Splashbacks and upstands in Sloane Square

Yes. Sloane Square is on the patch, and the postcodes we work here are SW1W, SW3. It is worked on our west London run, along with the rest of Kensington and Chelsea. A dedicated loading bay or service yard is the easiest arrangement in a managed building, provided the slot is booked and someone has the key to the shutter. Panels come off the van in one trip where possible, since a tall piece handled repeatedly is a piece asking to be chipped. These travel flat and get carried on edge, and both want room. We come to the kitchen to template and again to fit, so there is nothing to visit and nothing to collect.

The original larder or store cupboard usually survives in a corner, and that alcove is deeper than the units and squarer than the walls around it. 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. A bowed wall is what decides between an upstand and a panel. 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. 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. A window board below worktop height ends the upstand argument.

Where the parking court sits behind the block the carry crosses open ground and gets boarded, because loaded trolleys and block paving do not agree. 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. Panels are carried on edge from the tail lift to the wall. Bay bookings are usually an hour or two, which is fine for unloading and no use at all as a place to leave the van for a day. Upstands travel in a crate and can wait on the van, which gives some flexibility a full-height panel does not. Where the van has to move, the panels come in first.

It sits second or third on this patch, behind worktop replacement. Same template visit, same benches, same installers either way. The person choosing the worktop is not the person using it, and that shifts the balance from appearance towards running cost. Splashbacks and upstands are cut from the same slab run at the same time, which is the only way the batch actually matches. Six kitchens, one socket layout, one panel drawing. Where kitchens turn over between tenancies the priority is a surface that survives a decade of being treated as a chopping board. Ordered later from a different batch, the match is not reliable exactly where the pieces meet. The annexe gets the same panel as the main run.

Where a run finishes hard against a wall the last few millimetres are scribed, and where it finishes in open floor it is cut square and polished, which is two different jobs on one length. Long runs almost never take a single panel, so the joint positions want agreeing before anything is templated. Socket cut-outs are machined, not chipped in on site. The stone is £110 to £550 per square metre supply only, and templating, fabrication and fitting are quoted separately.

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 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. Full height wants a flat wall behind it. 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. Quartz is the sensible default in a rental: nothing to seal, nothing to maintain, and nothing an incoming tenant needs briefing on. A 100mm upstand is the low-maintenance answer, and full-height stone is the one that has to be committed to early. An owner can wait for it; a void period cannot.

The check comes before the measuring rather than after, because the whole drawing is set out from that plane. An island is where this usually shows, standing free with no wall to level against. Where a run meets an appliance, level decides whether that appliance door still clears the stone above it. 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 decides whether the run gets one continuous piece or a set of separate lengths with a joint at every obstruction. Each obstruction is another joint, and it is priced as one.

Our own installers do the carry, so there is nobody in the middle to argue with about it. 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. Floors and units are protected before anything comes through the door. Booked delivery windows on a managed estate run to an hour, and a worktop install does not happen inside an hour. 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. The frame they travel in needs the clearance as well.

A groove set is its own item on the quote rather than something rolled in with the sink cut-out. 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. A hundred and forty years of alterations sit under the current kitchen, and the worktop is what has to sit flat on top of all of it. What decides between a slim upstand and full-height stone is nearly always the wall rather than the taste. Full height needs a flat wall and a finished electrician.

A full-height piece behind the hob has to allow for the extractor, so that gets settled first. Both are templated after the worktop is down and settled, because they are cut to the wall itself. A full-height piece shows a wall that is out more than an upstand does, over the extra height. Rear rooms of this date have a wide sash or a pair of garden doors, so a good deal of the wall the run wants is glass. 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. Dry lining behind a panel needs a fixing plan of its own.