Stone bar tops in Childs Hill

Yes. Childs Hill is on the patch, and the postcodes we work here are NW2, NW11. It is worked on our north London run, along with the rest of Barnet. A short lunchtime window of control exists to keep commuters off the street, and it still catches a trade van standing there for an hour. A bar fit runs longer than a worktop run, because the frame, the support and the stone are three stages and only the last of them is quick. Nothing is rushed off a tail lift onto an unsupported nose. The template happens in your kitchen and so does the fit, so there is nothing to visit and nothing to collect.

The front door of the building sits at the top of a step off a tiled path, so the carry starts outside the building rather than at the door of the flat. A bar in one of these houses is either the end of a through-lounge or a cellar conversion, and the two behave differently. The back of a freestanding bar is finished like the front. A notch around a boxed stack is machined with a radius at the internal corner, because a square inside corner there is exactly where a top will crack. A bar top is levelled to itself rather than to what it stands on, so the packing goes into the frame and the stools take up whatever the floor is doing. The riser is boxed to a line the stone can follow.

Carrying down a flight is not the easier direction, because the weight runs ahead of the crew and whoever is at the bottom has no way of stopping a slip. The steel and the corbels travel that same route and go in first, so a bar is three separate carries into one room rather than a single delivery. A polished front edge is protected from the tail lift to the frame. Where the nearest legal space is a couple of streets back, the walk with each piece becomes the job, and the crew is sized for walking rather than wheeling. That has to cover more than the unload, since the corbels, the flat bar and the fixings all come off the van well before the top does. Two trips to the van, one for hardware and one for stone.

Not especially, and pretending otherwise would be simple enough. What the research on this patch actually lists is worktop replacement, worktop templating and worktop splashbacks & upstands. It is a fact about the local housing rather than about the work. The job is quoted, cut and fitted the same way wherever on the patch it lands. Studio and one-bed conversions put the whole kitchen against a single wall, so the job is one run and everything depends on that one length. A bar is nearly always the last thing added to a project, so it is templated on a visit of its own once the joinery around it has stopped moving. The overhang is checked against the frame that exists. A kitchen carved out of a larger room sits under whatever the original plan left behind, so the run frequently ends at a blocked doorway or a boxed-in service. Harder use and stronger cleaning products push the answer towards porcelain or sintered stone, because a resin-bound surface is the one that shows what has been left standing on it. A bar in constant use is a maintenance decision as well.

A window at one end and a doorway at the other means one end of the run is lit from behind and the other is interrupted, so the two ends of the same length behave differently. A bar laid over that is a second level rather than a wider one, so it wants a spine underneath it and a settled detail where the two heights meet. What the shape gives in length it takes back in support. Material alone is £110 to £550 per square metre, and templating, fabrication and fitting are never folded into that figure.

A live soil stack cannot be chased back into the wall, so the depth it steals is permanent and the run is planned around it rather than through it. Where the nose has to be carried past something fixed the support moves rather than the stone, since a corbel landing in the knee space is worse than no corbel at all. Steel spans what a carcass cannot. Send the length you want, the number of stools, and photographs walking from the pavement through to the room, including the cellar stair if the bar is going down there. 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. Where the person choosing it is not the person who will lean on it, the seating height is set to a standard rather than to whoever happens to be standing in the room. Who signs off the steel is settled before it is ordered.

What moves the figure after templating is a change you make: a different edge, an extra cut-out, a bigger sink chosen late. Nothing is payable until the template, and the template measures the room as it stands rather than estimating from a plan. The quote is written from the template drawing. Before that it works from what you have described. Boxing built in plasterboard on a light frame will take no useful fixing, so nothing bears on it and the stone is carried off the carcasses either side. Anything that puts a notch in a bar takes material out of the piece at the point people lean on it, so the notch and the support are drawn together or not at all. A bar top is set to one datum along its own length.

A groove set needs a clear stretch of worktop beside the bowl, so it competes with the run for length instead of being free surface. On a porous stone the grooved area is sealed with the rest, and it gets wet more than anything else. Which side of the bowl they go is about how you stand at the sink, and it is settled before cutting. Original quarry tile is often still down under two or three later floor coverings, which is why the finished floor height is rarely what anyone expects. A bar top put into a room like that is an overhang question first, because the nose has to carry people leaning on it long after the slab has stopped being interesting. Drinks stand on it for hours, which changes the material answer.

Units have to be fitted, fixed and level before templating, and it is better to hear that at the template than on the fitting day. Variation past what packing can take up has to be corrected in the carcasses before we cut, because the template records the units as they stand. Levelling belongs in the carcasses, on their own legs and packers. A stack boxed diagonally across a corner leaves a triangle of dead space, and the top is cut to that triangle rather than to a square return. A counter fixed back to lightweight framing takes a sideways push as well as a downward load, and framing built for neither gets noggins let into it first. The frame is made true before the stone is measured.

The joint between splashback and worktop is siliconed, never grouted, so it can move a little without cracking. A full-height piece shows a wall that is out more than an upstand does, over the extra height. It is quoted by area like the worktop, so a long run is a material line rather than a trim. The original stair has an open well running the full height of the building, which occasionally lets a long piece go up vertically where it would never take the turns. In a cellar the headroom fixes the counter height first and everything else works back from it, and the stair down is the tightest part of the route because stone carried downward is harder to control than stone carried up. Where the walls give nothing, the bar stands on its own.