DBR at London Craft Week

A Mosaic, A Memory, A Moment - London Craft Week 2026

On 12th May 2026, something special unfolded at Broadwater Farm Estate.

Not just an event, but a continuation of a story that began nearly forty years ago.

In 1986, artist and resident Gülsün Erbil designed a monumental mosaic for the estate: Equality–Harmony. Stretching over 20 metres (65 ft), the work was created in the years following the Broadwater Farm riot of 1985, a time when the community was rebuilding not only its environment, but its identity. The mosaic became part of that healing: a bold, public expression of unity, made from glass, concrete, and collective effort.

Today, Equality–Harmony is Grade II listed by Historic England, recognising its cultural and historical significance and ensuring its protection for generations to come.

But preservation is never passive.

As part of London Craft Week 2026, we invited visitors into the next chapter of this story: the careful, complex restoration of this landmark artwork, led by DBR Limited.

This was not simply a clean or repair. It was a process of precision and problem-solving.

The mosaic was cut into 21 sections, each weighing over two tonnes, using diamond cutting wheels, a delicate operation designed to safeguard the integrity of the work. To protect its surface from vibration during this process, layers of gauze, wheat-starch paste, liquid rubber, and plaster were carefully applied.

Now, the work continues on site.

One of the greatest challenges was sourcing materials that honoured the original, including finding a specific shade of blue that had been widely used in the 1980s but was far less common today. Every replacement piece had to sit seamlessly within the whole, respecting the artist’s original vision.

For one day, visitors were invited into this process.

They stepped into the workshop, where sections of the mosaic were being cleaned and conserved before being reinstalled in a new setting.
They took part in hands-on mosaic workshops, exploring the techniques behind the craft.
They listened to conservation talks, unpacking the decisions and responsibilities involved in restoring public art.
And they witnessed the work as it happened, as Eniko, mosaic artist and QEST scholar, restored the surface piece by piece, bringing colour and clarity back to the design.

There is something powerful about seeing a work like this in transition, not quite past, not quite future.

This event offered a chance to stand in that in-between space.
To understand what it takes to carry something forward.
And to see how craft, history, and community remain deeply connected.

We were delighted to share this moment with all who joined us.