Architect and researcher Giulliana Giorgi has been leading work on an online resource exploring the sourcing, use and potential of British stone within contemporary construction. Developed through the research project Unlocking Indigenous Stone Construction in the UK, the platform brings together mapping, research, and industry knowledge to help architects, specifiers and clients better understand the UK's geological resources and the opportunities for lower-carbon, locally sourced stone. 

The project emerged from a wider investigation into the barriers preventing greater use of indigenous stone in construction and was supported by the RIBA Scott Brownrigg Award for Sustainable Development. The UK possesses one of the most geologically diverse stone landscapes in Europe, yet the UK stone industry is highly fragmented and largely composed of small and medium-sized enterprises, including quarries, processors and specialist contractors. Working alongside architects from Allies and Morrison, structural engineers from Webb Yates and Stone Federation's Matt Robb, Giorgi's research seeks to connect geology, design, procurement, and sustainability through a more accessible understanding of the UK's stone landscape.

SS: What first prompted the idea for Indigenous Stone UK, and what were the main gaps in knowledge or accessibility that you felt the platform needed to address?

GG: The idea for the platform took shape in 2024. That summer, I took part in a hands-on workshop at the Building Crafts College, organised by UCL's Oliver Wilton, where together with engineers, artists, and stonemasons we designed, carved and built stone arches and rib vaults together. Conversations there pushed me to start asking broader questions about the UK's stone extraction landscape. Later that year, colleagues from the Climate Change Group at Allies and Morrison and I came across the RIBA Scott Brownrigg Award and began shaping a research agenda around indigenous stone.

Valuable resources already existed, although the information was fragmented and often difficult to navigate. Much like the industry itself, knowledge was dispersed across geology, quarrying, design, procurement, and construction, with very few points of connection between them.

It quickly became clear that the challenge, rather than a lack of available material, was a lack of shared understanding around specifying indigenous stone. So, the ambition was to provide a foundation of knowledge that could support better decisions and more meaningful conversations across the industry.

SS: The project brings together architecture, engineering and industry expertise. Could you outline the wider team behind the research and explain how those different perspectives shaped the development of the platform?

GG: I led the research, initiated through the RIBA Scott Brownrigg Award, in close collaboration with colleagues from the Climate Change Group at Allies and Morrison. Charlie Stuart led the RIBA Plan of Work overlay for stone construction and helped translate our roundtable findings into a clear industry roadmap. Sam Walters and Liam Kelly built the mapping platform and embodied carbon calculator. Webb Yates engineers Jenny Haines and Dan Cole brought structural performance and embodied carbon expertise that shaped the platform's technical content, while Stone Federation's Matt Robb gave us a direct line into quarrying, fabrication and supply chains, and helped open doors across the sector.

It was equally important to document the people and places behind the material. Through quarry visits, interviews and a documentary made with Daryia Cheremisina, we captured the local stories, expertise and challenges that shape the industry today.

Throughout, we kept refining the language and accessibility of the research itself, because it had to speak to multiple audiences at once - from the general public to technical specifiers. I think that the complementarity of perspectives is what made the project stand out.

SS: Mapping sits at the centre of the resource. What were some of the key challenges in gathering and organizing information about indigenous stone, and what do you hope users will take away from the map itself?

GG:  Valuable knowledge already existed, but it sat across geological surveys, trade organisations, quarry websites, and technical documents, and, perhaps most importantly, in the experience of quarry managers themselves. The challenge was pulling all of that into one coherent, accessible resource, drawing on direct engagement with the industry through questionnaires and fieldwork throughout the research. It's a starting point rather than a finished product – we keep receiving feedback from quarries and practitioners, and future iterations should grow more comprehensive.

For me, mapping became a tool for making visible the relationship between the buildings we design, and the places materials come from – letting users explore what stone is available locally, understand travel distances, identify suppliers, and begin to weigh up embodied carbon.

The industry has historically run on long-established personal relationships, which can make it hard for newcomers to engage. I hope the map encourages more transparency and coordination across a sector facing real pressure from international competition and shortages in skills. A stronger shared voice matters if it’s to stay relevant and resilient in the future.

Ultimately, I want architects, clients, and specifiers to use the map as a gateway into the industry. Over time, I would like to see the platform incorporate more technical information, including EPDs, testing data and other resources that can support confident specification.

SS: The Sustainable Sourcing Guide is arguably the jewel in the crown of the whole body of work. It is a detailed and pretty comprehensive overview of indigenous UK Stone and a welcome tool for specifiers and stakeholders alike. Can you give a summary of the key elements - what can people expect within it?

GG: The guide is a practical, navigable resource. It introduces readers to the UK's geological landscape and active quarries, then walks through extraction processes, stone types, products, applications, and contemporary approaches to stone construction. From there it moves into the wider systems around the material: procurement, economics, skills, supply chains, planning and policy.

In many ways, the guide acts as a translator between the different worlds of geology and quarrying, engineering, architecture, procurement, bringing together voices that don't often appear in the same conversation and revealing the interdependencies between them.

It's built on interviews, site visits and engagement across the industry, so it sets out a balanced picture of the opportunities and the challenges facing wider adoption. More than anything, it tries to build a nuanced understanding of what sustainability means for indigenous stone - environmentally, socially, culturally, and economically.

SS: Indigenous Stone UK feels like the beginning of a much larger body of work. As the research continues, what areas will the next phases focus on, and what do you hope the project ultimately achieves for the natural stone sector and the wider construction industry?

GG: The RIBA-funded phase has concluded, but I see this as the beginning of a much larger research journey. The platform will keep evolving as a shared resource, but the most exciting opportunities now lie beyond it.

As I move into the next stage of my career, building an independent research and design practice alongside my academic work, I want to keep exploring these questions through research by design and built projects. The project has already built a remarkable network across the stone industry. The next challenge is translating those conversations into spatial propositions, prototypes and ultimately buildings that demonstrate new possibilities for indigenous stone.

More broadly, I hope the project contributes to a new local vernacular - one that responds to the realities of the twenty-first century while staying rooted in the resources, skills, and landscapes of a particular place. Success won't be measured by the map or the guide alone, but by more people engaging confidently with local materials and building architecture that's environmentally responsible, culturally meaningful, and genuinely connected to context.

The latest addition to RAK Ceramics' I Sassi Collection takes its cues from one of Italy's most distinctive historic landscapes, translating the geology and architecture of the UNESCO-listed Sassi di Matera into a contemporary porcelain surface.

Designed to evoke the character of the ancient cave dwellings carved into southern Italy's calcarenite rock, I Sassi Matera draws on the weathered textures and tonal variation created over centuries by water and wind erosion. Rather than replicating stone directly, the collection interprets its layered appearance through ceramic surface design.

The launch expands the manufacturer's I Sassi Collection alongside I Sassi Borgogna, with both ranges sharing the same base background. RAK Ceramics says this approach allows the two surfaces to be specified together while maintaining visual continuity across larger schemes.

I Sassi Matera introduces a more expressive finish by combining that shared base with decorative mineral-like flakes that add depth and movement to the surface. The result is a collection intended to balance historical reference with contemporary architectural applications.

Available in dark greige, dark ivory, dark sand and grey, the range includes coordinated decorative options and is produced in 90 x 180cm, 120 x 120cm and 60 x 120cm formats. The large-format porcelain is suitable for a variety of interior applications, from residential spaces to commercial and hospitality projects.

The collection reflects a wider trend for ceramic manufacturers to draw inspiration from natural stone and geological landscapes, using digital production techniques to recreate the visual complexity and subtle variation associated with quarried materials while offering the consistency and performance of porcelain.

Natural materials have long been central to McLean Quinlan's architecture, but with the renovation of a Lisbon townhouse, they also became a means of transforming the experience of everyday family life.

Completed for a young family, the 630m² project reworks a series of former townhouses that had been amalgamated during the 1990s into a single property. While generous in size, the building had become disconnected through years of piecemeal alteration, with split-level floors, oversized open spaces and an inconsistent palette that left interiors feeling cold, echoing and difficult to inhabit.

Rather than extending or radically altering the exterior, the architects focused on reshaping the existing fabric from within. The result is a four-bedroom family home with a separate guest apartment, where carefully proportioned spaces and a restrained palette of timber, stone, limewash and ceramic create an atmosphere rooted in wellbeing rather than luxury.

For associate architect and project lead Will Mouland, the design centred on making the house feel more human in scale.

"The house was oversized and disconnected, and we wanted to bring it back to something much softer and more domestic in scale," he says. "The project became about carefully shaping moments for family life; spaces to gather, work, play and unwind."

That approach is evident from the moment of arrival. Decorative mouldings and visual clutter have been stripped away to create a calmer entrance sequence, while the central staircase has been enclosed to establish a dedicated entrance hall. New Douglas fir screens replace the original glass balustrades, introducing warmth while allowing daylight to filter through the house.

Natural materials become increasingly important as the home unfolds. Limewashed walls soften light throughout the interiors, engineered timber flooring provides continuity between rooms, and Portuguese ceramic tiles reference local architectural traditions without resorting to overt stylistic gestures.

One of the property's most distinctive interventions occupies on the lower ground floor, where the clients' interest in wellness has shaped an entire level dedicated to relaxation and exercise. While it’s an overly and arguably misused buzzword, it can’t be argued that the outcome of Mouland and Co’s input does anything other than offer space to enhance one's wellbeing. What had once been a single expansive room has now been reconfigured into a sequence of interconnected spaces, including a yoga studio, massage room, gym, steam room, cold plunge and infrared sauna.

Here, material changes subtly define different experiences, with a lowered Douglas fir ceiling that distinguishes the wet zone, while the steam room is wrapped in matte micro-cement to create a monolithic, tactile enclosure. Elsewhere, a custom Douglas fir cold plunge and pale hemlock sauna reinforce the project's emphasis on natural finishes that age gracefully through use and sit firmly within the biophilic instruction manual.

Mouland explains that these materials were fundamental to the atmosphere the clients hoped to achieve.

"Wellness wasn't an add-on but very much the organising principle of the whole house," he says. "Natural materials were central to achieving that; there is an inherent calm to timber, stone and limewash. Subtle references to Portuguese materials helped root it in its setting without being overly literal about it."

On the principal living floor, spatial reorganisation proved just as important as the material palette. Rather than retaining the previous open-plan arrangement, McLean Quinlan introduced freestanding walls and timber screens to create a series of interconnected but distinct living spaces.

The relocated kitchen now overlooks the rear garden, where panoramic aluminium doors open fully onto a new terrace and curved timber deck. A dropped timber ceiling gives the kitchen its own identity within the wider plan, while concealed joinery hides a pantry behind flush cabinetry, reinforcing the calm visual language that runs throughout the house.

Elsewhere, bedrooms have been resized to create more comfortable proportions, while the primary bathroom adopts the same matte micro-cement used elsewhere to evoke the atmosphere of a contemporary spa. Other bathrooms are lined with softly undulating white glazed tiles inspired by Lisbon's long tradition of ceramic façades, their subtle relief catching changing daylight throughout the day.

Although the intervention is substantial, its architectural language remains restrained. Rather than introducing dramatic new forms, McLean Quinlan has relied on the enduring qualities of natural materials, careful detailing and thoughtful spatial editing to redefine the building.

The result is a home where timber, stone, plaster and ceramics work together to create interiors that feel rooted in place while supporting the rhythms of modern family life. In an era when wellness is often expressed through technology or overt spectacle, Lisbon Townhouse demonstrates the quieter contribution that materiality, proportion and craftsmanship can make to everyday living.

All images © Jim Stephenson

North Shields-based heritage contractor Classic Masonry has secured a £450,000 contract to carry out specialist masonry repairs as part of the restoration of the Grade II* listed Keelmen's Hospital in Newcastle.

Working for main contractor BRIMS Construction, the company will deliver the external brickwork and chimney repairs using a conservation-led approach that prioritises the retention of historic fabric. The works include repairing original masonry, stitching and stabilising deteriorated brickwork, salvaging and reusing materials from the site, and repointing with traditional hot lime mortars selected for their compatibility with the historic structure.

The appointment follows a series of significant heritage commissions for the company and reflects continuing investment in the repair of historic masonry across the UK.

Built in 1701 as an almshouse for the Tyne keelmen, Keelmen's Hospital is one of Newcastle's earliest surviving brick buildings and the last remaining structure directly associated with the city's historic keelmen community. After serving a variety of uses, including student accommodation, the building has stood vacant since 2009 and is currently included on Historic England's Heritage at Risk Register.

The wider £4.6 million regeneration scheme, led by Tyne + Wear Building Preservation Trust in partnership with Newcastle City Council, will transform the building into 20 affordable homes while preserving key historic features, including its clock tower and turret. Funding has been provided by The National Lottery Heritage Fund, Historic England and Newcastle City Council.

Classic Masonry has previously worked on a number of prominent conservation projects across the North East, including Fenwick Newcastle, St Mary's Cathedral, Morpeth Railway Station, Newcastle Civic Centre, Hylton Castle and the Union Chain Bridge.

Managing director Mike Moody said: "Keelmen's Hospital is an important part of Newcastle's heritage and we are proud to have been appointed. This is exactly the kind of historic, conservation-led work that sits at the heart of what we do.

"We would also like to thank BRIMS Construction for the opportunity to be involved in such a significant scheme. The work being delivered on site is a strong example of sensitive, high-quality restoration. Our specialist masonry package will be key to ensuring the building's historic fabric is carefully preserved for future generations."

Fresh from receiving a Royal Warrant from HM King Charles III – a milestone we recently reported on – conservation specialist DBR has secured another prestigious commission, this time to undertake heritage repairs to the historic Minka House at the Royal Botanic Gardens, Kew.

Commissioned by Kew's Capital Projects Team, the programme will preserve the traditional timber and thatched building, which was donated by the Japan Minka Reuse and Recycle Association as part of the Japan 2001 Festival. Originally home to the Yonezu family after their house was destroyed during the Second World War, the structure is now one of the UK's most significant examples of traditional Japanese domestic architecture.

The conservation project will combine specialist Japanese craftsmanship with sustainable repair techniques. Master Thatching Ltd will renew the thatched roof using traditional methods, while Sands & Randall will undertake repairs to the timber frame using Japanese joinery. DBR Conservation will restore the mud floor and internal plaster wall panels, with all replacement timber responsibly sourced from Japan in accordance with UK Forestry Commission requirements.

Working alongside Clews Architects, Firmingers and Hockley & Dawson Consulting Engineers, DBR will also adopt ecology-led construction methods to minimise environmental impact, including measures to protect local bat populations during the works.

DBR chairman Adrian Attwood said the project reflects the company's long-standing approach to conservation. "The Minka House represents a treasured example of traditional Japanese heritage, and our work will ensure its preservation through specialist craftsmanship and sustainable practices. This project demonstrates our commitment to balancing heritage conservation with ecological responsibility."

The works highlight the increasing emphasis on repairing and extending the life of historic buildings through traditional skills and carefully sourced natural materials. For DBR, whose portfolio spans palaces, cathedrals and nationally significant heritage assets, the Minka House represents another high-profile conservation project where craftsmanship and authenticity remain central to the building's long-term future.

The Isle of Purbeck has long been known for its quarrying credentials. Limestone has been extracted over many generations and has shaped much of southern England's architecture. It’s therefore rather fitting that TYPE has completed the transformation of two derelict quarrymen's cottages into a contemporary rural retreat. 

Rather than treating the existing buildings as outdated structures requiring replacement, the project embraces the cottages themselves as a quarry of materials, demonstrating how natural stone and reclaimed fabric can underpin a genuinely circular approach to domestic architecture.

The 85m² cottage occupies a small hamlet on Dorset's Jurassic Coast, within a landscape intrinsically linked to Purbeck limestone. Developed for clients who actively rejected pristine finishes in favour of weathered materials with visible histories, the brief centred on retaining as much of the existing building as possible while sourcing any additional materials through reclamation rather than new manufacture.

For TYPE, the project became an exercise in radical reuse that breaks from the take-make-dispose mindset of recent times. "There is a tendency in the industry to default to stripping and throwing out," says director Ogi Ristic. "Purbeck Cottage is intended to be a case study of what is possible when you resist that instinct. By beginning with what already existed – the stone, the joists, the floors, the fittings – and asking how each element could be retained, repaired or reused, the project has arrived at a quality of character that no new specification could replicate."

The original cottages had already undergone alterations before the current intervention, including the introduction of a double-height volume. Rather than attempting to reinstate an earlier layout, the architects used this existing intervention as the organising principle for the new home, creating an open-plan living space at its centre while positioning bedrooms at either end on the first floor. A restored butler's hatch reconnects the kitchen with the main living space, while a compact service core containing bathrooms, storage and utilities allows the principal rooms to remain open and flexible.

The greatest discoveries came during the strip-out. Beneath layers of carpet and concrete screed lay the original Purbeck stone floors, while removing later finishes revealed carefully dressed limestone walls built by local quarrymen more than a century ago. Rather than disguising evidence of previous alterations, TYPE chose to preserve them. Jackhammer scars remain visible in the stone floor, while areas of historic brick infill around fireplaces have been left exposed, creating a layered material palette that records successive chapters of the building's life.

That philosophy extended throughout the construction process. Every component removed from the building was assessed for reuse before replacement was considered. Floor joists that could no longer serve structurally were painstakingly denailed, resized and repurposed as framing within the new service core. Original floorboards found new life as ceiling linings, while both existing staircases were dismantled, adapted and reinstated using as much of the original timber as possible.

What’s more, new interventions are deliberately restrained. Hand-forged steel balustrades by local blacksmith John Churchill provide a contemporary counterpoint to the retained fabric without competing with it. Salvaged timber cladding carrying traces of its former red and green paint has been incorporated into doors, shelving and wall linings, while leftover offcuts were carefully worked back into the design to eliminate waste.

Natural stone continues to anchor the project beyond the retained structure. Stone sinks were carved from leftover fragments at a nearby Purbeck quarry, reinforcing the connection between the house and the geology that originally gave rise to the settlement itself. Indeed, where reclaimed materials could not be sourced from within the cottages, TYPE turned to reclamation yards, local suppliers and salvage dealers. Vintage brassware, sanitaryware, cast-iron radiators, lighting, ironmongery and a restored French stove all contribute to an interior where each element carries evidence of a previous life.

Environmental performance has also been improved through targeted interventions rather than wholesale replacement. Wood-fibre insulation was added within the roof, lime plaster replaced impermeable cement render to improve the thermal performance of the solid stone walls while allowing them to breathe, and an air-source heat pump, solar panels and high-performance timber windows modernise the building's services without altering its essential character.

Importantly, no extensions were added and the external envelope remains largely unchanged, avoiding the embodied carbon associated with demolition and new construction.

Purbeck Cottage illustrates how careful attention to the material already present within a building can generate architecture with both environmental integrity and remarkable richness. Here, the original limestone remains the constant thread, carrying the memory of the site's quarrying heritage while forming the foundation of a home designed for another century of occupation.

Images © Lorenzo Zandri

KBB distributor PWS has relaunched its UNITY made-to-measure furniture collection, introducing a new structure organised around five material-led décor categories, including an expanded range of stone-effect surfaces.

Based in County Durham, PWS supplies kitchens, bedrooms and components to independent retailers across the UK. The relaunch reflects growing demand for contemporary interior finishes, with the company restructuring its previous made-to-measure offer of 54 décors into five collections: ESSEN, LINEA, METARA, NURA and ROCCA.

Of particular interest is ROCCA, a collection of stone-inspired décors developed around the growing popularity of architectural and material-led interiors. The range includes concrete and cement-effect finishes such as Hayward Concrete, Trellick Concrete, Banham Concrete, Mocha Cemento and Fumo Cemento, offering designers a textured alternative to plain-colour furniture fronts.

The stone-effect surfaces have been designed to work alongside metallic, woodgrain and uni-colour décors across the wider UNITY collection, reflecting a broader trend towards layered material palettes in residential interiors. Available in both lay-on and handleless formats, the collection is intended for use across kitchens, bedrooms and living spaces.

Alongside ROCCA, the relaunch includes the NURA woodgrain collection, featuring reeded, linear and charred timber effects, and METARA, a series of metallic-effect décors inspired by brushed and oxidised metal finishes. The LINEA collection brings together matt and gloss uni-colours, while ESSEN forms the core range with a selection of everyday woodgrain and plain-colour finishes.

The move comes as manufacturers continue to expand the range of decorative surface materials available to furniture makers and interior designers. Advances in texture, print technology and surface treatments have enabled engineered boards and laminates to more closely replicate the appearance and tactile qualities of natural materials, including stone, timber and metal.

Laura Valliant, Product Development Manager at PWS, said the relaunch was intended to make the company's made-to-measure offer easier to specify while responding to changing design preferences. “By reorganising the range into clearly defined décor collections, we're making it easier for retailers and designers to specify coordinated modern interiors while giving them access to a broader mix of on-trend colours, textures and finishes,” she said.

The updated UNITY range continues to offer bespoke sizing, angled door solutions and drilling services, allowing retailers to create customised furniture schemes across a variety of residential applications.

While the relaunch spans a broad range of decorative finishes, the introduction of an expanded stone-effect collection reflects the continued influence of mineral-inspired surfaces within contemporary interior design, where concrete, cement and stone aesthetics remain a popular specification choice.

In the first of this two-part exchange, Studio Folk Architects directors Edward Powe and Patrick O'Keeffe reflected on their visit to the Lundhs quarries in Larvik, Norway, discussing how seeing stone extraction first-hand had challenged assumptions about material value, variation and specification. Their conversation explored why natural stone is increasingly becoming a default material within the practice and how a better understanding of quarrying could encourage more creative and sustainable design.

For the second instalment, the roles are reversed. Powe and O'Keeffe put their questions to Hege Elisabeth Lundh, Marketing and Business Development Manager at Lundhs, to gain a deeper understanding of the material itself and the realities of quarry operations. The discussion ranges from the distinctive optical qualities of Larvikite and the classification of stone blocks, to material traceability, biodiversity management and the ongoing challenge of finding productive uses for every part of the resource.

Together, the conversations offer a rare dialogue between architects and stone producers, revealing how greater understanding across the supply chain can help unlock new opportunities for natural stone in contemporary construction.

EP: Larvikite stone has a unique quality in that it reflects light only in certain directions. Could you explain a bit more about how what causes this, and what architects and designers should consider when specifying it?

HEL: Larvikite contains a lot of feldspar crystals. The feldspar mineral gives a very distinct appearance when you turn around the stone in the light.

Labradorescence is a unique optical effect caused when light is refracted and reflected by microscopic layers in certain feldspar minerals. As light strikes the stone, it creates a metallic, shifting flash, usually in vivid blue and green.  The effect is caused by thin, regular lamellae (microscopic layers) of varying chemical composition inside the stone. When light reflects from these layers, certain colors are intensified.

The colors appear to shift and move across the surface as the stone is turned in the light. Often called the Schiller effect, this phenomenon gives Larvikite its distinctive and recognizable appearance.

The direction of installation of tiles or panels will also be important when you work with Larvikite. Seen from one side, the crystals will be more visible; seen from the opposite side, the crystals will appear more subdued. The surface finish will also be vital for the final appearance. A high-gloss polished surface will highlight the crystals, and a more matte or structured surface will make them more subtle. 
 

POK: What format of stone does Lundhs export? Is this the case for all grades of material?
 

HEL: In our quarries, we extract raw blocks in different formats. Each block of stone will be classified as to size, quality and color. The different sizes and qualities will be used for different application areas. An A-grade large block will often be used for slabs/panels, while B-grade blocks will often be used for outdoor applications. 

Selecting the appropriate combination of color, quality, and size is crucial to ensure the stone is well-suited for its intended application, resulting in a beautiful and durable final product. Could you tell us a bit more about your classification process, and how you decide on the grade of each stone block?


When we extract the stone, several steps and processes are needed to decide the final quality. When the large “flakes” or “sheets” of stone are taken down, the first step of identifying the quality starts. Then the extracted stone will be cut into blocks according to the first evaluation. The second evaluation will be done when the blocks are formatted. Here the unique block number stating size, quality and color will be entered into our system, giving full traceability throughout the value chain. 
 

EP: What are some of the barriers and opportunities for quarries to make more use of off-cuts and leftover material?

HEL: Some years ago there were much more cut-offs and surplus material than we have today.  At this stage, we have developed several areas of use for different qualities and sizes of stone, like building blocks, coastal protection and also aggregates, in addition to the A and B-grade blocks. Even the stone dust from sawing will be used as a soil fertilizer. 
 

Still, we have not reached our ultimate goal to utilize 100% of the resource in all our quarries. This will require even more use of stone as a building material, for instance, instead of concrete – the “old” way of building. By developing new areas of use and promoting the possibilities towards the architect community, we see that we are making progress – but slowly. It is still hard to compete with the established materials like concrete. 

POK: We were interested to see areas of the quarries now protected to encourage ecology and biodiversity. Can you tell us more about this process?

HEL: When we operate our quarries, we must protect the environment and biodiversity, both during production and when operations cease in certain areas. Once an area is closed, it must be restored using local soil to preserve native biodiversity. Flowers and trees that naturally belong in the area should be able to continue to grow and thrive, and no non-native species should be introduced.

Water use and treatment during production is another major focus area. The dust generated by the wire cutting of larvikite is not hazardous in any way, as it does not contain silica. Even so, we must ensure that the water released back into the environment is also visually clean. This is achieved through sedimentation pools, where the dust settles and the clean water flows through. Samples are taken every week and submitted to the authorities to ensure that all requirements are met.

When areas are planned and later designated for quarry operations, strict rules are put in place to ensure that the habitats of endangered animals, flowers, and trees are not harmed in any way. Respect for nature and our surroundings will always be a priority for us. 
 

EP: One of the unique things about stone is that it can be traced back to a single source location, in a way that composite or processed materials cannot. Are you seeing any trends in relation to material traceability?

HEL: Absolutely! The traceability is something we see as important, both due to the need for documentation, but also related to the increased focus on ESG. 

 

As a provider of a non-renewable resource, we need to be transparent regarding the impact our operations have on the world and our surroundings. 

Natural stone plays a defining role in SEVEN at Southbank Place, a new residential building by Stanton Williams that completes a prominent section of the wider Shell Centre redevelopment on London's South Bank.

Positioned between the Grade II-listed Shell Centre tower and the Hungerford Bridge railway viaduct, the 24,560m² development delivers 92 apartments above retail, restaurant and concierge facilities. Developed by Braeburn Estates, a joint venture between Qatari Diar and Canary Wharf Group, the project forms one of nine buildings within the masterplan for the 5.25-acre Shell Centre site.

For Stanton Williams, stone became both a contextual response and a central architectural idea. The practice conceived the 15-storey building as a monolithic block of limestone emerging from the surrounding public realm, drawing inspiration from the material character of neighbouring landmarks including the Shell Centre and the Royal Festival Hall.

"SEVEN's architecture intentionally doesn't shout," says Paul Williams, director at Stanton Williams. "We wanted to design a building that harmonises with the Shell Centre, maintaining the same sculptural solid appearance, and, at the same time, creating a strong river-facing presence to Southbank Place."

The building's river frontage is carefully modelled to reinforce that concept. Deeply inset balconies are cut into the façade, creating a faceted surface that catches light and shadow throughout the day while preserving a sense of solidity. Chamfered balcony openings widen views towards the Thames, while the horizontal expression references the rhythm of the neighbouring Royal Festival Hall.

At ground level, the building sits on a double-height plinth clad in Portuguese limestone. Facing west towards Jubilee Gardens and the river, the stone base establishes a visual connection with the wider South Bank context while providing a durable and tactile material at street level. The height of the plinth responds both to the proportions of the Shell Centre tower and the scale of the adjacent railway arches.

Elsewhere, the building adopts a more restrained language. The eastern elevation overlooking Casson Square combines bronze-coloured metal panels and glazing, while the north and south façades are characterised by punched openings and deep reveals. Ribbon windows on the northern elevation maximise views across the city.

The use of natural stone was also informed by longevity. Designed as a permanent addition to one of London's most significant riverside locations, the building employs a material palette selected to weather gracefully over time and maintain its character at both urban and human scales.

This emphasis on durability aligns with the project's wider environmental strategy. A fabric-first approach delivers high levels of insulation and airtightness, supported by triple glazing and whole-house ventilation systems with heat recovery throughout the apartments. Additional measures include an intensive green roof, integrated bird boxes and water attenuation systems. Residential elements have been designed to meet Code for Sustainable Homes Level 4, while non-residential spaces target a BREEAM Very Good rating.

Internally, the development offers a mix of one, two and three-bedroom apartments, together with a collection of duplex penthouses occupying the upper floors. Many homes are dual aspect, maximising natural daylight and views while maintaining privacy within a dense urban setting.

The completed building marks the final phase of the Southbank Place masterplan and occupies a highly visible position within one of London's most culturally significant districts. Overlooking Jubilee Gardens and within walking distance of the Southbank Centre, National Theatre and Waterloo Station, it sits at the intersection of post-war modernism, contemporary development and public life.

For Stanton Williams, the challenge was to create a building capable of mediating between these conditions. Through its restrained form and extensive use of limestone, SEVEN at Southbank Place demonstrates how natural stone can contribute not only to architectural character but also to a sense of permanence and continuity within a rapidly changing urban landscape.

As interior trends continue to favour natural materials and quieter, more refined palettes, demand is growing for stones that offer visual character without overwhelming a space. Among them is Calacatta Vagli, a marble distinguished by its flowing grey veining and subtle gold tones set against a soft white background.

Available through stone specialist Cullifords, the material has become increasingly popular with homeowners and designers seeking a balance between statement-making natural stone and a more restrained aesthetic.

Founded in 1976, Cullifords has built a reputation as one of the UK's leading suppliers of natural stone, sourcing materials from quarries around the world for residential, commercial and hospitality projects. The company maintains extensive stock holdings at its Surrey headquarters, where architects, designers and clients can view full slabs and select material for individual projects.

According to director Oli Webb, Calacatta Vagli's appeal reflects a wider shift in interior preferences.

"Calacatta Vagli has always been a well-regarded marble, but we've definitely seen stronger interest in it recently as interiors move towards softer, more neutral colour palettes," he says.

"Clients still want natural movement and veining within their homes, but there's been a noticeable move away from very heavy or high-contrast stones towards materials that feel lighter and easier to live with. Calacatta Vagli sits comfortably within that direction because it has enough veining to create interest, but not enough to dominate a room."

Quarried in Italy, the marble is characterised by fluid grey veining interspersed with gentle taupe and gold accents. The patterning varies considerably between slabs, allowing designers to create highly individual installations while retaining a coherent overall appearance.  And that versatility has led to its use across a growing range of residential applications.

"Bathrooms remain the most popular in terms of application, particularly across vanity units, wall cladding and shower surrounds," says Webb. "However, we are seeing an increase in kitchen requests, particularly for islands, worktops and full-height splashbacks, where the veining can be appreciated on a larger scale."

He adds that the stone is increasingly being used beyond traditional wet areas. "Clients have also started introducing it into living spaces through fireplaces, coffee tables and bespoke furniture pieces and even staircases, which creates more continuity throughout the home."

For designers looking to create a cohesive material palette, the marble's understated character is a significant advantage. Like many natural stones, its appeal also lies in its inherent variation. No two slabs are identical, making each installation unique. "The variation between slabs gives each installation a personalised feel, which is something homeowners are increasingly drawn to," points out Webb.

When combined with timber, brushed metals and textured finishes, the marble can take on a warmer and more relaxed character, demonstrating the adaptability that has helped secure its place in contemporary interiors. As designers continue to seek materials that balance visual interest with longevity, Calacatta Vagli's understated elegance appears well positioned to remain a popular choice.