Splashbacks and upstands in Belvedere

Yes. Belvedere is on the patch, and the postcodes we work here are DA17. It is worked on our south east London run, along with the rest of Bexley. A step up from the drive to the threshold turns the last two metres into a lift, and a lift is where two pairs of hands become the minimum. Panels come off the van in one trip where possible, since a tall piece handled repeatedly is a piece asking to be chipped. The crate stays on the van until the route in is clear. We come to the kitchen to template and again to fit, so there is nothing to visit and nothing to collect.

Whole streets went up to two or three plans, so the house next door has the same kitchen and forty years of extensions have made none of them measure the same. The rear kitchen wall in ex-council flats and maisonettes is commonly dense in-situ concrete or blockwork with a thin skim, which means mechanical fixings are hard work and the splashback is held on adhesive rather than screwed. The wall build-up sets the depth of the return. A boxed soil stack or service riser in the corner of a run eats into the worktop depth and has to be scribed around rather than cut square. 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. Scribe the top edge too or it stands off.

Garden routes carry their own hazards: a drain cover, a step up to a patio, wet decking, or a lawn that will not take a loaded trolley. 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. Suction lifters take a panel where hands cannot get a grip. Where the van cannot turn on the plot it has to arrive already facing the right way, so the approach along the street is part of the plan. Splashbacks are normally the last thing off, so a short parking window is exactly when they get rushed. Distance from tail lift to door is the whole risk here.

Not particularly, and it would be easy to pretend otherwise. What the research on this patch actually lists is worktop replacement and worktop installation. That is a point about the buildings round here, not about the job. The quoting, the cutting and the fitting are identical here to anywhere else we work. Agents book this work at short notice, because the void only becomes a real date once the outgoing tenant confirms they are going. Splashbacks and upstands are cut from the same slab run at the same time, which is the only way the batch actually matches. Plot spec panels are ordered by the plot, not the room. A managed portfolio tends to repeat one specification across every flat, which keeps later repairs and replacements simple to order. Ordered later from a different batch, the match is not reliable exactly where the pieces meet. One conversion drawing repeats its mistakes six times.

Two parallel runs with a walkway between them is the most efficient shape there is on a slab, because both pieces nest as straight lengths with almost no waste. 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 panel seam sits over the worktop seam. The supply-only figure for material runs £110 to £550 per square metre, and templating, fabrication and fitting are lines of their own.

Boxing is rarely the same depth at worktop height as it is at floor level, so measuring it low down is the usual reason a top will not sit back. 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. The sill caps the upstand before anything else does. Any surface trunking or conduit has to be rerouted or accepted and boxed before templating, because the stone cannot be scribed around a live conduit on site. Consent for the work sits with the freeholder or the managing body, and getting it in writing first avoids a crew arriving to a locked door. Full-height panels need the wall made good first, which is another trade and another timescale. Whoever specifies it signs the drawing.

Every run, cut-out, edge, join and groove set is a line, which is what makes it comparable with anyone else’s. The design and quotation visit is free and carries no obligation, so a figure exists before any commitment. The quote is written from the template drawing. Before that it works from what you have described. Anything that has to stay accessible, a stopcock, a gas meter, a riser panel, is marked on the template so the stone is cut around it instead of over it. It decides whether the run gets one continuous piece or a set of separate lengths with a joint at every obstruction. A downstand sets the panel height, not the wall units.

Both are templated after the worktop is down and settled, because they are cut to the wall itself. Tiling and stone can meet, but where they meet is decided before the template rather than after. Stone up a wall is heavier than tile and bonded rather than hung, so the wall has to be sound. Ceilings sit at about two point three metres and the head of the window is close under them, so a unit over the window has very little wall to hold onto. That suits a full-height piece, because a large flat panel bonded across its back is more stable on concrete than a run of small tiles ever was. Nothing goes on a wall that will not hold it.

The sink and hob are lifted out with the old top and kept aside if you are reusing them. Taking the old tops off and disposing of them is its own line on the quote rather than something folded into the stone price. The carcasses stay put. Only the surface changes. A drive behind an electric gate depends on somebody being in to open it and on the gate staying open while the load comes off. Upstands travel in a crate and can wait on the van, which gives some flexibility a full-height panel does not. A long carry turns a light piece into an awkward one.

The tap hole is drilled in the workshop too, and its position depends on how far the tap has to swing. A piece with a bowl and a hob cut into it is the fragile one, and it is handled accordingly. A galley puts the sink on one side and the hob on the other, which spreads the cut-outs across two pieces instead of weakening one. Upstands follow the run exactly, so every internal and external corner is a separate mitred or butted piece. External corners are mitred, not butted.