Slim gold legs under an oval marble top, and no corner anywhere on the table. That was the first thing decided in this dining room and the decision everything else answered to. The table stands at the busiest crossing point of a 2,000 sq ft flat in Bashundhara R/A Block-L, between the sofa group on one side and the kitchen counter on the other, so square corners would have cost circulation on both approaches. An oval also reads softer from the living room, which matters when the table is visible from the front door.
Marble flooring runs from the seating area to the kitchen threshold with no divider strip, and that continuity is what stops the dining zone looking marooned in the middle of an open plan. Against that floor the joinery is white, the chairs are tan and every metal item is gold. Three materials, and the room needs no fourth.
Oval Marble Top, Gold Legs, No Apron
The top is a single oval slab with a shallow bevel worked into the edge, carried on four slim gold legs that meet the underside without an apron rail. Losing the apron was deliberate. An apron is what catches knees and stops a chair pushing fully under, and where the walking gap is this tight, sixty millimetres of tucked chair is worth having. Tan upholstered seats on gold frames continue the metal already in the room without introducing a fourth material to look after.
We size a table like this to the gap around it before we size it to the seat count, and that sequence sits at the centre of our common space design service. The same brushed gold turns up again on the wardrobe pulls in the luxury master bedroom design in Bashundhara R/A Block-L, ordered from the same batch so the tone holds across rooms.
The Gold Sunflower Sculpture on the End Wall
Behind the table a gold sunflower sculpture spreads across the wall in overlapping petals, roughly a metre and a half wide. It is the only large decorative object in the shared space and it earns that position by being legible from three different distances: from the sofa about six metres back, from a dining chair at arm’s length, and from the kitchen counter at an oblique angle. A cluster of smaller pieces fails that test. Fine detail vanishes at range, whereas the petals give a coarse silhouette from across the flat and a crisp edge up close.
Glazed Crockery Cabinets Facing the Table
Facing the table is a run of white cabinets, glazed above and solid below, taken all the way to the slab so there is no ledge collecting dust in a city that produces a great deal of it. The glazed doors are internally lit on a separate switch, which turns the crockery into evening light rather than daytime display. Serving distance was the point. Dishes travel one step from cabinet to table instead of coming through a doorway.
At the far end of the same wall the counter opens through to the working kitchen with the refrigerator visible beyond it. That opening was drawn, not knocked through afterwards, so the marble counter returns cleanly into the reveal on both faces and the cabinet run stops at a finished edge rather than a patched one.
The Marble and Wood Breakfast Bar
The bar sits on the kitchen side of that opening, a marble top over a wood fronted base with stools turned back towards the dining room. Wood appears nowhere else in this room and it is doing specific work, warming a white and marble scheme that goes cold under LED light without it. The bar also keeps whoever is cooking inside the conversation, which in a household producing fresh meals twice a day is not a small thing. It absorbs breakfast and quick plates so the main table can stay laid. The modular kitchen design in Bashundhara R/A Block-L on the other side of that counter was drawn in the same session as this wall.
The Two Long Views and the Sunburst Mirror
Two long sightlines cross at this table and both were set on plan before any furniture was chosen. From the sofa you look past the table to lit display shelving at the far end of the flat. From a dining chair you look back through the open grid partition into the living room, with plants breaking the line at eye level without closing it. A gold sunburst mirror terminates the second axis so the view stops on an object rather than running out on blank plaster. The 2,000 sq ft Bashundhara R/A Block-L apartment project is worth reading as a plan for exactly that reason.
How the Joinery Was Built and Who Built It
The cabinetry, the bar base and the partition frame were made by our own fabrication team in Dhaka rather than bought in as flat pack units. Carcasses are moisture resistant board with edge banding on every cut face, including the ones nobody will ever see, because in this climate an unsealed internal edge swells within two monsoons and the door stops closing. Glazed doors were hung on soft close hinges rated for the weight of glass rather than the hinge that arrives in the box. The same workshop cut the wall panelling in the modern bedroom design with fluted headboard in Bashundhara R/A Block-L, which is why profiles match across rooms installed weeks apart. If you are pricing interior design service in Bashundhara, ask where the carcasses are cut and what goes on the hidden edges. The answer tells you more than a finish sample will.
Tell us how many people sit down at your table on an ordinary weekday. Call us at 01633-033033 or book a free consultation today.
