heritage, Frost refined its structure with cleaner sightlines, brighter circulation, and a gallery‑like rhythm that transformed the interior into a cohesive design environment.
His intervention extended to the exterior, replacing the building’s darker, dated façade with a lighter, more contemporary palette that better reflected FAB’s creative character and welcomed visitors from King’s Road.
Inside, Frost created larger, more adaptable showroom footprints and improved vertical flow, allowing antiques, fine art, lighting, and contemporary furniture studios to coexist without competing for attention.
Today, FAB’s reputation as a Chelsea design landmark is inseparable from Frost’s work — a blend of heritage, craftsmanship, and modern design that continues to define the building’s identity.
In 2012, Jo Cowen Architects carried out a strategic transformation of the Furniture & Arts Building’s first‑floor rear unit, turning a previously dark commercial space into a bright, contemporary studio environment suited for high‑end design practice. The core intervention centred on opening the rear façade with three large, rectangular windows, replacing solid wall sections with expansive glazing. This shift dramatically increased natural light, illuminating what had been a deep, enclosed floor plan.
The windows were carefully positioned to frame panoramic views of the public park behind King’s Road, creating a visual connection that elevated the character of the workspace. Internally, the architects introduced an open‑plan layout, removing restrictive partitions to maximise spatial flow and usability.
The result was a modernised, sunlit studio that showcased the firm’s architectural precision — a space so successful that Jo Cowen Architects chose it as the location for their own London headquarters
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Where tradition meets contemporary design.
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BROWSE ALL SHOWROOMSEvery showroom meets a high standard.
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A hub for designers, collectors, and homeowners.