Stone bar tops in Pimlico

Yes. Pimlico is on the patch, and the postcodes we work here are SW1V. It is worked on our central London run, along with the rest of Westminster. Where the permit is a digital session rather than a paper one, somebody in the house has to start it at the hour the van actually arrives. 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. The frame is checked before anything comes off the van. Nothing needs visiting and nothing needs collecting: the template is in your kitchen and so is the fit.

Winders at the head of each flight are the tightest part of the climb and they are appreciably tighter than the straight run below them. A bar in one of these houses is either the end of a through-lounge or a cellar conversion, and the two behave differently. What the room will take decides the stool count. A run can measure dead right at both ends and still belly out in the middle, which only appears once the template plots the intermediate points. 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 bar is packed level off the frame, not off the floor.

A window sill or a radiator on the half-landing takes the corner out of the turn at precisely the point the piece needs that corner. That matters more on a bar than on a run, because a join forced by the way in cannot be allowed to land in the unsupported part of the nose. Where the way in is awkward the bar is drawn in tiers. A resident bay and a shared-use bay can sit on the same street under different rules, and it is usually the shared one a visitor permit or a ticket touches. 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. A red route buys minutes and a bar top needs hours.

Not really, and there is no sense dressing it up. What the research on this patch actually lists is worktop replacement, worktop templating and worktop installation. That is a statement about the local housing rather than about the work. It gets quoted, cut and fitted exactly as it would anywhere else on the patch. In a converted house the flat entrance and the internal doorway are usually tighter than the communal stairs, and that is easy to overlook. Where the same detail is repeating across several rooms the support gets standardised once and then cut to length, which is cheaper than drawing it each time. Drinks left standing decide the material more than looks do. Party-wall and lease conditions in a converted building set when noisy work can happen, which shapes the fitting day more than the kitchen does. 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 is the piece most likely to be added after the kitchen.

Galley runs are usually short enough to come out of a single slab, so the material band you choose does more to the total than the room shape does. 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. Clear length between the returns sets the stool count. Stone is £110 to £550 per square metre supply only, and the templating, the fabrication and the fitting each carry their own line.

Where a corner is a couple of degrees off, a mitre cut to a theoretical ninety degrees opens on the wall side and there is no closing it afterwards. 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. A notch in a bar top is drawn with its support beside it. 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. These kitchens tend to be compact and reasonably square, so the fixed template, fabrication and fitting lines are a larger share of the total than the stone is. A home bar is discretionary work, so the edge profile, the corbel detail and the radius on the nose are worth settling properly rather than defaulting to whatever is quickest. A quote for a bar names who is providing the frame.

Old laminate is light and awkward rather than heavy, so it is usually the easier half of the day. The template can be taken with the old top still down, which is why one visit covers both. On a replacement the old top comes off in the morning and the new stone is down and sealed the same day. A shared-use bay allows a paid stay up to a set maximum, and that maximum is routinely shorter than the working day the job needs. A trade bar is fitted around opening times, so the window the van has and the window the room has are rarely the same window. Packaging and offcuts go back the way the top came in.

The alternative stands on the surface, so the choice is losing worktop permanently or only while you are draining. The grooves sit inside the depth of the top with stone left either side, so a shallow run limits them. The bowl position has to be settled before templating, since the grooves are set out from it. A picture rail, a deep skirting and a moulded architrave all sit in the way of anything that assumes flat wall from floor to ceiling. 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. The stone follows the frame, and the frame follows the stools.

The quote is written from the template drawing. Before that it works from what you have described. Plumbing, gas and electrical work are not in the figure, because we do not do them. What moves the figure after templating is a change you make: a different edge, an extra cut-out, a bigger sink chosen late. The stone carries the scribe because the wall cannot be persuaded, so back edges are cut oversize and eased in rather than dropped straight down. 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. Leaning is a sideways load and framing has to answer for it.

Door frames and the stair route are protected too, since most contact happens on the way in. A remake goes back through the same cutting and polishing, so it is a return visit rather than a patch. Every piece is dry-assembled on the bench before it is loaded, so a fabrication mistake is found in the workshop rather than in your kitchen. 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. The frame goes up first so the top has somewhere to land.