Worktop replacement in Primrose Hill

Yes. Primrose Hill is on the patch, and the postcodes we work here are NW1, NW3. It is worked on our central and north London run, along with the rest of Camden. Where a marked loading box sits on the red route the stop is legal but timed, so the unload runs as one movement with every hand on it. A replacement is a two-way job, with old tops going out and new stone coming in, so the van needs to stay put across the whole day. Both loads want the same few metres of kerb. Both visits happen in your kitchen, the template and the fit, so there is nothing to visit and nothing to collect.

Rooms are tall with deep window reveals, and a run finishing into a reveal is templated to it rather than assumed square. In most Victorian terraces the kitchen sits in the back addition, so you get a narrow galley with one outside wall and nothing square to work off. Everything the last fit ignored is visible for a morning. 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. The old top has been hiding it, so the first honest look at it happens when the laminate comes off. The old top hid it. The drawing will not.

A tiled hall floor takes a dropped corner badly, so boards go down over the tiles before anything comes through the door. Worth remembering that the old tops have to come out the way the new ones come in, and a laminate run is easier to remove in one length than to carry in one. Cutting a top down indoors means emptying the room first. A bus lane along the frontage brings its own hours with it, and stopping in one is enforced the same way the red route is. Waste is the part people forget: the old laminate or tired granite has to be walked back to the van and it does not get lighter. Half a day of parking buys half a job.

Not particularly. It would be easy to say yes and leave it there. What the research on this patch actually lists is worktop installation. That is about what people have here rather than how it gets done. It is quoted, cut and fitted exactly the same way here as anywhere else on the patch. Kitchens go in near the end of a conversion, behind the plastering and the flooring, by which point the programme has already absorbed whatever slipped earlier. The units stay and only the surface changes, so the whole job is one day rather than a kitchen refit. Old top out Tuesday, tenant in on Friday. 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. The carcasses have to be sound, because stone is several times the weight of what is coming off. The flat earns nothing while it sits empty.

A galley that is also the route to the back door is a corridor first and a kitchen second, and what the shape can take is set by the traffic going through it. The existing layout is being kept, so the question is whether the old carcasses will take stone in that shape without more support. Same shape, different cut list. Material runs £110 to £550 per square metre supply only, and templating, fabrication and fitting each get 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. This is the commonest reason a replacement turns out to need more than a straight swap. Nothing about it is a discovery on fitting day. Have a plumber booked to disconnect the sink, tap and waste first thing and reconnect after we have gone, and clear the hallway and stairs completely so we can carry slabs through the house. Whoever manages the block controls the lift booking, the bin store and the visitor parking, and none of that sits in the gift of the household whose kitchen it is. A replacement keeps the units and changes the surface, which is the least disruptive way to do this in an occupied property. Disposal is named, not assumed.

Stone does not flex, so a run that rocks on its carcasses rocks just as badly once it is stone. 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. 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. A laminate top was scribed thin at the back to swallow it, and stone cannot be shaved down the same way. The laminate was scribed thin. Stone cannot be.

Material is quoted supply only and templating, fabrication and fitting sit on their own lines, so it is visible which part is stone and which is labour. Plumbing, gas and electrical work are not in the figure, because we do not do them. No installed price per square metre is published, because it is not a real number. 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. It usually explains the odd filler piece or strip of beading in the existing run that nobody could account for. What is behind the old top decides the day.

A seal is not waterproofing. It only buys time to wipe a spill up. Day to day all three want soap and water; abrasive creams and scouring pads are what dull a polished surface. Marble is the one people underestimate. It is porous, like granite, and wants sealing. Listing and conservation conditions apply to a good number of these, which constrains what can be altered around the kitchen rather than what goes on top of the units. What the old top has been hiding is usually a floor that settled towards the back and units that were never fixed back to the wall. The shell is the constant here; the surface is not.

Tiling and stone can meet, but where they meet is decided before the template rather than after. An upstand is a slim strip that follows the worktop up the wall; a full-height splashback runs from the worktop to the underside of the wall units. Ordered later from a different batch, the match is not reliable where the two pieces meet. A basement kitchen has a flagged or concrete floor laid straight onto the ground, so it is solid, cold and rarely within ten millimetres of level. Each piece is offered up and eased in rather than dropped, because nothing in the room is straight enough to drop into. Nothing goes back on carcasses the building has pulled out of square.