Worktops in Knight's Hill

Yes. Knight's Hill is on the patch, and the postcodes we work here are SE27. It is worked on our south London run, along with the rest of Lambeth. 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. Whatever the standing allows, the stone leaves that van finished, because every edge, cut-out and internal radius is machined at the works and none of it is open to reconsideration at the kerb. Wet stone reads darker, which is why colour is judged indoors. We template in your kitchen and fit in your kitchen, so there is nothing to visit and nothing to collect.

Edwardian terraces are wider and taller than the Victorian houses next to them, so the kitchen usually takes a full-width rear room rather than a narrow outrigger. The kitchen in one of these sits in the back addition and takes its daylight from one end, so the working half of the run is the darker half and a pale stone with a honed or matt face does more there than any colour with depth in it. Four visible edges make the profile part of the design. A room can be out of square in both directions at once, so the wall that leans is also the wall that runs downhill, and one scribe cannot answer both. Every notch and every scribe is machined into the piece before it leaves the works, and a hard sintered surface is the least forgiving of a tight internal corner, so one is always cut with a generous radius. An engineered surface yellows under standing warmth; natural stone does not.

A piece carried on edge up a flight has to clear the ceiling above the stairs as well as the walls either side of it. That caps the longest piece, and a run split into two lengths nests differently on the slab, which moves the yield and moves the figure with it. Where a break is unavoidable it goes into the quietest part of the pattern. 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. A granite kitchen ends its day with a sealer, and a sealer wants a dry face and a quiet hour afterwards, so that hour is written into the day rather than borrowed from it. Nothing is ever colour matched outdoors under a grey sky.

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, worktop installation and worktop splashbacks & upstands. 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. A managed portfolio tends to repeat one specification across every flat, which keeps later repairs and replacements simple to order. Where several kitchens are ordered together the sensible move is to take them all off one batch, because two slabs of the same name bought six months apart will not sit happily in the same building. Fitting follows template by five to ten working days. Damage in a let flat is settled as a deposit deduction, so a surface that can be repaired in place is worth more than one that has to be replaced whole. Volume work tends to live at the entry end of the range, and the entry end is genuine stone rather than a compromise, since the lowest supply figure we quote is a sintered surface and not a thin laminate pretending to be one. Four samples by post settle more than four showroom visits.

If the island is a few hundred millimetres longer than the usable length of a slab, a second slab gets bought to gain that overhang, and the whole slab is paid for rather than the part used. A shape like that nests kindly on a slab, so more of what gets bought ends up on the units and the rate per square metre behaves much as the brochure says it will. The waterfall leg is a whole extra piece of stone. Stone is £110 to £550 per square metre supply only, and the templating, the fabrication and the fitting each carry their own line.

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. A hob dropped into the middle of a length puts sustained warmth at the lip of a cut-out, and an engineered surface will yellow there across ten years where a natural one takes it without comment. Strong daylight is an argument for a surface built to take it. Send the run lengths, say where the sink and hob will sit, and tell us which way the room faces and what lighting is going in above the working run. Two flats with an identical layout can want entirely different things from the same run of worktop, which is why the quote follows the run rather than the address. That changes which questions are worth asking about the stone, because somebody staying put wants to know how a honed face marks in five years and somebody selling wants to know how it photographs next spring. A week under your own lights is how a colour declares itself.

Old tops are screwed or glued from underneath, so the drawer boxes come out before the worktop does. The units are untouched. Only the top of them changes. Take the old tops off yourself if you would rather, and the quote simply carries one line fewer. Some drives are wide enough for the van and too short for the tail lift, because the tail lift needs its own clear metre behind the vehicle. Sintered surfaces are the hardest of the three to machine and the messiest to cut wet, which is precisely why none of that happens on a public pavement. The film stays on the face until the last trade leaves.

No installed price per square metre is published, because it is not a real number. Plumbing, gas and electrical work are not in the figure, because we do not do them. Ask for the lines rather than the total. One number for a kitchen tells you nothing you can check. Two walls each a degree out give an internal corner two degrees out, and the whole of that error lands in the mitre. A deep scribe eats into the back of the piece, which is quietly important on a stone with directional figure, since the pattern moves backwards as that depth comes off. A deep scribe moves the pattern back along with the depth.

The same firm templates and fits. Nobody else is brought in to install. The fit follows 5 to 10 working days after the template, and nothing is cut before that visit because nothing is cut from a plan. Between the template and the fit the slab is nested, cut, mitred and dry-assembled on the bench, which is work you never see and is most of the wait. Suspended timber floors flex underfoot, and anything that moves beneath a unit shows up later as a lipped join. Which stone belongs on top of all that is a separate question from the building itself, and it is the one with a figure attached, because supply alone runs from £110 to £550 per square metre before a single cut has been made. Thickness changes the look and the figure in the same breath.

Small variation is taken up by packing under the top on the fitting day. Units have to be fixed down as well as levelled. A loose carcass moves under stone. A long top on units that were shimmed once and never checked is the commonest version of this, and it is cheap to fix beforehand. A scribe has a working limit, and past twenty millimetres or so the back edge starts eating depth the run cannot spare. Anything that leaves a length unsupported argues for thirty millimetres rather than twenty, because the thinner slab wants continuous bearing along its whole back edge and the thicker one will bridge a short gap. Thirty millimetres bridges a gap that twenty millimetres will not.