Splashbacks and upstands in Woodford Green

Yes. Woodford Green is on the patch, and the postcodes we work here are IG8. It is worked on our east London run, along with the rest of Redbridge. A step up from the drive to the threshold turns the last two metres into a lift, and a lift is where two pairs of hands become the minimum. Panels come off the van in one trip where possible, since a tall piece handled repeatedly is a piece asking to be chipped. A long carry turns a light piece into an awkward one. Template and fit both happen at the property, so there is nothing to drive to and nothing to collect.

A large villa has wide doors, a generous hall and somewhere to park, so the joins that go in are chosen for layout rather than forced by the route. These runs are long and often include a range recess, so the splashback is nearly always more than one piece and the joint placement matters, put it in a corner or over a hob centre line, not randomly in the middle of a clear run. The wall gets made good first or the gap shows. A chimney breast left in place splits a wall into two alcoves, and the two are rarely the same width and rarely parallel to each other. 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. Behind the boxing it becomes two pieces.

Where the van stands level with the front of the house a piece gets handled twice instead of five times, and stone breaks on handling rather than on the road. 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 panel that would need turning indoors is turned outside instead. Where the van cannot turn on the plot it has to arrive already facing the right way, so the approach along the street is part of the plan. Upstands travel in a crate and can wait on the van, which gives some flexibility a full-height panel does not. Panels come across in one pass with the route already cleared.

Honestly, no, though it would be easy to claim otherwise. What the research on this patch actually lists is worktop fabrication and worktop installation. That says something about the housing round here, not about the work. Quote, cut and fit are the same here as on any other part of the patch. 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. Splashbacks and upstands are cut from the same slab run at the same time, which is the only way the batch actually matches. The cheap way to make eight kitchens look specified. 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. Ordered later from a different batch, the match is not reliable exactly where the pieces meet. Wipe-down beats sealed grout on a turnaround.

An island is a single visible piece with four finished edges and no wall to hide against, so it is the piece the whole kitchen is judged on. 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. Tall panels are what push a job into a second slab. Reckon on £110 to £550 per square metre for the material supply only, with templating, fabrication and fitting itemised separately.

Alcove pieces get cut oversize on both scribe edges, with the true wall angles carried on the template drawing rather than assumed. 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. Nothing gets hidden behind a full-height panel. The range and extractor must be sited and the window cill finished before the template, as both fix the vertical limits of the splashback. Owner-occupied kitchens are usually being done once, which is why the edge profile, the vein direction and where a join falls are worth the conversation. A 100mm upstand is the low-maintenance answer, and full-height stone is the one that has to be committed to early. Two attendances need two people to be in.

Granite tells you when the seal wants topping up: water stops beading on the surface and starts darkening it instead. Marble is the one people underestimate. It is porous, like granite, and wants sealing. Granite is porous to varying degrees, so it is sealed when we fit it and topped up over the life of the worktop. These kitchens are big rooms with long perimeter runs and an island, so level has to hold across the whole floor rather than along one wall. Behind a range cooker with gas burners, granite or sintered stone is the sensible pick; quartz has a resin binder and does not enjoy sustained radiant heat at close range, so keep it out of the immediate hob zone or specify a different material for that panel. Solid plaster on brick takes a panel; a hollow wall wants thought.

Nothing is measured until the sink, the tap and the hob are in the room to measure against. Upstands and splashbacks are templated after the worktop is down and settled, so they are a separate visit. There is nothing to pay before the template visit. The old scullery is a step down from the main room and the pantry beyond it is a step down again. What decides between a slim upstand and full-height stone is nearly always the wall rather than the taste. Height off the units, not off the old tiles.

The rest of the kitchen still goes in. One damaged piece does not hold up the pieces either side. A remade piece is cut from the same slab run wherever the slab allows, because a replacement from another batch will not match across a join. Most breakages happen on the carry, which is why the route is walked and measured before anything comes off the van. Even an easy kerbside carry wants the pavement clear at the tail lift, because a three-metre piece on edge has a swing radius nobody expects until it is swinging. 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. What can be got into the room decides the height above the worktop.

Plumbing, gas and electrical work are not in the figure, because we do not do them. Cut-outs, edge profile and join count are itemised, so taking one out removes a line rather than starting an argument. 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. Where a breast interrupts a long wall the join can often go there, so it reads as a natural break rather than a line in the middle of a worktop. 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 reveal decides where the stone dies.