Ab Initio is a new, 8m long, permanent installation at Tout Quarry Sculpture Park & Nature Reserve in Portland, Dorset. The piece was created by Livia Spinolo as part of the One Island, Many Visions exhibition, a collaborative event between Portland Sculpture & Quarry Trust (PSQT) and artist members of the Royal Society of Sculptors (RSS).

Materiality is at the heart of Livia’s practice, and the opportunity to participate in a 6-month residency allowed her to undertake a practice-based investigation into the ecological, historical, and cultural dimensions of Tout Quarry Sculpture Park and Nature Reserve, while gaining insight into the PSQT multidisciplinary approach to landscape regeneration. The residency culminated with the group exhibition in the autumn, but the legacy of the work lives on.

Image Credit: Mark Vellacott

Latin for “from the beginning”, Ab Initio signifies a return to origins, reconnecting with principles of place, ecology, and the craft of dry-stone walling. The artwork highlights how traditional walling skills can be integrated into contemporary art practice to address environmental change and support habitat regeneration.

It is a sculptural habitat designed with curved lines that capture sunlight from varying angles. Its amphitheatre-like forms reflect and retain heat within the concave structures, generating a microclimate with slightly elevated temperatures that creates shelter and encourages plant growth. The elevation of the walls above the ground reduces wind speed, aiding the dispersal and settling of wind-borne seeds. Cracks and cavities within the dry-stone walls have proved to be ideal niches for flora, insects, invertebrates, and small mammals. The thermal properties of the stones are particularly beneficial for small reptiles, offering warmth and shelter. The developments of the sculptural habitat will remain under observation and will be documented in the years to come.

The project, sponsored by Dorset DSWA, was initiated in partnership with fellow artist Ros Burgin MRSS and developed in collaboration with Peter Curtis and Phyllis Warren of the Dorset Branch of the Dry-Stone Walling Association, Hannah Sofaer, Creative Director of the Portland Sculpture & Quarry Trust, and with valued contributions from naturalist Bob Ford (PSQT).

For more information about the residency visit: www.learningstone.org/micro-residencies/livia-spinolo

The enduring relevance of traditional stone craft was placed firmly in the spotlight earlier this month as the Stone Federation hosted the latest edition of the Stone Heritage Conversation at the Society Building in London. At a time when the construction industry is reassessing the carbon cost of its material choices, the event set out a timely reminder: heritage-led stone practice, rooted in repair, reuse and longevity, offers lessons that modern construction can no longer afford to overlook.

Bringing together heritage architects, structural engineers, contractors and client bodies, the evening was chaired by the Federation's Stone Heritage Forum and opened with a welcome from Stone Federation Chief Executive Jane Buxey, followed by a keynote from Stone Heritage Chair Bernard Burns. Both emphasised the growing need for conservation-minded approaches as the sector looks for low-carbon strategies grounded in proven durability.

Speakers reflected the breadth and depth of contemporary heritage work.
Will Palin, Chief Executive of Barts Heritage and Patron of Sheerness Dockyard Trust, presented the multi-award-winning Sheerness Dockyard project, an exemplar in sensitive repair and adaptive reuse. Jamie Coath, Senior Partner at Purcell, explored the Manchester Town Hall scheme, highlighting how the project’s commitment to nurturing the next generation of craftspeople is as significant as the restoration itself.

Robert Greer, Director at PAYE Stonework & Restoration, delivered an insightful session on spolia, the ancient practice of reclaiming and reusing stone, positioning it as highly relevant amid today’s retrofit agenda. As his essay in the first Stone Collective book underscores, the heritage sector’s long-established methods align naturally with circularity and resource efficiency.

The evening concluded with a panel discussion featuring Historic England’s Clara Willett and Szerelmey’s Bernard Burns, who, alongside the speakers, unpacked shared themes around long-term stewardship, embodied carbon, and the vital role of specialist skills in safeguarding historic assets.

Across presentations and the discussions that continued into the networking session, a clear message emerged: the heritage stone sector offers a vital corrective to the quick, high-carbon construction approaches that dominate much of today’s industry. Its methodologies, centred on repair, reuse, longevity and material integrity, provide not only cultural and architectural value but a credible pathway toward genuinely sustainable building.

Stone Federation extends thanks to the evening’s speakers, to sponsors PAYE Stonework & Restoration and Stonewest, and to all who attended and contributed to another successful Stone Heritage Conversation.

Future Observatory has pulled back the curtain on the Stone Demonstrator, a three-storey, open-air prototype now standing in Empress Place on the Earls Court development site. Designed by Groupwork with engineering input from Webb Yates and Arup, the structure is already turning heads across the stone and construction sectors.

At first glance, it reads like many other facades, with supportive columns holding up and brick casing. Look closer, and it becomes clear the team has created a bold architectural statement aiming for nothing short of a rewrite of the UK’s construction playbook. 

The pre-tensioned stone frame, built from modular blocks compressed with steel tendons, promises around 90% lower embodied carbon than an equivalent steel frame and 70% less than reinforced concrete. Add to that a prefabricated kit of parts, reusability, and stone brick façades boasting at least 90% lower carbon than fired clay, and the message is unmistakable: stone is stepping back into the frame, not as heritage nostalgia, but as a serious low-carbon contender.

It’s a collaborative affair, with key players including Hutton Stone, Albion Stone, The Stone Masonry Company and Lunhds. Backers include the Design Museum’s Future Observatory, AHRC, and the Earls Court Development Company, who see the Demonstrator as both a research tool and a spark for industry-wide change. UCL engineers are already developing an accompanying design guide, another sign that structural stone is edging closer to mainstream viability.

For now, the Stone Demonstrator stands as a provocation: a full-scale invitation for architects, engineers and developers to rethink the materials we take for granted. And given its potential applications, this is only the start of a longer story.

A story that, in the coming weeks, Stone Specialist will be diving deeper into. Watch this space for more about the technical innovation,  supply chain behind the project, and what this could mean for the future of commercial stone construction.

Images by Bas Princen courtesy of Design Museum and Future Observatory

Ten years ago, the world of terrazzo was almost exclusively a stone affair. Depending on who you ask, the material dates back as far as the ancient Egyptians. But the speckled surface we use today tells a circular economy story born out of affordability, having first been created by canny Venetian artisans with a plethora of marble waste at their disposal in the 15th Century. However, thanks to an inquisitive approach and research-led endeavour, we now have timber terrazzo made from wood waste, thanks to Foresso. 

And now the evolution continues. Building on Foressso’s success, Low Carbon Industrial (LCI) is an innovative materials company that’s on a mission to reduce the carbon footprint of architectural materials without compromising performance, aesthetics, or practicality. The aim is clear: to create thoughtful low-carbon alternatives that support both design excellence and environmental responsibility.

At the core of their approach is the idea of repurposing existing infrastructure as they look at the realities of day-to-day manufacturing, and how to collaborate and create circular economies where they didn’t exist already. Keen to demonstrate commercial viability to the wider industry, LCI uses material design to improve, decarbonise, and revolutionise the built environment. Meaning it starts with the idea of ‘piggybacking’ on large-scale manufacturing techniques rather than trying to reinvent them. 

Drawing on the experience of launching Foresso, LCI has learnt just how much the design community values tactility, storytelling, and sustainability when executed well. The A&D community is demanding materials that balance performance, sustainability, and storytelling and the team underline the idea that if innovation isn’t visually appealing, people will have a reason not to adopt change. 

Conor Taylor, Foresso and LCI Co-founder, comments, “We live in uncertain, fragile times, and the rise of consumer interest in sustainability can be seen as a response to our ongoing need to consume. It’s a balance between consumerism and personal ethics that has led to a more thoughtful approach to how we shop, where we shop and what we buy.

At its core, sustainability is about doing less, and as a result brands are having to learn how to do more, but more responsibly. Changing tastes and expectations are rippling through every aspect of design as consumers look for products that not only bring pleasure, but they can also connect with in a meaningful way.”

Elenite is LCI’s debut product, designed for architects, designers, and fabricators, it brings richness and character to solid surfaces, with versatile applications across kitchens, bathrooms, and furniture. Made from natural waste materials such as walnut shell, walnut dust, and bamboo fibre, it combines tactile warmth with natural pigments. The surface comes in four distinctive colours, allowing designers to integrate sustainability seamlessly into diverse palettes. Conor underlines the importance of the aesthetic choices behind the range:

“We are seeing a clear shift away from the mass manufacture of the 1990s and 2000s, when endless options of perfectly machined brass and polished stone dominated the industry - and our homes. Today’s consumers are seeking comfort and reassurance from their homes, which is why sustainable surface materials have become a natural, go-to choice. Their soft textures, warm colours, and inherent connection to nature helps to create spaces that feel grounded and restorative.”

Engineered for high-specification environments, Elenite also delivers performance comparable with leading competitors while reducing embedded carbon by 29%, with future production targeting a 50% reduction. Made in partnership with Taiwan-based specialists Meganite, who share LCI’s commitment to doing things differently, it is set to be chosen by those who do, too. The benefits are clear; Elenite contains no silica, formaldehyde, or water, and it’s circular production process recycles all manufacturing waste, while end-of-life sheets can be returned for complete recycling into future batches. In each Elenite sheet, which measure 3660 x 760 x 12mm, there is 35% recycled resin, which equates to 1,900 600ml water bottles being recycled and reused per sheet.

Together with Meganite, LCI is proving that beauty, performance, and environmental intelligence can come as standard.

In a sector increasingly attuned to circular economy thinking, the Worktop Fabricators Federation (WFF) has announced a partnership with Reutilize, a platform designed to help fabricators turn underused stock into opportunity. For workshops where offcuts and full slabs often linger on racks “just in case”, the collaboration offers a simple, scalable route to material efficiency.

Reutilize provides a searchable, industry-wide database of surplus stone, quartz and porcelain. Instead of occupying valuable workshop space or, worse, making their way to landfill, offcuts can be listed for others to find and use. The idea is simple:  to make existing material visible. After all, in an industry rich with high-value resources, waste is often a problem of information rather than intention.

Tim Matthews developed Reutilize out of the day-to-day reality of managing Counter Production, a large fabrication business. He found that even the most efficient purchasing strategies can’t eradicate leftover material as “waste,” which the original buyer simply doesn’t need. Watching such surplus stock accumulate, he started asking a question central to today’s circular-economy mindset: “If we don’t need it, who might?”

The platform was built to answer that question at scale. Reutilize, he explains, is “a large, searchable, connected database of every registered company’s stock list, all in one place”, allowing fabricators to put leftover material in front of buyers who might already be searching for it. The logic is simple: “It makes no sense in a world of rising costs and resource depletion to make something new, when it’s likely it already exists… What one person sees as ‘waste’ is often another’s ‘need’.”

He adds that the WFF partnership was part of a natural evolution:  “I agreed early on that we would allow WFF members to use Reutilize for its members’ purposes, as they represented the right kind of companies we wanted to push for this initiative. Using up existing stock is important, but doing it through companies who are applying the correct levels of H&S is also important, even though Reutilize isn’t there to police this process.”

For WFF members, the partnership means an immediate opportunity to cut landfill, free up space and generate value from stock that would otherwise sit idle. Nigel Fletcher, Operations Officer for the WFF, comments:  “We’re delighted to be able to offer our members this service helping them to clear remnants, stop filling up landfill with offcuts, while adding to their bottom line profit. It’s a win-win and a great partnership for us.”

That said, Nigel has still observed varying perspectives among WFF members regarding remnant stock, noting that while business owners recognise its value, it may not always be the priority at the middle management level. To counter this, the team have incorporated a complementary inventory system into the platform, which will soon have its own independent website. As Nigel explains, “Reutilise data is managed in an Excel spreadsheet, allowing users to easily list stock items as visible or private, providing complete control over yard inventory. While basic, it can offer significant benefits, particularly for those who have not previously implemented such a solution.”

The platform’s wider ambition aligns neatly with the ‘reduce, reuse, reutilize’ banner, underlining actions seen across construction and architecture, where material reuse is no longer a fringe initiative but an essential strategy for reducing environmental impact while safeguarding profitability.  In collaborating with the WFF, Reutilize builds on success in the solid-surface sector, broadening access to a system that treats unused stock not as a burden but as a resource. 

Ben Ayling is the UK business development manager for Lundhs, Norway’s leading supplier of Larvikite and Anorthosite, and member of The Stone Collective. Let’s scratch below the surface to find out what makes Ben tick…

What does a typical day look like for you?

My days revolve around helping architects, designers, and fabricators understand how natural stone can solve practical and aesthetic challenges. I spend much of my time visiting studios and sites, delivering RIBA-accredited CPDs, and reviewing upcoming projects where Larvikite may be the right solution. Communication is a major part of the role. I translate technical information from our quarries in Norway into clear, practical guidance for UK project teams. No two days are the same, but most involve conversations about design intent, performance, and how to use stone well.

How integral are materials to your day-to-day? 

Materials are central to everything I do. I work with Larvikite daily and spend a lot of time comparing it with other surfaces used in the UK. I think about materials constantly, whether that’s appearance, surface performance, or long term durability. Most of my work involves explaining these qualities to architects or fabricators, often through samples, site discussions, or technical reviews. Stone is tactile, so I focus on helping people see and understand it firsthand. Communication about materials is a core part of my role, and it shapes almost every conversation I have.

What are the biggest lessons you have taken forward from your original training? How has your education informed your career?

My background is in business, communication, and fabrication rather than geology, and that has shaped how I approach the stone industry. The key lesson from my early training was the value of clarity. Good decisions rely on people understanding a material, its performance, and its purpose. That mindset has been essential in a sector where natural stone can seem complex. My education taught me to look at the bigger picture, ask the right questions, and communicate simply and honestly. Those skills have proved more important than any technical training.

Which project/s are you most proud of being involved with and why?

317 Finchley Road stands out. It is a rare example of load-bearing stone used for residential blocks in the UK. The project required collaboration, problem-solving, and a determination to see Groupwork’s original vision implemented as intended. It was a significant undertaking for our team in Norway to adjust to the challenges presented, yet they did so with real skill and commitment. The project has since become a case study for The Stone Collective, showing the industry what is possible when stone is treated as a structural material rather than just a surface. I am proud of its ambition and its outcome.

What do you feel are the main challenges facing the stone and surfaces industry today?

Education remains the biggest challenge. Many decision makers do not fully understand stone performance, quarrying, or long-term value, while competing materials often market themselves more aggressively. Misconceptions around sustainability are also common, with natural stone sometimes compared unfairly to high-carbon products presented as “eco-friendly.” Consistency of supply, skills shortages, and increased pressure on logistics all play a role, but the underlying issue is knowledge. The industry needs clearer communication, better data, and more transparency to help designers and clients make informed decisions.

In your opinion, what are the positives of using stone in the built environment? 

Stone is durable, low maintenance, and inherently low carbon because Mother Nature put the energy into creating it for us millions of years ago. It requires minimal processing compared with manufactured materials and develops character rather than degrading. Stone performs well both structurally and aesthetically, whether used for worktops, cladding, paving, or load-bearing elements. Its natural variation gives buildings depth and authenticity, while its strength makes it a reliable long-term choice. Stone also contributes to simplicity in design. It doesn’t need coating or imitation. It stands on its own merits, offering an honesty that is increasingly valuable in today’s built environment.

How does sustainability shape your thinking and decision-making, and how do materials fit into this?

Sustainability is central to my work. I encourage designers and engineers to consider whole life value rather than upfront cost, because natural stone often delivers the lowest embodied carbon when sourced responsibly. Larvikite, for example, requires minimal processing and offers long-term durability. The Stone Collective was created to support this shift in thinking and promote stone as a genuinely sustainable option. For me, sustainability is not a badge but a set of decisions around source, transport, lifespan, and performance. When viewed through that lens, natural stone becomes an obvious and responsible material choice.

Hardscape is a leading UK supplier of high-quality hard landscaping materials for public realm, commercial, and urban regeneration projects. As one of their valued Sales Managers, Vicky Sharrocks oversees client relationships, supports designers and contractors, and helps deliver tailored material solutions that bring ambitious landscape schemes to life. But what does her daily life tend to look like?

My day starts…

Like most people, my mornings are pretty busy. It’s all about getting everyone out of the house on time and making sure we’ve all had something to eat before the day begins! Once that chaos settles, it’s a quick coffee, a scan through my emails, and then I’m ready to go.

I’m usually found…

All over the place! Some days I’m based at our Bolton factory, catching up with the team or checking through materials in the warehouse. Other days I’m out visiting merchants, contractors, or clients. My role covers both Hardscape Surfaces and Hardscape Warehouse, so there’s a real mix of office time, site visits, and customer meetings. That variety is what I enjoy most — no two days are ever the same.

My typical day involves…

A bit of everything, really. I could be organising stock, helping customers find the right product, or putting together displays and samples. I also spend time following up with merchants to make sure they’ve got what they need and supporting with any training. It’s a busy role but very people-focused, which suits me perfectly.

The thing that surprises me most about my job…

How much goes on behind the scenes before any stone even reaches a project. From selecting the right material to managing logistics and ensuring quality — there’s a lot of coordination involved. People often see the finished product and don’t realise the amount of teamwork that happens to get it there.

When I was younger I wanted to be…

Something creative, though I’m not sure I knew exactly what! I always liked the idea of working with people and doing something hands-on — so I think I’ve found the right balance here.

Something you might not know about me…

I’m a big football fan. Most weekends involve some sort of match — whether it’s watching a game or standing on the sidelines cheering family on. It’s a big part of our family life and a great way to switch off from work.

My most memorable moment at work…

There have been a few! The standout ones for me are the schemes I’ve watched come to life — seeing a project progress from drawings and discussions to a completed space is always special. The day I got my promotion into my current role was another big highlight; it felt like a real milestone and a reflection of how far I’d come. And I can’t forget the summer socials the group organises as part of our AGM — they’re always great fun and a nice reminder that while we all work hard, there’s a really strong team spirit across the company. Hardscape has a great work ethic, and it’s genuinely a brilliant place to be.

If I could give one piece of advice to someone considering a career in the stone industry…

Get involved and don’t be afraid to ask questions. The stone industry is full of knowledgeable, passionate people who are always willing to share what they know. It’s an industry that rewards hard work and genuine interest — and there’s always something new to learn.

As we reported earlier in the week, The Stone Collective has returned with the next installment of its 6-part book series. Where Volume 1 laid the groundwork by outlining the principles, possibilities, and environmental arguments for structural stone, Volume 2 continues to push back the barriers to specification, offering architects, engineers, developers, quantity surveyors, and educators an invaluable new item to their toolkit. 

Comprising of industry leaders, Johnston Quarry Group, Hutton Stone, Lundhs, Paye Stonework & Restoration and The Stonemasonry Company, the team launched the book in London at The Market Building. Pierre Bibaud of The Stonemasonry Company gave an illuminating presentation, mirroring the insight and passion contained within the book.

The essays cover themes including stereotomy, digital archaeology and discussions around modernising the use of stone, along with a series of case studies written by a panoply of industry professionals. 

In celebration of the launch and the team’s hard work and endeavour for the industry, we thought we’d share a timely essay from the book that gets to the heart of the structural stone reawakening, from an engineer’s perspective. 

Engineering with Stone

Alex Lynes, Associate Director of Webb Yates 

Stone is most commonly seen as walls in historic buildings, thin cladding on new ones or internal finishes but how we use stone could hold the key to unlocking the low carbon construction of the future. 

For many years we have been complacent with our structural materials, relying on homogeneous steel and concrete alone for all structural applications. This has become the case even where it makes little sense, large steel beams or concrete slabs are common even in low rise buildings where they are not needed. To tackle the climate emergency we need to diversify our material use and especially look to use traditional materials in a modern way.

Image Credits: Webb Yates

The main ingredient of concrete is stone; if local concrete is available then local stone is available. Stone is stronger and more durable than concrete, it exhibits negligible creep so less deflection, its higher density provides better acoustic and vibration characteristics as well as thermal mass. In all ways its properties are better than concrete, yet it is overlooked as a structural material.

The main constraint on stone is that it comes in solid blocks of limited size. Using modern cable tensioning methods to link smaller blocks into larger prefabricated elements can overcome this. Structural stone is now being used to make beams, columns, floor slabs, trusses and foundations. Stone is useful not just in isolation, it can be combined with engineered timber products such as glulam and CLT to create low carbon structures fully based on natural materials. 

Image Credits: Webb Yates

The higher mechanical properties of stone enable smaller section sizes compared to concrete but we also need to be using materials efficiently, especially as stone can be more expensive per cubic meter. Trying to simply swap out a concrete flat slab for stone could result in a missed opportunity. To truly design sustainably we need to understand the material, its strengths and weaknesses, how it is shaped and assembled, where it comes from. For example, stone can be used as thin slabs compositely on top of glulam beams to utilise the benefits of both timber and stone, producing an elegant exposed soffit that provides acoustic separation, thermal mass and is easy to assemble on site. New structural stone forms show what is possible when natural materials are used effectively.

Project Details: 

Niwa House features an entirely timber and stone superstructure. Within the roof, thin stone slabs work in compression, glulam beams in tension, and together they form a system around 150% stiffer than timber alone. The stone provides thermal mass that keeps the interiors comfortable. It is structure, architecture and environmental system rolled into one and is the first use of the system at full scale.

Architecture by

Takero Shimazaki Architects

Engineering by

Webb Yates

The redevelopment at Finchley Road continues to evolve as one of the UK’s most ambitious demonstrations of load-bearing stone construction. Although still a work in progress, the project has already become a reference point for architects and engineers exploring alternatives to carbon-heavy steel and concrete. The scheme, designed by Groupwork and led by architect Amin Taha with structural engineering from Webb Yates, has followed a winding procurement journey with plenty of changes along the way. Yet its central idea has remained: a tall, fully structural stone exoskeleton built to modern fire standards, offering long-term carbon savings through minimal processing and an (almost) self-finished envelope.

Image Credit: Webb Yates

The stone frame has been designed as a sway frame, with fixed connections between beams and columns. Webb Yates built a full-scale connection mock-up to test the connection strength, which was tested under 1.5 times the design loads. Eleonora Regni of Webb Yates explains the basic principles:

 “To minimise tension and bending moments in the beam elements, the frame was designed so that all vertical loads are carried by the columns, allowing the beams to act primarily in tension to provide lateral stability.”

At its highest point, the building is set to be 10 storeys high, which called for a dense igneous stone for the exoskeleton structure, with Italian Basalt originally chosen for its compressive strength and compliance with new fire regulations. Yet, as practical as such stone may be, it has its limitations, which, along with the site’s many restrictions, have led the team to some creative problem-solving.

Located close to Finchley and Frognal station, the space is somewhat tight, and as Eleonora underlines, “Due to Network Rail safety procedures, the crane was subject to strict lifting limits, so the stone elements were designed to fall within those limits.” What’s more, being a natural material does have its drawbacks, not least in terms of the sizes available. In requiring very long lengths of stone, the team were faced with a challenge. Drawing on their collective experience of producing Clerkenwell Close, the team has once again used a splicing method, which Amin describes as “stitching stones together to allow longer column and beam spans, opening the structural grid.” As Elenora adds, this also allows “heavier elements to be divided into smaller sections that can be assembled on site.”

Of course, all builds involve a network of companies, specialists and suppliers, and with Finchley Road, there have been moments of unpredictability, as Amin illustrates, “The project has been bought and sold three times, which also meant a change of main and subcontractors.” Having originally begun the build with AteliersRomeo’s Sicilian basalt, the most recent evolution has seen the introduction of Lundhs’ Norwegian larvikite. As Eleonora points out, the material “offers a compressive strength of around 170 MPa, compared with approximately 35–40 MPa for standard concrete.” Amin also notes that the general use of stone produces “ 98% lower CO2/m3 than reinforced concrete or fired clay brick and 99.6% lower than mild steel.”

The larvikite was manufactured within Lundhs quarry facilities near the southern coast of Norway, and from there, they were shipped to Tilbury and Immingham docks for onward transport to site. Lundhs’ business development manager, Ben Ayling, knows all to well how complicated it has been to get the material onto site, and stresses that cross-party collaboration was key:

“As storage space on site was very limited, deliveries had to be carefully sequenced and timed to support continuous installation. Loading operations also relied on the temporary use of an adjacent bus lane, which made precision and coordination essential. Through close communication between the construction company, Ernest Park, and our project manager, we maintained an accurate delivery rhythm that minimised storage risks and supported a smooth, uninterrupted build programme.”

The programme has steadily begun to run more smoothly, with a notable structure rising up, and already grabbing the attention in a busily built-up area. Internally, the larvikite has shown its versatility, with single pieces used to form the floor-to-floor lift core, while standard brick laying techniques have been used to produce the service riser from larvikite blocks. Amin states another benefit here, “Being self-finished stone and needing neither fireproofing layers nor extra finishing layers saves a considerable amount of costs and carbon.” 

Although the eagle-eyed amongst you may note that the exterior aesthetic of this emerging structure has been altered from its original state. Indeed, the dark tone of the larvikite has been veiled by a coating of dusty red paint. Ben explains that, “The requirement to paint the stone came from local planning rules intended to reflect the area’s Victorian red brick character.” In many ways, this could be viewed as a compromise on the material, but Ben adds, “it’s a small price to pay to realise a load-bearing stone project of this scale.” For Amin, overcoming the initial discomfort of this procedure may also have led to a happy accident: 

“At first we were reluctant to the idea, but when told by a British quarry that this method had been used for generations to match stones fresh out of the quarry to those standing for hundreds of years, we realised it was a new line to investigate for this and the next projects.”

It has also allowed the team to create moments of contrast within the building's overall design, with those self-finished internal elements remaining in their natural state - and soon to be unveiled, as this bastion of structural stone draws close to completion.

Fresh from collecting the RIBAJ Rising Star Award 2025, we were lucky enough to catch up with Edward Powe, founder of Studio Folk Architects. 

The accolade represents a worthy milestone for a young practitioner already blazing a trail in the built environment. Following an undergraduate degree in Architecture at the University of Kent, Edward completed his Master's in Architecture at the Royal College of Art, before achieving the often elusive Postgraduate Part 3 course at Cambridge. After a period as an associate at DK-CM, where he worked on a range of historic refurbishment, and strategic placemaking projects in the public sector, he set off on his own and founded the studio in 2023. This year, Patrick O’Keeffe joined the practice, which, as Edward explains, champions the use of natural materials and collaboration in construction.

Image Credit: James Retief

JB: Firstly, congratulations on your recent RIBA Rising Stars Award. How does it feel to be recognised fairly early on in your career, and what does it mean for your practice, given that it is still only a few years in?

EP: I’m of course delighted to have been chosen by the RIBAJ to be part of this year’s cohort, alongside some incredibly talented young practitioners. It’s recognition of a wider trend towards more collaborative working practices in the construction industry. My hope is that the award will help our practice bring some of the craft-led approach we’ve been testing to larger projects and collaborations.

JB: I’m always heartened and intrigued when practices openly discuss the importance of collaboration to their work, and it strikes me that you do so actively in both the human and digital senses.

EP: We call ourselves a craft-led practice. We believe in the value of bringing in people who are experts in their specific craft wherever we can, with enduring, characterful and sustainable buildings being the result. What has surprised us is that crafts traditionally seen as “old-fashioned” are now often utilising advanced digital technologies. For example, the stone sculptors and ceramicists we work with frequently model and test their ideas in the digital space before working them by hand. This allows us to seamlessly integrate these elements into our built schemes, and it’s something we’re excited about exploring further.

We are also working on a recent competition-winning scheme to deliver public realm in London, for which we are developing innovative ways of engaging beyond the design team—working more closely with our clients and local communities.

Image Credit: Studio Folk Architects

JB: It’s noticeable that a number of your projects to date have centred on renovations, refurbishments and extensions of existing and historic buildings. How intentional was this, and what is the rationale behind this approach?

EP: A lot of our work revolves around refurbishments and renovations, often in a heritage setting. This is partly due to our previous experience working on these types of projects—our “comfort zone”—but also because this is frequently where we can add the most value as architects. We are working on a new-build project at the moment as well, which we are particularly enjoying, because it is not often that we are presented with a “blank slate.”

Image Credit: James Retief

JB: Your projects all exude a sophisticated and considered sensitivity to materials, with many subtly referencing the history of the building or vernacular of the place it exists in. What is your methodology when it comes to putting together material palettes?

EP: Before we even begin designing, we look at the context, and we enjoy using our designs to tell a story. While we design with a long lifespan in mind—often 50 to 100 years—we understand that nothing we do as architects is ever truly permanent. Our projects can all be read as a new layer of history being added to a building, and intentionally allow for change and adaptation over time.

This is a general design philosophy that also applies to the way we select materials. We always start with natural and sustainably sourced materials, such as stone and timber, and obsess over the final selection to ensure it aligns with the project ethos and the story we are trying to tell.

Image Credit: James Retief

JB: I’m sure our readers will be particularly keen to hear more about your relationship with stone, and I’m aware that the Mile End Stone Extension project will have an additional phase that utilises stone masonry. Are you able to tell us more about that? 

EP: Yes. As we’ve discussed, we see our projects as evolving parts of our clients’ lives, and this extension is a great example. We conceived the project as a series of phases, designed around the client’s budget. The stonework, including the pilasters and lintels above each opening, was intentionally installed as rectangular blanks, and will, in future phase,s be refined with in-situ carving and ornamentation that reflects the character of the clients.

We have already begun working with a local stone sculptor to develop relief pattern carvings to be applied to these elements. We often see stone as a permanent and inflexible material, but this project has taught us that that simply isn’t the case. Stone can be flexible and adaptive, and can easily allow for future change. This is an aspect of stone that we are really enjoying exploring.

JB: The project you’ve started in Devon looks set to be one of your most ambitious to date. It also includes stone brickwork, along with a mix of natural materials. Are you able to give me an overview of the build and your decision-making processes regarding the material palette?

 Image Credit: Of Light Studio

EP: The project is for a new-build home within the UNESCO Global Geopark of Torbay. We have chosen to construct the building as a hybrid structure—masonry cavity walls on the ground floor and timber on the first floor. By default, we have selected natural materials, such as wood fibre insulation throughout, and Locharbriggs sandstone bricks for all of the ground floor walls.

This was not only an environmental decision, due to the significant embodied carbon saving, but it also helped with our justification of the design at planning, on what is a very complex site. The design pairs sandstone, tied to the area’s prehistoric landscape, with the red-brick language of Victorian Torbay. This pairing of natural history and local built form was a key part of our planning submission.

The project is currently halfway through construction and due for completion in summer. We’ve enjoyed exploring the benefits of natural stone as an alternative to clay, concrete and steel on a larger scale, and look forward to the opportunity to continue this work.