Splashbacks and upstands in Angel

Yes. Angel is on the patch, and the postcodes we work here are N1, EC1. It is worked on our north London run, along with the rest of Islington. A red route means no stopping, and no stopping means exactly that, so the stone comes in from a side street or from a bay behind the property. Panels come off the van in one trip where possible, since a tall piece handled repeatedly is a piece asking to be chipped. Kerb to kitchen is measured before the panels are unstrapped. Everything that involves you happens in your kitchen, so there is nothing to visit and nothing to collect.

A basement kitchen has a flagged or concrete floor laid straight onto the ground, so it is solid, cold and rarely within ten millimetres of level. Lath-and-plaster on the party wall and the chimney breast returns almost never runs true, so a 100mm upstand bedded on silicone is the honest answer here, it rides the bow and hides the junction the worktop can never close on its own. A chimney breast breaks the run and the panels follow it. Plaster thickness varies over the height of a wall, so the line at worktop height is not the line at skirting level, and the units decide which one matters. It is usually what pushes a job towards a 100mm upstand instead of a full-height panel, because an upstand rides what a panel exposes. The panel takes its height off the steel.

A side gate and a back door mean the stone never goes through the house at all, which keeps the dust and most of the risk outside. Splashback panels are lighter than a worktop and far more awkward, because a tall thin piece has to be carried on edge and cannot be tilted to clear a turn. Panel size is checked against the tightest point rather than the average one. Where the frontage is a clearway the unload happens away from the door and the carry gets longer, which is a crew and time question rather than a stone one. Splashbacks are normally the last thing off, so a short parking window is exactly when they get rushed. Wind on an open street matters more than the walk does.

Not to any real extent, and it would be easy to imply it was. What the research on this patch actually lists is worktop replacement and worktop installation. It describes the kitchens on this patch, not the work that goes into them. Same quoting, same cutting, same fitting as anywhere else on the patch. In a converted house the flat entrance and the internal doorway are usually tighter than the communal stairs, and that is easy to overlook. Ordered later from a different batch, the match is not reliable exactly where the pieces meet. Full height behind the hob is less for a tenant to scrub. Party-wall and lease conditions in a converted building set when noisy work can happen, which shapes the fitting day more than the kitchen does. Socket and switch positions have to be final before templating, because a cut-out in the wrong place means a new piece. Grout lines are the first thing to fail in a let.

A run that stops in mid-air at the open end needs a finished end rather than a cut one, and that end takes the same edge work as the whole front. The same shape decides where splashback pieces break, and a joint in a corner reads as a detail while one in a clear run reads as a mistake. The run decides where that joint falls. Material is £110-£550 per square metre supply only, and templating, fabrication and fitting are quoted on their own lines.

Two walls each a degree out give an internal corner two degrees out, and the whole of that error lands in the mitre. A tall panel that fits at the worktop will stand off the wall at the top unless the wall is dubbed out or the panel is scribed. Upstands sit tight because both edges are cut. The chimney breast recess must be replastered and fully dry, and the hob and extractor positions fixed, before anyone templates a full-height piece into it. Flats bought out of managed stock keep the original kitchen dimensions long after the ownership changed, so the layout says very little about who is paying for the work. A 100mm upstand is the low-maintenance answer, and full-height stone is the one that has to be committed to early. One visit for upstands, two for full-height panels.

A template on a normal kitchen takes two to three hours in the room. The design and quotation visit comes first. It is free and carries no obligation. Nothing is measured until the sink, the tap and the hob are in the room to measure against. A cast iron soil stack runs down the outside of the rear wall, so moving the sink means a fresh penetration through solid brick. What decides between a slim upstand and full-height stone is nearly always the wall rather than the taste. Sockets move on paper more easily than in stone.

A join cannot cross a cut-out, so a sink mid-run takes away the position you would have used. A finished join is typically two to three millimetres, colour-matched and sanded flush. A mitred join at a corner is a different job from a butt join along a run, and they are not priced the same. Where a run finishes hard against a wall the last few millimetres are scribed, and where it finishes in open floor it is cut square and polished, which is two different jobs on one length. Upstands follow the run exactly, so every internal and external corner is a separate mitred or butted piece. The panel seam sits over the worktop seam.

Sealing is the one maintenance job that genuinely differs by material, and it is worth knowing which you are buying before the slab is chosen. A seal is not waterproofing. It only buys time to wipe a spill up. Quartz and sintered stone never need sealing: quartz is non-porous and sintered stone has effectively zero porosity. The closet wing is a narrow projection at the back with windows on two sides, which leaves very little continuous wall for a run. Where a client wants a full-height piece behind the hob, it usually sits in the old chimney recess, and that recess is rarely square top to bottom or side to side, so it has to be templated as a trapezium rather than a rectangle. Where the plaster undulates, the shorter piece wins.

No installed price per square metre is published, because it is not a real number. Ask for the lines rather than the total. One number for a kitchen tells you nothing you can check. Every run, cut-out, edge, join and groove set is a line, which is what makes it comparable with anyone else’s. A scribe has a working limit, and past twenty millimetres or so the back edge starts eating depth the run cannot spare. Where the wall cannot be made good, setting the stone deliberately proud on a subframe with a shadow gap reads as a detail rather than a bad fit. A breast return is scribed on three edges.