Splashbacks and upstands in Old Ford

Yes. Old Ford is on the patch, and the postcodes we work here are E3. It is worked on our east London run, along with the rest of Tower Hamlets. Where parking runs down both sides the road is left as a single lane, and a van standing in it has to be somewhere it does not stop a bin lorry. Panels come off the van in one trip where possible, since a tall piece handled repeatedly is a piece asking to be chipped. Where the van has to move, the panels come in first. Everything that involves you happens in your kitchen, so there is nothing to visit and nothing to collect.

The rear room is generous with a chimney breast in one corner, so the run gains a return and two scribed ends whatever the plan drew. 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. The age of the plaster decides the fixing, not the finish. Where the sill lands inside the height an upstand would occupy there is no upstand, and the stone either dies into the reveal or stops short of it. 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. Full height wants a flat wall behind it.

A pendant light hanging in the middle of a hall ceiling sets the angle a piece can be tilted to, and it is the measurement nobody thinks to take. 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. With no scheme to work with there is nothing to book and nobody to ring, so the only levers left are an early arrival and a word with the neighbours. Upstands travel in a crate and can wait on the van, which gives some flexibility a full-height panel does not. A panel carried past a live lane gets a second pair of hands.

Not to any real extent, and it would be easy to imply it was. What the research on this patch actually lists is 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. Where a family has been living around a building site for months, the finish date carries more weight than any other part of the specification. Splashbacks and upstands are cut from the same slab run at the same time, which is the only way the batch actually matches. The offcuts finish the room. An open-plan extension puts the worktop in the middle of the living space, so it is looked at from the sofa as well as worked on. Socket and switch positions have to be final before templating, because a cut-out in the wrong place means a new piece. Less to clean, for whoever cleans it.

An island carries its own edge detail all the way round, so a mitred 100mm apron on four sides is four mitres cut, bonded and polished before the piece ever leaves the bench. 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. A galley shows both walls at the same time. Stone is £110 to £550 per square metre supply only, and the templating, the fabrication and the fitting each carry their own line.

Casement handles and stays swing down into the space above the worktop, so the clearance that counts is the one measured with the window open. 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. Each obstruction is another joint, and it is priced as one. 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. Mixed ownership means the decision-maker is not always the person who lets us in, so it is worth being clear early about who signs the quote off. A 100mm upstand is the low-maintenance answer, and full-height stone is the one that has to be committed to early. Priced on its own line so it can be deferred.

The template produces a drawing, and the workshop cuts to that drawing once you agree it. On the fitting day floors and door frames are protected, joins clamped flush, sink and hob sealed. Templating and fitting are two visits, not one, and the gap between them is when the stone is actually cut. The kitchen normally sits in the back addition or a later side return, which puts the run against the oldest and least straight wall in the building. What decides between a slim upstand and full-height stone is nearly always the wall rather than the taste. Sockets cut in the shop, not on site.

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. Granite is porous to varying degrees, so it is sealed when we fit it and topped up over the life of the worktop. Marble is the one people underestimate. It is porous, like granite, and wants sealing. The party wall is the straightest surface in the house and everything else has moved away from it over a century. 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. The wall makes that decision, not the brochure.

Disposal means it goes in the van, not into the garden to wait for a collection. What comes out goes by the same route the new stone comes in by, which is why that route is walked before anything is lifted. The units are untouched. Only the top of them changes. Unrestricted kerbside is straightforward as long as the space in front of the property is actually clear when the van arrives. Full-height panels are the awkward thing to move, light enough to lift and long enough to flex on the way. Nothing this long gets walked while a warden is circling.

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. Lath and plaster, a settled floor and a hall with a turn in it are the three things that decide how this job runs. Splashbacks come off the same slab run as the tops, which means the decision has to be made before fabrication starts. Height off the units, not off the old tiles.