Splashbacks and upstands in Peterborough Estate

Yes. Peterborough Estate is on the patch, and the postcodes we work here are SW6. It is worked on our west London run, along with the rest of Hammersmith and Fulham. Where the household has used up the visitor permits it gets for the year, the remaining options are a suspension or a paid bay and both belong on the quote. Splashbacks are normally the last thing off, so a short parking window is exactly when they get rushed. Off the van last, and never in a hurry. Nothing needs visiting and nothing needs collecting: the template is in your kitchen and so is the fit.

The rear door swings inward across the end of the run, so the last few hundred millimetres of worktop are only reachable with the door shut. 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. Where the plaster undulates, the shorter piece wins. A junction between an original floor and a later extension slab is almost never at the same level, so units carrying a run across it need packing first. 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. Behind the boxing it becomes two pieces.

Stone goes up on edge, and it is the half-landing turn rather than the flight itself that sets the maximum piece. 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. Estate roads inside a controlled zone are sometimes managed privately rather than by the council, which changes who has to be asked. Upstands travel in a crate and can wait on the van, which gives some flexibility a full-height panel does not. The crate exists for the walk from the van.

Not to any real extent, and it would be easy to imply it was. What the research on this patch actually lists is worktop fabrication 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. Extension kitchens are usually specified long before they are buildable, so the run lengths on the drawing and the run lengths in the room are different numbers. Ordered later from a different batch, the match is not reliable exactly where the pieces meet. Less to clean, for whoever cleans it. Extension work runs late far more often than it runs early, and the worktop is close to the last thing in, so the date agreed at the start is rarely the date that happens. Socket and switch positions have to be final before templating, because a cut-out in the wrong place means a new piece. Panels for every unit, cut in one go.

Two runs meeting at an internal corner is the most common shape we fit, and the corner is where the decisions are. 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. Joint placement is a decision, not an accident. Stone is £110 to £550 per square metre supply only, and the templating, the fabrication and the fitting each carry their own line.

Legs bottoming out on hard concrete or an uneven screed mean the tops of the carcasses are not one plane, and that is picked up at template rather than on fitting day. 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. Nothing gets hidden behind a full-height panel. 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. Where someone is living in the house through the work, the strip-out and the fit are planned so the kitchen is out of use for a day and not a week. Full-height panels need the wall made good first, which is another trade and another timescale. Two trades, two budgets, one drawing.

Veining carries through a join where both pieces come off the same slab, which is decided at nesting. Slabs come in finite sizes, so a long run needs a join whatever the room looks like. What you get is a line rather than a step, because the pieces are levelled to each other first. The return piece is the awkward one on a slab: short, full depth, and rarely nesting neatly against the long lengths, so yield rather than area is what moves the material figure. Upstands follow the run exactly, so every internal and external corner is a separate mitred or butted piece. Corners get their own pieces.

Doorways, the newel post and the handrail usually take the room away, rather than the stairs themselves. Splitting a run costs a join, and that is the price of getting stone into the room at all. If a piece cannot be got in at all, we say so at the template rather than on the day. A walk-up with winders at every half-landing means the piece is rested and re-gripped on the way, so the crew size goes up before the piece size comes down. It is usually the full-height panels rather than the tops that will not make the turn, and that only shows up when they arrive. They come in last so nothing is carried past them.

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. A template on a normal kitchen takes two to three hours in the room. Where the walls have been dry-lined over the old lath there is a void behind the board and no solid fixing until a batten is found. 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.

What moves the figure after templating is a change you make: a different edge, an extra cut-out, a bigger sink chosen late. What is quoted is what the drawing says, and the figure does not move unless the drawing does. Every run, cut-out, edge, join and groove set is a line, which is what makes it comparable with anyone else’s. Level has to hold across the whole room rather than along one wall, or a floor that falls end to end shows as a step where two pieces meet. 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 reveal decides where the stone dies.