Splashbacks and upstands in West Dulwich

Yes. West Dulwich is on the patch, and the postcodes we work here are SE21. It is worked on our south east London run, along with the rest of Southwark. Block paving bedded on sand can rut under a fully loaded van, and that is said to the customer beforehand rather than explained afterwards. Panels come off the van in one trip where possible, since a tall piece handled repeatedly is a piece asking to be chipped. Distance from tail lift to door is the whole risk here. Your part of it happens entirely at home, with nothing to travel to and nothing to bring back.

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. 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. Panels expose a wall; upstands forgive one. Where the sill lands inside the height an upstand would occupy there is no upstand, and the stone either dies into the reveal or stops short of it. 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. Make the wall good first, or accept the detail.

Where the garden is level and the back door is wide the pieces get staged outside on trestles and brought in one at a time as the fitters are ready for them. 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. A polished face close to an edge does not survive a knock. Where the drive is shared, the half-hour the van spends in the way is agreed with the neighbour in advance rather than apologised for at the time. Splashbacks are normally the last thing off, so a short parking window is exactly when they get rushed. A long carry turns a light piece into an awkward one.

Not particularly, and it would be easy to pretend otherwise. What the research on this patch actually lists is worktop installation. That is a point about the buildings round here, not about the job. The quoting, the cutting and the fitting are identical here to anywhere else we work. Where a family has been living around a building site for months, the finish date carries more weight than any other part of the specification. Ordered later from a different batch, the match is not reliable exactly where the pieces meet. The extension electrician finishes after the drawing did. An open-plan extension puts the worktop in the middle of the living space, so it is looked at from the sofa as well as worked on. Socket and switch positions have to be final before templating, because a cut-out in the wrong place means a new piece. Upstands turn batch offcuts into finished rooms.

Three stools along one side need more clear length than most plans allow, and once the seating depth is fixed the piece either grows or it loses a seat. 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. Scribe to the wall rather than stretch the panel. The supply-only figure for material runs £110 to £550 per square metre, and templating, fabrication and fitting are lines of their own.

Casement handles and stays swing down into the space above the worktop, so the clearance that counts is the one measured with the window open. 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. Scribed, dubbed out, or set proud. Pick one. 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. One staircase can serve an owner on the first floor and a managed tenancy on the second, so the access arrangement changes at every landing while the building stays the same. A 100mm upstand is the low-maintenance answer, and full-height stone is the one that has to be committed to early. Two budgets, settled before anything is cut.

Packing takes up small variation. It is not there to hide something that belongs in the units. Variation past what packing can take up has to be corrected in the carcasses before we cut, because the template records the units as they stand. Units have to be fixed down as well as levelled. A loose carcass moves under stone. A low sill over the sink run is what decides between an upstand and stone dying into a window board, and there is often less clearance than an upstand is tall. 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 obstruction sets the joint, not the wall.

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. A full-height piece shows a wall that is out more than an upstand does, over the extra height. Stone up a wall is heavier than tile and bonded rather than hung, so the wall has to be sound. Internal walls are lath on timber studs while the flank walls are brick, so two walls in the same kitchen take a fixing completely differently. 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. What the wall can take decides how tall the stone goes.

A seal is not waterproofing. It only buys time to wipe a spill up. Marble is the one people underestimate. It is porous, like granite, and wants sealing. No maintenance visit is built into the job. Soap, water, and on the porous stones a seal. Many were built with a solid sub-floor to the rear rooms, so the kitchen floor is concrete and level while the front of the house is suspended timber. A 100mm upstand bedded on silicone is the honest answer where the plaster bows, because it rides what a tall panel exposes. Old walls lean back, and a tall panel shows it.

A Belfast or butler sink has to be installed and at its final height before the template, because the stone is cut to sit on it. A piece with a bowl and a hob cut into it is the fragile one, and it is handled accordingly. Where the hob lands is set out against the units and the wall behind, not off the kitchen plan. 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. Upstands follow the run exactly, so every internal and external corner is a separate mitred or butted piece. Tall panels are what push a job into a second slab.