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News: The Cube

2025-09-30

 

Reykjavík–London multidisciplinary studio OF A, founded by architects Ralu Emandi and Laura Lim Sam are unveiling a very special stone installation during Frieze Week this October. 

 

Making their debut at London’s leading art and design fair, the special two-day event Somewhere Else takes place inside a Georgian townhouse at 14 Cavendish Square. Four installations, described by the studio as “acts”, span each floor of the house and are intended to blur the boundaries of art, design, and architecture and invite visitors, “To consider how buildings can hold climate, memory, and imagination at once.” 

 

 

On the ground floor, they are met by The Cube, a monolithic piece that blends beauty with function in the form of a one-tonne block of Calacatta Oro marble. Upon its surface is a shallow cut dish, into which water gently pours in an endless loop from a polished brass pipe above. The minimal form, while solid in its mass, is beautifully refined, which reflects the duo’s approach:

 

”Working between art and architecture, we strive to create atmospheric environments shaped by elemental materials. Informed by Nordic landscapes, Japanese aesthetics, and ecological awareness, our approach distils natural phenomena - water, air, light, stone - into sculptural and architectural forms that are both poetic and precise.” 

 

Elsewhere, visitors can find The Moon Garden, The Spectral Dining Table and the Cloud Room, which encapsulate the elemental forces that shape the duo’s combined practice.

 

Image Credits: Annabel Elston

 

Somewhere Else by OF A
14 Cavendish Square, Marylebone, London W1G 9DB
16–17 October 2025 | Thu 11am–8pm, Fri 11am–6pm
Admission free 

of-a.space/somewhere-else

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Interview: Jonathan Stanley, Caesarstone

2025-09-29

 

 

Following the recent launch of their crystalline silica-free surface, ICON, I caught up with Caesarstone VP of Marketing, Jonathan Stanley, to discover more about the company’s unique position in the worktop industry. The brand is approaching its 40th year in business and has built a reputation for supplying premium engineered stone surfaces. With over 20 years of marketing and PR experience, Jonathan has helped steer the brand since 2016 and offered insights into the downfalls of specifying based on affordability alone, the importance of traceability, and how Caesarstone continues to stand out in a crowded market.  

 

JB: With so many engineered stone companies on the market, particularly in the world of worktops, how do specifiers and consumers begin to distinguish between them?

 

JS: Of all the industries that I’ve ever worked in, the stone industry and particularly the engineered stone and porcelain sectors are the hardest to navigate from the outside. There are multiple material types and terms, and a wealth of misinformation, some of which is deliberate and some of which is just poor communications. 

 

The silicosis debate over the past few years has at least caused designers, specifiers, and consumers to ask more questions, which is a good thing. However, during many briefing sessions over the last 24 months to discuss occupational health, material technology, and safer working practices, often with large architectural firms, I’ve been staggered at how little understanding there often is. 

 

As with ANY product category, there is good, bad, and the downright ugly. Why would our sector be any different? The good news is that it can be ridiculously easy to determine which is which. Whether consumer or trade pro, start with the website and check available product information and certification. Can you find a Safety Data Sheet that explains everything about the product? Is there technical information that shows how to safely work with the material? Is there evidence of an ESG programme or other environmental information? 

 

Good brands will have multiple case studies. Are these in line with what you are looking for or aspiring to? Finally, does the product actually look any good? Sadly, there are some cheap materials on the market that are very poorly designed. One could laugh, if they didn’t reflect so poorly on the rest of the stone industry. 

 

 

 

 

JB: So, how does Caesarstone continue to differentiate itself from the market when so many products have come along that look like your surfaces? 

 

JS: On the surface, many of these materials look similar, but what sits behind them in terms of quality, safety, and accountability is where the true value is found. The market is driven by price, and has been engaged in a race to the bottom for a number of years. This can mean compromises in raw materials, inconsistent quality, and little to no traceability of where and how the product was made. That’s why a “bargain” worktop can quickly become a false economy.

 

Caesarstone has been designing, manufacturing, and sourcing engineered stone for nearly 40 years. We were the pioneers of engineered stone, bringing it to market, and the first to achieve genuinely natural-looking designs and concrete-inspired surfaces that changed the way people think about worktops. Every slab is designed and manufactured with meticulous care, using only the highest-grade raw materials and processes that meet the strictest international standards. We back our worktops with a lifetime warranty, rigorous testing, and complete transparency of product performance and environmental credentials because a worktop isn’t just a surface; it’s the foundation of your kitchen.

 

When you consider that the average kitchen lasts 15–20 years, the difference between choosing a trusted brand like Caesarstone and an unbranded alternative can be surprisingly small – often less than £100 a year across the kitchen’s lifespan. In return, you gain a surface that’s beautiful, durable, safe, and backed by a company that stands behind every slab. That’s what makes Caesarstone truly premium.

 

 

JB: But of course, there are also a plethora of cheap worktops available on the market, which they arguably dominate. Is it a case of getting what you pay for, and if so, what is the impact of buying based on affordability alone? Presumably, there are hidden costs that outweigh the initial price tag of a premium surface?

 

JS: It’s tempting to focus on affordability when choosing a worktop, but in reality, a cheap option is cheap for a reason, and usually carries hidden costs. Lower-grade materials can compromise on safety, with little clarity on how or where they were manufactured. They may lack the durability needed for daily use, meaning chips, stains, or cracks appear sooner, and repairs or even full replacements become inevitable. And without environmental credentials or traceability, they can carry a far greater impact on the planet than many consumers realise.

 

Cheap materials are often associated with poor fabrication practices, which has an impact on the occupational health and wellbeing of those in our industry too. 

 

On the other hand, a premium surface like Caesarstone is designed to last the full lifespan of the average kitchen, and beyond. Because we continue to innovate - most recently with ICON, our crystalline silica-free surfaces – specifiers and consumers can be confident they’re choosing not only a durable material, but also one that reflects the latest advances in aesthetics, performance, and safety.

 

When you look at the real cost per year, the difference is surprisingly small, but the benefits are profound: peace of mind on safety, a lifetime warranty, assured durability, and the knowledge that your worktop was responsibly made to the highest global standards. Affordability in the moment can come at a high price over time, whereas investing in quality ensures lasting performance, beauty, and integrity.

 

 

 

 

JB: In terms of costs, there is also the grey area of the installed cost of worktops, which can itself be a bit of a minefield. Do you have any useful tips or insights to help consumers decode the installed cost of a worktop and spot if corners are being cut? 

 

JS: Decoding the installed cost of a worktop isn’t always straightforward, but there are a few key points consumers and specifiers can watch out for to ensure quality isn’t being compromised. Often, corners are cut during sourcing, fabrication, or installation, particularly when materials are chosen solely on price. This can show up as lower-grade slabs, inconsistent colour or veining, simplified edge profiles, or rushed installation, all of which affect durability, performance, and longevity.

 

To spot these issues, it’s important to understand what contributes to the final cost. Factors include the material itself, slab size, pattern complexity, edge profiles, and professional installation. If a quote seems unusually low, it’s worth asking exactly what’s included, how the slabs are sourced, and whether the installer is accredited. Unbranded or very cheap surfaces usually carry hidden risks: poor durability, substandard safety compliance, and lack of traceability, which can result in unexpected repairs or replacement costs down the line.

 

When it comes to manufacturers, be wary of products with no identifiable brand, no website, no clear country of origin, and no third-party testing or certification. If a supplier can’t provide certifications, a warranty, or evidence of performance testing, that’s a red flag. Another tell-tale sign is a lack of contact details for after-sales service. Once the invoice is paid, you should still have a reliable support network in place for years to come. Also, look at the fabrication process: reputable partners will work with fabricators who follow best-practice safety measures and produce a consistent, high-quality product. If those safeguards aren’t visible, they might not be happening. And don’t hesitate to contact a brand’s customer service team to request further product information, recommended fabricators, and ask questions. Transparent businesses will welcome the opportunity to provide clear answers and demonstrate their standards.

 

 

JB: That underlines the importance of transparency to all forms of specifiers when it comes to material sourcing and manufacturing. What is Caesarstone’s approach here, has this evolved in recent times?

 

JS: Transparency has always been central to Caesarstone. Choosing a worktop isn’t just about aesthetics; it’s about trust in where the material comes from, how it was made, and how it will perform over time. We provide full traceability and verifiable data through rigorous testing, third-party verified ESG reports, environmental product declarations, and international certifications, so specifiers can make informed decisions with complete confidence. And as we expand the ICON portfolio, we’re committed to backing it with the same level of third-party declarations and certifications, setting new standards of transparency in the category.

 

Throw into the mix Caesarstone’s Masters of Stone programme – free health & safety training for anyone working in the stone industry, whether you are a customer of ours or not. Caesarstone believes in adding value back into the industry and making it attractive for the next generation of stone masons and fabricators. 

 

Alongside this, we’ve evolved our approach to support the industry more directly – introducing clear, competitive pricing structures (including this year’s reductions on some of our best-selling surfaces), as well as tailored educational material and hands-on guidance for designers, housebuilders, developers, and fabricators. Our dedicated customer service team works closely with partners at every stage, ensuring not only product transparency, but also project clarity and peace of mind.

 

 

JB: The company certainly stands out from the crowd in terms of its branding, something I’m sure you and your team have worked hard on. Your explicit material traceability and certification are a big part of that messaging. Can you talk me through the rationale here?

 

JS: Some industry people will tell you that Caesarstone is more expensive because we have to pay for all of our marketing, and often, I wish we had the marketing budgets that many think we have. 

 

We spend a lot on raw materials, manufacturing expertise, design research and testing and certification, and, ultimately, this approach is the Caesarstone brand. We are an inherently curious, R&D-led business, and our primary interest is in making the best product that we can.

 

The Caesarstone brand stands out because we are mostly showing off what are very well-designed products. These are then elevated further because the products are mostly seen in very well-designed spaces. If you are lucky enough to be continually specified by some of the best kitchen, interior, or architectural designers around the world, when you show a case study, people notice. 

 

Our branding, for us, has always been about more than visual identity; it’s based on trust and the story behind every surface we produce. Explicit material traceability and certification are central to that story. They allow us to show specifiers, designers and homeowners exactly where our raw materials come from, how they are processed, and the rigorous standards they meet along the way.

 

This level of transparency underpins our premium positioning. It’s what differentiates Caesarstone in a crowded market, where many materials may look similar but don’t offer the same assurances of quality, safety and sustainability. By making this information clear and verifiable, we’re not just selling a surface; we’re giving confidence in every decision, reinforcing the integrity of our brand, and demonstrating that premium engineered stone isn’t just a claim, it’s a commitment.

 

 

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Case Study: Oh Ho House

2025-09-26

 

Oh Ho House is inspired by its main material protagonist - stone - which is, in itself, informed by its locality. Situated in Bengaluru, southern India, it is the home of its designer, architect Senthil Kumar Doss, and the Indian office for his practice, Play Architecture.

 

The building has a poetic quality born out of an ephemeral moment of revelation in which Senthil noticed how the elongated rays of the setting sun discernibly softened the solidity of the stone walls of a South Indian temple complex. This subtle, yet stimulating visual memory has stuck with Senthil’s, and when beginning designs for the space, he naturally turned to stone.

 

 

 

 

Significantly, he has chosen chapdi, a stone that was once used in construction throughout the Karnataka region, but has since been relegated to utilitarian roles such as paving and compound walls. Quarried locally in slab form, the lightly shaded, sandy-grey stone is used throughout the build - both inside and out. Rather appropriately, the north-facing plot, which neighbours Bangalore’s national zoological park, is the site of a former quarry. Senthil underlines the material's significance:

 

“Used in its natural form, stone is one of the least carbon-intensive building materials - requiring no firing, minimal processing, and often transported short distances. At Oh Ho, the choice of chapdi is both poetic and practical: a low-carbon material reclaimed from the margins of construction and returned to architectural primacy.” 

 

 

 

 

At 11x11m, the building is compact in size and leans far more to the minimal rather than the ornate. It’s also a highly functional space, arranged in organised in a nine-square grid referencing traditional Indian planning principles. Yet, it houses some surprising and joyful moments. In the centre, there’s the airy and light-flooded open courtyard, which plays host to a singular tree, placing nature at the heart of the environment. The design also deploys some innovative stone joinery reminiscent of dovetail carpentry, which not only makes for simpler construction but also allows the building to be dismantled and reused in the future. 

 

 

 

The nine modules are designed to accommodate the maximum dimension of the chapdi slabs that could be transported to site, but still measure a comfortable 3. 6x3.6m. Gabion walls positioned on the site’s south, east, and west sides use leftover stone and create privacy and a light barrier for particularly sunny days. Capturing rainwater also plays an integral role within the design, forming a pond-like ecosystem before being guided into the community’s larger water system.

 

This sensitively designed building is more than the home or the studio space it provides, but a refuge with a keen sense of place. In 2024, it was recognised for its considered use of stone, picking up the World of Architecture Best Use of Stone Award, and its plain to see why. In Oh Ho House, Senthil and his family have a residence to forever enjoy the enchanting glow of the golden hour.

 

Play Architecture is an international practice and has recently launched in the UK. For more information visit: www.playarchitecture.co.uk

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Surface Spot: Stoneware Mosaics for the 21st Century

2025-09-23

 

Creating mosaics from stoneware is an ancient technique, with some of the most hallowed examples dating back as far as the Roman Empire and coming into prominence during the Byzantine period, when used to create pictorial art laced with symbolic imagery. 

 

 

In our contemporary world, you’re far more likely to find mosaics in grid formations on the walls of public toilets or laid in Victorian patterns on the floor leading up to a front door. Artist Nikki Edwards is keen to challenge this status quo, as shown with her exhibition in Shoreditch’s Jaguer Shoes. Adorning the walls of the iconic venue, guests can find splashes of colour, shape and form rendered in ceramic mosaic. With a background in graphic design, Nikki’s bold creations are striking and playful, breathing new life into a time-honoured form of ornamentation.

 

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News: AI Meets Geology

2025-09-23

 

The debate surrounding the potential impacts of AI on myriad industries and our collective daily lives continues to rumble on. In the stone industry, AI is often viewed favourably as a means to improve ore and defect detection, increase cutting accuracy, and optimise logistics, to name a few. But a recent installation by Studio Above&Below explores an alternative, and altogether more poetic, relationship between stone and AI.

 

 

 

 

Central to the interactive exhibit are four stones sourced from the Scottish landscape during a recent field trip by studio founders Daria Jelonek and Perry-James Sugden. Visitors are invited to touch and even rearrange the stones, with each new combination creating an evolving digital landscape on neighbouring large-scale screens in real time.  Each of the stones and the ensuing imagery is taken from geologically significant sites in Scotland, where ancient stone carvings show early examples of symbolic data recording.

 

 

 

 

The idea is beautiful in its simplicity, yet striking in its delivery, with ambient field recordings made in the surrounding cliff tops adding to the calming atmosphere as new layers of digital stone are created, like the formation of sedimentary rocks. Speed is indeed of the essence, but unlike streamlined automated processes found in a quarry or mill, the emphasis is on slowing down and considering material provenance, as the duo explains:

 

“Drawing on principles of Slow Tech, Low Tech, Lo-TEK and traditional technology systems, the artwork employs accessible hardware and straightforward logic models like rule-based systems and decision trees. This approach avoids heavy computation and embraces simplicity, favouring essential tools and local materials.”

 

In reducing the complexity of AI, and symbolically linking it back to geological time, they spark a new discussion that asks us to question “where intelligence comes from, who it serves, and how we might build slower, deeper and therefore better systems together – systems that honour the past, serve the present, and safeguard the future.”

 

 

CREDITS

Concept & Development: Studio Above&below (Daria Jelonek, Perry-James Sugden) @studioaboveandbelow

Sound: Einar Fehrholz @einar_zuviel

Metal Work: Eddie Olin @eddieolin

Setup support: Kitmapper @kitmapper

Screens: Showtex @showtexinmotion

Documentation support: Ava Watson @avahw

Curator: Marc Barto @MarcBarto

Funded by: BRAID (University of Edinburgh) @braid

Further Research Support: UCL @ucl

 

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Surface Spot: Sensory-Driven Surface in Paris

2025-09-22

By Jim Biddulph

 

L’Envol is a shimmering new installation by Suffolk-based Giles Miller Studio, which captures the eye and imagination of visitors to the Champs-Élysées in Paris. While the vast vertical surface may initially conjure the rippling surface of a dark body of water, it is in fact made up of thousands of glazed ceramic discs. 

 

 

But much like water, the installation takes on a life of its own depending on the time of day, ambient light levels, and the viewer’s vantage point, making each visit entirely unique.  Known for their playful and often poetic movement of light across surfaces and objects, the studio set out to create a visually arresting artwork that begged to be touched. French for “the flight”, the installation is designed to elevate passersby’s experience, creating a moment of lift in their day that’s full of visual and tactile intrigue. 

 

 

Working closely with trusted Italian artisans, the team returned to ceramics for its enduring quality and opted for a mottled chrome finish, which both reflects and distorts the light and the surrounding environment. Each disc is handmade and therefore has its own distinct character and surface quality, which, when combined en masse at varied angles to one another, creates a monumental and ever-shifting artwork. 

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Surface Spot: Oyster Shell Façade

2025-09-22

By Jim Biddulph

 

Those taking a stroll down London’s vibrant Redchurch Street recently have been treated to a new facade made from a very unique solid surface.

 

 

Luxury retail store UJNG plays host to an array of contemporary independent fashion designers, and now has a 3D exterior made from Oyster[crete]. The material is the brainchild of Matter Forms, a studio led by Mooka Srisurayotin, who researched and experimented with oyster shells over a 2 year period before launching the surface in 2023. 

 

 

Circularity is at the heart of the studio’s approach, with this innovative material transforming shells leftover from the food industry that would otherwise be discarded as waste. An alternative to concrete, Oyster[crete] consists of around 80% waste, and this latest iteration of the product comes in two cast formats. 

 

 

When joined together like here on UJNG, the U and J shapes create a relieved surface of undulating, curved and straight-lined extrusions. An eye-catching facade with a planet-positive narrative to tell.

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Launch: New Designs from Caesarstone

2025-09-11

By Jim Biddulph

 

This summer, Caesarstone has launched a new range of countertops that put beauty and wellbeing at the forefront of design. The ICON range represents a major new direction for the brand and industry as a whole, with the introduction of these patent-pending ‘advanced fusion surfaces’ extending an already expansive portfolio.

 

Known for their premium craftsmanship and use of natural materials, the design team behind ICON has spent considerable time developing the range, which utilises 80% recycled content, while containing no more than 1% crystalline silica. The harmful and even potentially fatal effects of breathing in respirable crystalline silica are long established and an ongoing concern for those sourcing and working with such materials - not least fabricators and installers. In almost entirely eliminating the use of the substance, ICON offers an unparalleled peace of mind, while at the same time aiming to reduce environmental impact.

 

 

Caesarstone MD, Edward Smith, explains the brand's rationale, “This groundbreaking formulation speaks to Caesarstone's deep-rooted commitment to innovation, meeting the growing demand for safer, more environmentally conscious products. With these new ICON surfaces, we invite designers and industry partners to look deeper at the possibilities available.”

 

 

 

As has become customary, the team has also given aesthetics the same rigorous approach, drawing inspiration from the organic forms and textures just beyond their workshop window. As Mor Krisher, Head of Product Design, explains, “We decided on a concept of transparency and multi-dimensional layers for the new collection, and the next step was to find inspiration in nature's materials and their unique transparencies. After some exhilarating research, we headed back to our workshop and started creating.”

 

 

 

The outcome is a range that mirrors marbled veins, flowing water, and opalescent stone, which, as Mor is keen to point out, is also thanks to the teams new, “advanced fusion technology, which creates intriguing layers and flowering textures, in a calming colour palette inspired by the transparency of mists, moonlight, seafoam and precious stones.” Products such as Moonlight and Ocean Sage do just that, creating a rich visual and textural experience and a timeless beauty.

 

 

You can take a look at the full range at Caesarstone

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News: Stone Library Set To Launch

2025-09-11

By Jim Biddulph

 

Friday 12th September sees the launch of the Stone Library at Sheffield Hallam University. Located in the newly completed Redmires Building, the collection has evolved from an almost-lost resource first put together in the early 90’s.

 

Brothers Scott and Geoff Engering created the Triton Stone Library for their London-based company Triton Building Restoration Ltd as a way to show specifiers suitable materials for restoration, sympathetic extensions and new buildings. The samples range from the indigenous limestones, sandstones, granites, and slates, but having been of great use up until Geoff’s retirement in 2000, the collection was set to be thrown away - were it not for Scott’s intervention. With a keen desire to create a second life for the collection, Scott has been working with Professor of Stone Conservation, Elizabeth Laycock, and the stone samples now form the basis for the School of Engineering and Built Environment’s new library.

 

 

Elizabeth and her team will continue to add to the unique installation with low-carbon geomaterials and composites that are used in building conservation and in new-build construction. Students and professionals from Architecture, Geography and Construction disciplines alike are all invited to use the resource, with each sample in the library supplemented by an evolving online library.

 

For more information about the launch and the library visit:

/www.heritageopendays.org.uk/submission-event/stone-library-sheffield-hallam-university.html

 

The event will take place between 1030-1600 at:

Redmires building, University Green, Howard Street, Sheffield, South Yorkshire, S1 2NT

 

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Case Study: Old House Project

2025-08-19

By: Jim Biddulph

 

Back in 2018, passersby of St Andrew’s Chapel near Maidstone in Kent would have been forgiven for dismissing the ancient building as a ruin, or missing the derelict site amongst the overgrowth altogether.

 

Now, seven years on, the Society for the Protection of Ancient Buildings (SPAB) are proud to present the fruits of an outstanding regeneration program, with stone at the heart of the project. 

 

Founded by William Morris and his fellow campaigners in 1877, SPAB is the UK’s oldest conservation charity, and bought this ‘sleeping beauty’ for as little as £60,000. Recognising the value in the medieval building, with it’s rich and varied history, the team have painstakingly transformed it into a luxury three-bedroomed home which now hits the market at £950,000. The project underlines SPAB’s ongoing dedication to giving old buildings a future, which involves casework, technical research and advice, education and training, awards, outreach and events across the UK and Ireland. 

 

 

As Matthew Slocombe, CEO of SPAB explains, "The SPAB approach involves understanding the building you’re dealing with to work out its story and structural development. By asking the questions: who, what, when, why, and how, the best conservation solution can be identified.  Ultimately that is the way to ensure an old building is treated sympathetically."

 

 

The outcome of the Old House Project demonstrates a sensitivity to the historic fabric of the building, while bringing it up to date for contemporary habitation. As such, future generations will be able to share in its observable history, creating a sense of connection and place that goes well beyond the beautifully textured surfaces. Indeed, the building truly hums with a past well lived - even if the space has remained empty for the past 50 years. Originally believed to be a gatehouse chapel for nearby Boxley Abbey, the chapel prospered from its locality to the Pilgrims’ Way, receiving donations from devoted wayfarers as far back as 1484 (indicated by tree ring dating of roof timbers). Built during a time of mulitplicite religious relics, the chapel house actually housed a silver clad finger of St Andrew. While built to last using the finest local ragstone and oak, the building suffered at the hands of political …with the dissolution of the monastaries some 50 years after it’s completion. However, having been passed to Tudor poet and courtier Sir Thomas Wyatt of nearby Allington Castle, the chapel remained in safe hands until it was later turned into a cottage in the 18th Century, and more recently used as a grocery in the late 20th Century.

 

 

Over the last seven years, SPAB has worked closely with Kent Archaeological Society, Historic England, local people and the council to uncover the building’s story and, even more importantly, to bring St Andrew’s back to life. It’s another stunning example of the teams ongoing aim to turnaround the decline of traditional building craft skill, with repairs to the wood and stone elements being carried out with local material and craftspeople. Lime for conservation work was burnt on site using chalk from the North Downs; stone and aggregate came from Maidstone’s Hermitage ragstone quarry. The impressively crowned and charmingly irregular Kent peg-tiled roof was provided by a local roofing firm and specialist manufacturers, who replaced damaged tiles with new handmade clay ones. The brickwork was conserved by Lynn Mathiasat, known for their work at Hampton Court and Chequers, while the conservation team from Owlsworth IJP, led by mason-turned-site-manager Jim Whitbread, under the direction of architect Mal Fryer were central to the entire process.

 

 

Given that around a fifth of the UK’s housing stock is classified as historic (pre-1919), and more often than not, made using stone, this project offers a shining light in how older buildings can be beautifully restored and given a new lease of life.

 

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