Mapei 

E20

Mapei invites you to stand E20 to see demonstrations of the Duo Maxi Pedestal System from Profilpas. Made for speed, durability and precision in raised flooring installations, with quick adjustment features and a strong load capacity, it is built to perform in any setting.  

The company is also showcasing the UltraCare cleaning range, designed to protect, clean and maintain all types of surfaces ensuring long-lasting results with professional-grade performance.  

Explore industry-leading adhesives, grouts and silicones trusted by professionals worldwide. Whether you’re looking for innovation, expert advice or just want to see what’s new, Mapei has something for you and offers the complete solution. 

Stonegate 

C40 and C50

Over the last ten years, we have seen a concerted move away from more traditional templating methods in the stone fabrication and wider construction industries. The use of cardboard, wood and plastic templating sheets can throw up a variety of challenges in terms of storage, accuracy and sustainability. Digital templating systems, such as Prodim Proliner and LT-2D3D, have become increasingly popular thanks to their ability to quickly and easily create CAD drawings on-site, and the overall accuracy of their measurement. 

Another laser templating device that is building a growing band of followers in the UK and Ireland is the Flexijet 3D, sold and supported by the team at Stonegate. So why choose Flexijet 3D? 

Flexijet 3D offers unmatched precision with millimetre accuracy, ensuring every measurement is right first time. With integrated CAD software you can create 3D models on-site in real time without the need for extensive post-processing. This saves you time, reduces site visits, and means that transposed errors are a thing of the past. 

The Flexijet 3D was designed, and has been developed over a number of years, for a wide range of applications. This means it is perfect for anything from simple worktop measurements to complex architectural details, so whether you are a self-employed templater or sub-contractor, or you are working for a larger design studio, it is perfect for you. Its user-friendly interface makes it accessible to both beginners and professionals, but Stonegate offer full integrated on-boarding, training and aftercare support, from a dedicated Flexijet specialist. 

Lightweight and easy to transport, Flexijet 3D can be used in various environments, making it a versatile tool for any job site. And, it only requires a single operator. 

Stonegate were recently delighted to receive this feedback on the Flexijet and Stonegate support from Lee at Plan-It Stone: “The tripod is sturdy, 3D model is easy, you can remotely do it by yourself, accuracy of the machine is brilliant. I have done about 400 jobs now and we haven’t had any refits or any issues. We have recently just done a bathroom where there was just a toilet and a sink, there was only just room for the laser it’s just perfect for that 360° movement so I can get all the way round the room. The biggest job I’ve done recently is a floating staircase where I have had to get the top tread, the two sides and the end, plus the bottom in one continuous hit – quite tricky but with the remote control on your phone it’s so much easier, you don’t need anyone. Stonegate service has been immense, it’s probably the easiest laser I’ve used.” 

Stonegate will be giving live demos of the Flexijet at the Stone Show. 

Stone Automation 

C30

Salvatore of Stone Automation is very much looking forward to the Stone Show. During the show the team will be featuring the new XP line from Wodiam Tooling. There will also be a collection of high-speed routers, drills, ultra-high-speed polishing systems for bowl cutouts and external edges, as well as the new Pascal XP for cutting quartzite, ceramic and even natural stone and regular quartz.  

From Donatoni, which has a number of CNC work centres in the UK, there will be parametrics terminals so customers can see how easy it is to learn to program the machine. Waterjet is also on the way and edge polisher will be added to the collection. From Tesimag, there will be the Plug and Play Orion water system – just connect the power and put the pump in the pit and then you’re ready to go. 

From Leica Geosystems, there’s the ICS 50 with the v-pen – this unit is not only a dual system with the latest generation laser and v-pen but it also has 3D modeling built-in which is extremely versatile and very user friendly. 

Vetro Tooling  

D26 

After a successful partnership in Ireland, Vetro Tooling Ltd and Denver Glass and Stone Machinery are bringing their powerhouse alliance to the UK stone fabrication market. 

In a significant move set to shake up the stone machinery sector in the UK, Vetro Tooling has announced an exclusive new agency partnership with Italian manufacturing giant Denver Glass and Stone Machinery. This marks a strategic expansion of a well-established collaboration that has already made waves across Ireland in recent years. 

The announcement signals Denver’s renewed focus on the UK market, leveraging Vetro Tooling’s deep-rooted presence, technical expertise, and exceptional customer support infrastructure. As the new official agency for Denver’s range of stone machinery in the UK, Vetro Tooling will be providing sales, service, and support across the country, offering customers direct access to one of Europe’s most respected names in CNC and manual stone processing equipment. 

This isn’t the first time the two companies have joined forces. In Ireland, the Vetro-Denver partnership has delivered consistent results, providing a wide range of stone fabrication businesses with state-of-the-art machinery backed by responsive service and tailored solutions. By combining Denver’s innovative engineering with Vetro Tooling’s strong local presence and customer-first philosophy, the collaboration quickly gained trust and recognition in the Irish market. 

“From the beginning, our partnership with Denver has been about more than just machines—it’s been about relationships,” says David Lithauer, director at Vetro Tooling. “We’ve seen firsthand how this combination works in Ireland, and we’re confident it will translate into real value for stone processors here in the UK.” 

Denver brings a comprehensive portfolio of machinery, including CNC bridge saws and work centres—all designed with the modern stone fabricator in mind. The machines are renowned for their build quality, intuitive controls, and Italian craftsmanship. 

With Vetro Tooling acting as the UK agency, customers can now expect faster lead times, expert consultation, and fully supported installations backed by engineers who understand the day-to-day needs of British workshops. 

The expansion into the UK is being welcomed by fabricators looking for alternatives in a market that’s becoming increasingly competitive and quality-driven. With a reputation built on trust and performance, this renewed alliance is poised to become a game-changer for stone processing businesses looking to invest in reliable, cutting-edge solutions. 

As Vetro Tooling ramps up its UK operations in partnership with Denver, one thing is clear: the future of stone machinery just got a serious upgrade.

For more information on the show visit: stoneshow.co.uk

New York resident Christine Cole of Precision Stone Inc professes her love for the architecture of the Big Apple.

One of the most special aspects of living in New York City is the constant sense of awe I feel every day. The city’s energy, its people, and the environment all contribute to this feeling, a wonder that has been shared by millions before me. If I’m not going to romanticise my life, who will? One of the most powerful sources of this wonder is the city’s built environment, particularly its towering stone buildings. These architectural masterpieces, crafted from materials like marble, limestone, and granite, connect us to the past and to the people who lived in different eras. They offer a humbling perspective on time, grounding us in the present while fueling a constant curiosity about history and the reasons behind the way things are. This fascination is why I frequently seek out Manhattan’s stone buildings, each a monument to history and craftsmanship. These buildings have become special to me: the New York Public Library, The Ansonia, 220 Central Park South, 1 Wall Street and the Municipal Building. They represent the city’s architectural legacy, blending historical significance with lasting impact.

First, let me begin with the building I’m lucky enough to call my neighbourhood library. The city’s main branch, officially known as the Stephen A. Schwarzman Building, is a grand example of Beaux-Arts design. Completed in 1911, the library was designed by John Merven Carrère and Thomas Hastings, who drew inspiration from classical European architecture, as many of New York’s historical landmarks do. The general contractor for the library’s construction was Theodore Starrett of Starrett & Van Vleck. The exterior is clad in white Vermont Danby marble, which immediately captures the attention of passersby. There’s a timeless elegance to the grand staircases leading to towering Corinthian columns. The facade makes you feel important as you enter, a fitting sentiment given that knowledge is power. You also feel empowered by the iconic lion statues, Patience and Fortitude. These beautiful beasts were designed by Edward Clark Potter and carved from pink Tennessee marble by the Piccirilli Brothers, an Italian family of stonemasons who also worked on several other major sculptures around the city. Inside, the library is equally breathtaking, with vast reading rooms, high vaulted ceilings, and exquisite woodwork complementing the stone. There are several places to study, including a rooftop terrace. The library stands as a symbol of the city’s dedication to knowledge, culture, and architectural excellence.

Next, you’ll find another stunning example of Beaux-Arts architecture uptown: The Ansonia. This residential building on the Upper West Side, at the corner of Broadway and 73rd Street, was completed in 1904 and designed by French architect Paul E. Duboy. Originally built as a luxurious hotel, the construction was overseen by Michael Reid & Co. The building’s striking limestone and brick facade is adorned with sculptural details, rounded corner towers, and a mansard roof that evokes Parisian architecture. The Ansonia has hosted many celebrities, including Bobby Short, Babe Ruth, and Angela Lansbury. In the 1970s, it was also home to Plato’s Retreat, a famous swingers’ club. I can’t help but wonder if the club’s founders simply wanted an extravagant building to match their extravagant evenings. The Ansonia is undeniably a part of New York’s cultural fabric. Its location, just steps from Central Park, adds to its appeal. For geology enthusiasts, Central Park is a real treat, as the exposed bedrock and Manhattan Schist peek out among the high-profile residences.

A short walk through the west side of the park also brings you to my next featured building: 220 Central Park South. Designed by Robert A.M. Stern Architects and completed in 2019, this neo-classical skyscraper is clad in Alabama Silver Limestone and is the most contemporary structure on my list. Rising 953 feet, the tower features a setback structure, large windows, and intricate detailing with Art Deco influences. Lendlease, an Australian construction giant, served as the main contractor. Amid the glass-and-steel skyscrapers of “Billionaire’s Row,” this cream-coloured beauty stands out as a testament to modern luxury and refinement. The history of Central Park South itself is intertwined with New York’s social and real estate evolution, but for now, I’ll also just bring attention to the Irish Connemara marble that graces the entrance arch.

We then travel downtown to another significant landmark: 1 Wall Street. Originally built as the Irving Trust Bank, this building is sometimes called “the other Art Deco skyscraper.” Though it doesn’t have a massive spire or antenna like the Empire State Building, it still has its own charm and sculptural beauty. Completed in 1931, the building was designed by architect Ralph Walker, with the construction overseen by Marc Eidlitz & Son, Inc. The exterior, clad in Indiana limestone, features a streamlined vertical design with subtle geometric ornamentation and detailing. Inside, the building boasts the spectacular Red Room, a mosaic-clad lobby designed by Hildreth Meière. In recent years, it’s been converted into luxury residences, blending historical grandeur with contemporary living. I had the privilege of touring one of the remodelled residences last year with the Institute of Classical Art and Architecture. The area around 1 Wall Street is also historically rich, with cobblestones laid during the industrial boom in the 1800s, mimicking the original Dutch paving from when the area was known as New Amsterdam. There’s so much history beneath your feet.

Finally, I’d like to highlight the David N. Dinkins Municipal Building, one of New York’s most important government structures. The building was designed to accommodate the increased governmental space demands after the 1898 consolidation of the city’s five boroughs. Completed in 1914 and designed by William M. Kendall of McKim, Mead & White, the building exemplifies ancient Roman influences with its classical detailing and colonnade. It’s truly a monumental structure—one of those buildings that makes you exclaim, “People just don’t make these anymore!” The building’s primary materials include Ashlar granite and terracotta, and it features a central tower crowned by the gilded statue ‘Civic Fame,’ sculpted by Adolph A. Weinman. The Thompson–Starrett Company, a leading construction firm of the early 20th century, built the Municipal Building. One of its most unique features is its integration with the subway system, an innovation in early 20th-century urban planning. This was originally where the metro trains were supposed to meet, but that location was switched to Grand Central Station. As I hope you can tell by reading this far, I admire fine details: the many reliefs above are adorned with shields, including one with a beaver, a nod to John Astor and his family’s fortune made in the beaver pelt trade.

This area of downtown is often overlooked by locals, with many of my friends saying they “never get down there.” However, after I shared my stone-seeking adventures with them, they expressed appreciation for the reminder to explore. The highlight of my photography session was when a woman passing by stopped me to ask about the ceiling of the arch I was photographing. She had never noticed the detail before and was grateful for the new perspective. My job was done.

Though I say this comically, it genuinely gave me joy to show someone else the hidden stone details of New York’s built environment. I enjoy learning how things came to be and discovering where the materials came from. I enjoy getting to sit and reflect about the stonemasons and construction workers who used their muscles and minds to build these structures. I enjoy analysing why these works of art instill awe in me everyday.  Most of all, I hope this inspires at least one other person to look up and research the fascinating history behind their favourite building.

Clare Howcutt-Kelly visits stonemasons Mick Teale and his son, Ben at one of the largest and most spectacular Elizabethan houses in the UK.

Burghley House in Lincolnshire is known for many things including the Horse Trials and has played a starring role in many period dramas including The Crown. And while all these things are wonderful, there’s two people who aren’t part of the cast or riding in on horseback but are equally as important. And that’s Mick Teale and his son Ben who are the in-house stonemasons.

The house was built between 1555 and 1587 by William Cecil who was Lord High Treasurer to Queen Elizabeth I. When we say he built it however, I’m pretty sure he wasn’t on the tools.

Like most powerful men of his time however, he wanted his house to have some serious kerb appeal and it most certainly did. With some 115 rooms and an array of architectural features that were designed to impress, it’s a show-stopper of the highest order.

And it’s believed he wanted to impress Queen Elizabeth I more than anyone else – creating a bedroom just for her. The twist in the tale is that a member of the Burghley household contracted smallpox and although she was close by, she wasn’t able to go inside the house. You’d be pretty annoyed, right?

The stone used to build the house is a golden limestone quarried from land owned by Cecil at nearby King’s Cliffe and the roof is Collyweston slate, also sourced locally. Much of what Mick and Ben work with is reclaimed from across Burghley’s vast estate which comprises many properties and buildings.

Unlike the stone, Mick and Ben aren’t native to the area – the Teale family relocated from Doncaster in 2023. Mick wasn’t new to Burghley, though. In 2021, he was part of the team who worked on the restoration of Burghley’s iconic 18th Century Lion Bridge designed by Lancelot ‘Capability’ Brown.

One of Burghley’s key features are its 76 Tuscan order chimneys – this might seem excessive but this was a man out to impress Elizabeth I remember – and her entourage of 100 people would surely need a few fires? On the roof there’s also decorative cupolas and pinnacles and much more besides.

The 16th century clock tower at Burghley House is a particularly striking feature which is topped by a pyramid shaped obelisk with a clock face flanked by lions. The columns are a nod to ancient Greek architectural order with stocky Doric columns at the bottom, then ionic with its scroll details known as volutes and on top, the most ornate Corinthian columns.

When I visit Ben and Mick we head up onto the roof so they can show me what they’ve been working on. The father son team recently took down some of the chimneys, taking them back to the top of the Romanesque columns before rebuilding and re-leading the joints. Each weighed around 2.5 tonnes which is no small feat.

Working and living with your dad isn’t for everyone but for these two, it works.

“Of course, it’s just the two of us but he does push me and it pushes me more than I could push myself. Sometimes he gets on my nerves but he’s my dad at the end of the day and he’s an incredibly experienced mason,” says Ben.

They have an ease about them and laugh frequently. Mick has been a stonemason for decades but Ben started off on a different path studying Sport and Exercise Therapy at Leeds Beckett University.

Currently training at Moulton College, Ben is an apprentice stonemason who mainly focuses on banker masonry.

I watch the two together and you can see how proud Mick is to have his son by his side. “He’s really got into stonemasonry. Ben talks a lot about stone even when we're at home and we have a laugh.”

Mick started his own journey into construction in 1994 originally training as a bricklayer at Doncaster College before being offered a job by Historic Property Restoration Ltd who put him through his banker masonry training at York College. He would go on to spend 23 years with the company working on some of the most significant monuments in the UK.

The length of his tenure is testament to the joy his work brings him and when you’re in his company, his expression tells me this is a person with many stories. And of course, Ben is fortunate enough to work with his dad everyday benefiting from his experience and a few wisecracks, no doubt.

“We’ve got to keep the heritage skills alive and engage the younger generation”, says Mick. “If we don’t, what will happen in 20 years’ time when we’ve all retired and we’ve got nobody coming through. Who’s going to look after these incredible buildings?”

Apprenticeships, he says, are massively important and while other trades are easily accessible via training at colleges across the UK, options to train in stonemasonry at college are limited. Currently Bath College, City & Guilds of London Art School, Moulton College and York College are the only educational institutes that offer it.

Ben explains the challenges: “I’m lucky to have my dad with so much experience but if you’re starting out in stonemasonry at college, it’s not like bricklaying where you’ll have a class of 60 people and someone has a mate who has a mate on a site who can help you get a job.”

Pride is a word that comes up a lot during our conversation once we head back to the workshop where the Teale’s ‘dust dog’, Olive, is excitedly waiting for us.

“Every piece we work on is a piece of pride”, Ben explains and Mick agrees, “but we don’t show off our heritage skills nearly enough. People will often look at a building, see the enormous features like the chimneys at Burghley and not realise someone’s made that. It’s all possible.”

Ben admits that he seeks perfection in his work and will tweak and tweak until he’s happy with it. “You’ve got pretty high standards. Sometimes too high,” Mick tells him. “It’s when you keep tweaking that you can make mistakes.”

This is the voice of a master mason as well as a proud dad. Olive snuggles into Mick as he ruffles her head. She has the easiest job of all – just being cute.

Before I leave, I ask Ben what his favourite part of the job is. He doesn’t need to think too long.

“I love being able to work on the house to be honest. It’s a great stature of work and I’m proud to be one of the many stonemasons who’ve worked on it over the years.”

For more about Burghley House visit burghley.co.uk

Follow Ben 

• Instagram at @benteale_ 

• TikTok @ben_teale18