Worktops in Shortlands

Yes. Shortlands is on the patch, and the postcodes we work here are BR2. It is worked on our south east London run, along with the rest of Bromley. A skip, a delivery lorry or a run of scaffolding takes the frontage the van needed, so the street is worth a look the day before rather than on the morning. 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. Stone arrives finished, because a kerb is not a polishing shop. Everything that involves you happens in your kitchen, so there is nothing to visit and nothing to collect.

A long piece has to come through the front door, down the hall, round the newel post and through a doorway with a step down into the addition. 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. Sill height gets settled with the template on site, because it is one of the few dimensions nobody has measured before we arrive. 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. A cranked piece eats more slab than the two straights it replaces.

Every internal doorway on the way through is another frame to clear, and internal doors come off their hinges rather than being propped open. 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. What will not travel whole is designed to break somewhere sensible. 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. 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. A natural surface is sealed at the end of its own fitting day.

Not really, and there is no sense dressing it up. What the research on this patch actually lists is worktop installation and worktop splashbacks & upstands. 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. 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. 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. A surface for a let flat is chosen for the next tenant, not this one. 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. 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. Where the cooking is serious, heat tolerance leads the list.

Where an overhang is too deep for steel on its own the choice is a leg at the end or a bracket underneath, and a bracket that lands where a knee goes is worse than no bracket at all. 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. Runs in view together come off adjoining areas of one slab. Material sits between £110 and £550 per square metre supply only, and templating, fabrication and fitting are quoted line by line.

A window board sitting below finished worktop height leaves two choices, drop the top under it or notch the stone around it, and both cost more than a straight run. 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. Short lengths are where a full slab starts to pay for itself. 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. 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. 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. Whoever holds the keys later is the one who needs the paperwork.

A template on a normal kitchen takes two to three hours in the room. Upstands and splashbacks are templated after the worktop is down and settled, so they are a separate visit. Templating and fitting are two visits, not one, and the gap between them is when the stone is actually cut. Nothing in a house of this age is square, and the kitchen is usually the part that has been altered most often. 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. Two kitchens of one size can differ by double on the stone alone.

On a porous stone the grooved area is sealed with the rest, and it gets wet more than anything else. Grooves are machined into the surface rather than applied to it, so there is nothing to come loose later. Grooves are machined in the workshop at the same time as the bowl cut-out, because they cannot be done well in a kitchen. 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. The surface is where the money actually moves: across the 181 kitchens fitted the median is £220 per square metre, and half of them land between £165 and £300. Batch before colour name, because names outlive the batch they came from.

Old tops are screwed or glued from underneath, so the drawer boxes come out before the worktop does. The sink and hob are lifted out with the old top and kept aside if you are reusing them. Disposal means it goes in the van, not into the garden to wait for a collection. 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. 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. Dust from a sintered slab belongs at the works, not on a street.

There are only ever a few legal positions, and the one taken is furthest from the light. A mitred join at a corner is a different job from a butt join along a run, and they are not priced the same. Dark and heavily veined stone shows a join more than a pale even one, which is worth knowing before the slab is picked. A corbel on show under an overhang is a decision about how the piece looks from a stool, so it gets settled alongside the edge profile rather than left to whoever fits it. An island is the piece that decides whether one slab covers the kitchen or two, and a second slab arrives as a step in the figure rather than a gentle slope. Edge metreage climbs with corners, not with floor area.