Founded in 1962 by Emilio Biasi, Biasi Marmi has spent more than six decades refining its relationship with natural stone, evolving from a traditional marble sawing operation into a contemporary producer of fully realised stone solutions. Today, under the direction of the third generation — Michele and Corrado Biasi — the Italian company represents a broader shift taking place across the stone sector: the move from raw material supply towards integrated design, fabrication and delivery.

The company’s early years were rooted firmly in block processing. Like many post-war Italian stone firms, Biasi began as a specialist in transforming quarried marble into workable slabs, serving fabricators and contractors further down the supply chain. The turning point came during the 1990s, when generational change prompted a reassessment of what a stone company could be. Rather than remaining a processor of raw material, Biasi repositioned itself as a partner capable of managing the entire lifecycle of a project, from material selection through to installation.

This transition now defines the company’s identity, and today, Biasi describes itself as a “Stone Solution” provider, reflecting a practice centred on finished products rather than intermediate supply. Its production focuses on customised architectural elements, complex surface applications and bespoke project work. Through collaboration with architects, designers and contractors, the team offers resolved outcomes for interiors, façades and shaped components.

Central to this evolution is the balance between craftsmanship and technological investment. Despite its industrial expansion, Biasi continues to frame itself as an artisan company at heart. Manual knowledge, including understanding veining behaviour, structural performance and finishing techniques, remains fundamental to its approach. At the same time, the introduction of advanced machinery has expanded what that craftsmanship can achieve.

A significant milestone came in 2012 with the installation of a five-axis CNC machine, enabling complex geometries and high-precision fabrication. The technology allows natural stone to be processed with a level of consistency and efficiency aligned with contemporary architectural demands, while still retaining the material sensitivity associated with traditional Italian workshops. This merging of hand knowledge and digital production mirrors wider changes within the stone industry, where innovation increasingly enhances rather than replaces craft.

Among the materials most closely associated with the company is travertine. Biasi has developed a particular expertise in interpreting this historically familiar stone for contemporary contexts, applying modern fabrication techniques and finishes that extend its application beyond classical architecture. The result is a material language that respects tradition while accommodating current expectations around detailing, performance and aesthetic flexibility.

Supporting its production model is a comprehensive service structure designed to accompany projects from conception to completion. Design consultation and sampling form the starting point, with detailed analysis, surveys and mock-ups used to test material behaviour and visual outcomes before fabrication begins. A dedicated showroom allows clients to engage directly with slabs and finished surfaces, reinforcing the importance of physical selection in an increasingly digital specification environment.

Beyond fabrication, Biasi coordinates packaging, logistics and on-site installation, positioning itself as an international ambassador for Italian stone expertise. This global outlook reflects the growing demand for integrated delivery, particularly on complex architectural projects where consistency across design, manufacture and installation is critical.

The company’s trajectory illustrates a broader redefinition of value within the natural stone sector. As architects seek greater precision, sustainability awareness increases, and projects demand tighter coordination, stone suppliers are increasingly required to operate as collaborators rather than material vendors. Biasi’s evolution from block cutter to project partner reflects this shift, demonstrating how heritage businesses can adapt without losing their identity.

More than sixty years after its founding, Biasi Marmi sees its latest phase as a “new beginning”. The company’s history remains embedded in quarry traditions and artisan knowledge, yet its future lies in a holistic understanding of material, craft and construction supported by technological innovation.

For more than three decades, Bennetts Associates has explored how architecture can achieve more with fewer resources. In this interview, partner Peter Fisher discusses the practice’s guiding principle, ‘More with less’, and how it informs a growing engagement with natural stone, from lessons learned through retrofit projects to new approaches that position stone as a durable, low-carbon material capable of shaping simpler, more legible buildings.

SS: There’s so much to cover with your practice, but perhaps a good place to start is your maxim, ‘More with less.’ Can you explain where this stems from and how it informs your approach?

PF: Bennetts Associates has, for over three decades, worked at the intersection of energy and resource conscious architecture. Our ‘More with less’ approach looks at how buildings could be made leaner, with fewer materials, simpler assemblies and lower embodied carbon. 

Stone, if used differently, could form part of that agenda. It is durable, self-finished and, in the right configuration, capable of forming a robust envelope without layers of additional materials. 

A building approached with a ‘More with less’ ethos can also produce buildings that are calmer and easier to understand. The aesthetics of natural materials help to create more authentic spaces and promote wellbeing and a sense of calm. For instance, stone demonstrates the beauty of simplicity, offering aesthetic and structurally functional façades.

This approach is not solely a question of materials and upfront carbon. Via ‘More with less’, we can also simplify how we ventilate, heat and cool spaces, reducing our reliance on mechanical systems by optimising our passive design approach.

SS:  This approach hints at a reduction or stripping back of material and resource use, as well as a simplification of systems within the design of a building. Can you share some examples of this in practice?

PF: Much of our work has focused on bringing techniques and materials that sit outside the commercial mainstream into everyday use. Projects such as Timber Square, where we explored cross-laminated timber (CLT) at scale, is one example. Another example is The Apex, the first building within London's largest purpose-built life sciences development, TRIBECA, which used earth blocks in a contemporary urban context. These projects are not about novelty, but about making alternative approaches viable within the constraints of real projects.

SS: And there are, of course, some nice examples that utilise stone to throw into the mix too!

PF: Yes, stone is another material we have used before, and we have long admired buildings where stone is used with clarity and conviction. Portcullis House and the Emmanuel College Theatre demonstrate a robust and contemporary use of the material, while Clerkenwell Close suggests something more provocative, where stone becomes both structure and expression. 

Wessex Water HQ and Mill Brow employed it more traditionally, while projects such as the Bayes Centre and 40 Chancery Lane used stone as a cladding material on a precast backing. More recently, we have begun what might be called a deeper engagement with the material.

Wessex Water. Image © Peter Cook

SS: Of course, you aren’t always designing new buildings from the ground up, and have a strong retrofit ethos - which I’m sure, like me, will be music to the ears of our readers. Of course, this helps with decarbonisation, but I imagine it can also create character and connection to place?

PF: Taking a ‘More with less’ approach and prioritising the combined effect of reuse with honest materials has many benefits. The same decisions that reduce carbon also support a more authentic building and character. 

A key example of this includes the University of Edinburgh’s Futures Institute. A Whole Life Carbon Assessment was commissioned for the Edinburgh Futures Institute, with total upfront embodied carbon of 361 kgCO2 e/m2, demonstrating that retention of the existing building, with substantial repairs, new extensions and careful material choices, can result in around half the embodied carbon of a typical new build.  At the same time, our practice preserved the building’s significant heritage as a former Nightingale hospital. While it was important that the building no longer feels like a hospital, its history and memories of those who used it have been honoured. 

Likewise, our architectural ambition with Timber Square - the UK’s largest cross-laminated timber (CLT) mixed-use development by volume and the country’s tallest hybrid timber frame scheme, was to achieve a characterful authenticity that echoed the expedience of the area’s industrial past. By retaining and enhancing the original structure of The Print Building, we conserved valuable materials and celebrated the building’s industrial heritage, while also adopting the same hybrid timber and steel approach for The Ink Building.

Kett House. Image © Bennetts Associates

SS: I’m intrigued to hear more about Kett House, an office project in Cambridge that is due to start this year, having recently got through planning. I gather that lowering embodied carbon is at the centre of those plans, with materials playing a central role. Could you tell me a little more about what we can expect from this ambitious scheme?

PF: With Kett House, an eight-storey, c.160,000 sq. ft, best-in-class office building, we are exploring how stone offers a sense of material presence and legibility, where its use can be read directly in the finished building. The project has recently secured planning consent using Darney and Portland stone bricks, with the aim of developing a repeatable approach that can be applied more widely. Our plans aim to deliver an economic and resourceful building designed to last.

SS: We’ve touched on it, but I’m aware that, as a practice, you’ve made a collective effort to explore the use of stone in your projects. I’d love to hear more about the decisions behind this and how you’ve gone about it.

PF: Our practice has explored a more active engagement with stone through conversations with those working directly in the industry. Visits to the Stone Masonry Company’s yard and discussions with engineers and suppliers helped to build a practical understanding that is often absent from architectural discourse. There is a notable openness within the UK stone industry, where knowledge is shared across what might otherwise be seen as competing companies. If a material is to become relevant again at scale, it cannot remain the preserve of specialists.

A key step for us was understanding the process itself. A visit to Darney with Marcus Paine at Hutton Stone focused on the sequence from quarry to building. The question was simple: what is expensive and what is economical? The answer was equally direct. Much of the cost and waste associated with stone arises not from the material itself, but from aesthetic selection and complex detailing. Large portions of quarried stone are discarded because they do not meet narrow visual criteria or because they are worked to suit bespoke geometries.

SS: And, again, how has all this newfound knowledge and enthusiasm for stone precipitated through into projects, and have you faced any challenges in using stone along the way?

PF: Early attempts to translate this interest in stone into projects focused on more ambitious applications, including structural and load-bearing stone façades. While the architectural appeal of stone was clear, these studies faltered on a lack of confidence, particularly around cost and logistics. Cost comparisons challenged assumptions, at times appearing implausibly low, while integrating structure, envelope and thermal performance introduced complexity that was difficult to resolve with certainty. More fundamentally, placing stone at the centre of the structural strategy brought it onto the critical path of projects, with risks that were hard to reconcile within commercial constraints.

From this emerged a more focused approach. Rather than pursuing load-bearing stone immediately, our attention shifted to self-supporting stone façades. This pragmatic approach retains a conventional structure while replacing one form of masonry with another, allowing continuity and fallback options such as clay brick.

SS: I’d still imagine this could be difficult to translate from on-screen design into hands-on reality. Did you have to do any construction testing to ensure it would actually work in the way you needed it to?

PF: Working again with Hutton Stone, and with Albion for the first time, a small demonstrator was built in our courtyard by Szerelmey. Stone bricks and larger blocks in Darney and Portland were assembled with different finishes and proportions to test simple, repeatable approaches. In particular, it explored how less selective use of stone, combined with finishes such as drag sawn or pitched surfaces, could accommodate natural variation rather than reject it.

This has clear parallels with other industries. Just as restaurants have rediscovered nose to tail, there is an opportunity to use a far greater proportion of quarried stone. Doing so reduces waste, lowers cost and changes the aesthetic expectations placed on the material.

There are, however, constraints. Masonry façades remain labour-intensive, and larger-scale use demands careful coordination. Treating stone as a façade system, rather than structure, avoids placing it on the critical path while knowledge is built. 

Bayes Centre Image © Keith Hunter

SS: But it sounds like some truly positive steps have been taken along the way?

PF: Yes, at the same time, there is a broader shift underway. Glazing ratios are falling, yet solid façades remain inefficient, relying on layered systems and hidden material with high cost and carbon. Replacing aluminium or precast concrete with self-supporting stone offers a simpler, lower-carbon alternative.

This remains a starting point rather than a conclusion. There is much still to explore. The aim is to reposition stone from an exceptional material into everyday construction. If it is not mainstream, it is not relevant.

Clerkenwell Design Week clearly has an affinity with bricks. Last year, it was stone bricks used to create Brick From a Stone, while this year, we’ve spotted glass and masonry blocks at E H Smith, along with a very special external installation from Studio Egret West.

With BREW HOUSE, the team has turned one of the city’s most familiar waste products - coffee grounds - into a speculative construction material, creating a pavilion-cum-coffeeshop built from 600 experimental “BREW BRICKS”. Installed as part of the festival’s wider programme of architectural installations, the project explores how discarded coffee grounds might be diverted from the waste stream and reintroduced into the construction cycle. 

Rooted in circularity, the initiative began with a deceptively simple question posed within the practice: could the by-product of London’s daily coffee culture become a viable building material? From there, the process became highly collective. Over several months, members of the Studio Egret West team gathered approximately 300kg of spent coffee grounds from cafés across the capital, prioritising businesses already separating organic waste.

Those grounds were then passed to York Handmade Brick Company, which integrated the material into its clay firing process. Rather than acting as a superficial additive, the organic waste became part of the brick’s physical makeup. During firing, the coffee particles burn away to create a more aerated structure, reducing the amount of virgin clay required while also producing a lighter unit.

The resulting BREW BRICK uses 10% less finite clay material and is approximately 5% lighter than a conventional brick. While modest on paper, those reductions carry broader implications around transportation, embodied carbon and structural efficiency, particularly in façade applications where cumulative weight has a significant impact on supporting systems.

What’s more, the bricks retain the tactile familiarity of fired clay while carrying a subtly different character. Their slightly lighter composition and textured surface hint at the organic matter embedded within them, reinforcing the idea that waste can leave a visible trace within architecture rather than being concealed from it.

To demonstrate the material beyond the scale of a sample, Studio Egret West collaborated with the engineers at Simple Works to create the BREW HOUSE pavilion itself. The structure acted as a full-scale proof of concept, showing how the bricks could operate as part of a coherent architectural system rather than as an isolated research exercise.

That sense of applied experimentation sits at the centre of the project. Rather than presenting circularity as an abstract sustainability ambition, BREW HOUSE translates it into something immediate and tangible: waste collected locally, processed collaboratively and returned to the built environment as a usable construction material.

For Studio Egret West, a transdisciplinary practice working across architecture, landscape and urbanism, the installation also reflected a wider interest in how material choices contribute to the stories cities tell about themselves. Coffee grounds, often discarded without thought, became a means of examining urban consumption, resource cycles and the hidden systems underpinning everyday routines.

In doing so, BREW HOUSE points towards a broader shift taking place across material design and construction. As pressure grows to reduce reliance on virgin resources, architects, manufacturers and makers are increasingly exploring how waste streams can become part of future material supply chains. What emerges is not simply a substitute for conventional construction products, but new material languages shaped by reuse, locality and circular thinking.

While a regular fixture of Clerkenwell EH Smith Architectural Solutions installation, Light as Brick, has lit up Clerkenwell Design Week. Developed with architect and designer Simon Astridge, it explores how traditional masonry materials can move beyond their conventional architectural role, and challenges the company’s steadfast image as a purely masonry-based brick supplier, with the introduction of glass.

Installed at the company’s showroom on St John Street, the project consists of a series of illuminated objects, tables and sculptural forms. Created in collaboration with Arcitile, the installation combines welded steel armatures with translucent glass bricks from Fornace Sant’Anselmo and heavily textured ceramic units from its experimental Terraformæ range.

The result challenges many of the assumptions traditionally associated with brick, not least weight, opacity and repetition, and instead presents the material as something tactile, atmospheric and unexpectedly delicate. Internally illuminated with LEDs, the pieces play with contrasts between solidity and transparency, erosion and refinement, and explore what happens when brick is removed from the wall and reconsidered as an object in its own right.

For EH Smith, the installation reflects a longer-standing engagement with material experimentation and architectural collaboration. Founded in 1922, the company has evolved from a traditional brick supplier into one of the UK’s best-known specialists in façade systems, ceramic and terracotta cladding, and architectural material specification. Over the past century, it has worked closely with architects, contractors and designers on projects ranging from civic and education buildings to large-scale commercial developments, helping bring increasingly ambitious material concepts into the built environment.

While Light as Brick forms part of the wider creative programme surrounding Clerkenwell Design Week 2026, it also highlights a broader shift taking place across architecture and interiors. Materials once valued primarily for structural or functional performance are increasingly being reconsidered through a more sensory and expressive lens, with texture, tactility and atmosphere playing a greater role in specification.

The hand-cast glass bricks, produced in a Veneto furnace active for more than a century, contrasted with the deliberately distorted ceramic forms developed through Terraformæ’s more experimental firing processes. Together, they demonstrate how traditional fire-based manufacturing techniques can still generate entirely contemporary material outcomes.

Technical delivery and fabrication were led by Arcitile, the specialist surfaces contractor founded by Tony Goodall and Dan Evans, whose work often focuses on complex commercial and architectural surface installations.

Rather than simply presenting products, Light as Brick positions masonry materials within a wider conversation about materiality, perception and architectural atmosphere — an approach increasingly visible across both the stone and surfaces sectors.

Kristian Goodenough is co-founder of The Bespoke Sign House, a UK studio specialising in bespoke natural stone signage for exterior architectural applications. Working primarily with slate, granite and limestone, he brings a fabrication-led understanding of how stone performs in real environmental conditions.

In this Insights article, he draws on hands-on project experience, and advocates for more informed stone specification, emphasising the importance of exposure, detailing and long-term durability in achieving successful architectural outcomes.

"Stone is often specified with confidence, and in many cases, rightly so. It is a material associated with permanence, durability and architectural integrity. Yet in practice, we are increasingly seeing situations where stone begins to show signs of ageing earlier than expected, particularly in exposed external applications.

This is rarely a failure of the material itself. More often, it reflects a disconnect between how stone is selected and how it performs once exposed to real environmental conditions, whether that be through limited consideration of exposure at specification stage, or materials being selected from internal samples without fully accounting for how they will behave in situ. When material, detailing and exposure are aligned, stone performs exceptionally well. When they are not, even well-regarded materials can be seen to struggle over time.

The Myth of Universal Durability

Stone is often discussed as if it were a uniform material. In reality, it is a broad category encompassing materials with very different physical characteristics.

Differences in pore structure, density, mineral composition and bedding all influence how a stone interacts with moisture, temperature and environmental exposure. These are not abstract properties, but they directly affect how a material behaves over time.

From a specification perspective, this means durability is not absolute. A stone that performs well in one setting may behave very differently in another. Understanding these differences early on in a project is key to aligning material choice with real-world conditions.

Where Specification Can Fall Short

Stone is frequently selected for its visual qualities early in the design process, with technical considerations following later. This is understandable, as materiality plays a central role in architectural intent.

However, performance characteristics are not always given the same weight at the point of selection. By the time factors such as absorption, exposure or maintenance are considered, the material decision may already be fixed.

As a result, specification can reflect how a material looks on day one, rather than how it performs over ten winters. Maintenance is also often assumed rather than defined. Treatments such as sealers may reduce surface absorption temporarily, but they do not fundamentally change how a stone behaves over its lifespan.

Stone itself is rarely the issue. More often, it is used outside of the conditions it is best suited to.

Exposure and Long-Term Performance 

In the UK, moisture is a constant factor, and freeze-thaw cycling should always be considered. When water enters the pore structure of a stone and freezes, expansion can gradually lead to surface breakdown over repeated cycles.

Urban environments introduce additional variables. Pollution, biological growth and surface contaminants can all influence how a material weathers, particularly on more exposed elevations.

These conditions are not unusual; they are typical. The key consideration is how frequently a material is exposed to them, and how that exposure interacts with its physical characteristics.

Where moisture becomes trapped, however, performance can change significantly over time. Even traditionally ‘durable’ stones can underperform in these conditions, as repeated wetting, freeze-thaw cycling or restrained movement introduce stresses that the material would not otherwise experience.

Why Smaller Exterior Elements Often Show Wear Sooner

Smaller stone elements, such as architectural details or stone signage, can often exhibit signs of wear earlier than larger façade applications.

This is largely due to how they interact with their environment. With less thermal mass, smaller elements tend to heat and cool more rapidly, and experience quicker wetting and drying cycles. They also have a higher proportion of exposed edges relative to their size, so are inherently more vulnerable.

At this scale, detailing becomes more critical. Fixings, junctions and edge conditions all play a greater role, as there is less material to absorb movement or moisture ingress. Over time, these factors can combine to accelerate visible change, even when the same material performs well in larger applications.

Specifying for Longevity

Improving long-term performance of projects is rarely about major changes. It is more often about asking the right questions early in the design process.

Consideration should be given to:

What level of exposure will this element face?

How will water interact with its surface?

What are the material’s absorption characteristics?

Is bedding orientation respected?

What level of maintenance is realistic and expected over time?

Small adjustments such as edge detailing, finish selection or orientation can have a disproportionate impact on how a material performs. Addressing these factors early allows design intent and material behaviour to align more closely.

Stone remains one of the most versatile and compelling materials available to architects. It can feel both historic and contemporary, robust and refined. When used appropriately, it offers longevity that few materials can match.

But natural does not mean invulnerable.

Durability in stone is not simply an inherent property; it is the result of informed selection, appropriate detailing and an understanding of exposure. When these factors are considered together, stone performs as expected and often exceeds expectations over time."

For more information about Kristian's work, visit The Bespoke Sign House

It’s hard to believe that The Stone & Surfaces Show 2026 opened a week ago already. 

Returning to ExCeL London with renewed confidence and a noticeably broadened outlook, it’s a pleasure to reflect on three days of content that took shape in the form of material displays, installations, talks and demonstrations.

Repositioned to reflect the evolving surfaces sector, the exhibition demonstrated how natural stone continues to sit at the centre of architectural material thinking while sharing the stage with ceramics, engineered materials and hybrid surface technologies. 

Overall, the show highlighted how the industry is no longer defined solely by extraction and the fabrication of new materials, but by how materials perform together, the application of reuse and circularity principles and the roll technology (including AI) is playing in advancing design.

A highlight of the event came via returning exhibitors Portland Sculpture & Quarry Trust. Not content with simply displaying stunning examples of stone carving on the stand, the team also enraptured guests with live demonstrations across the entire three days, engaging students, designers and contractors alike. 

The demonstrations highlighted masonry as both a heritage craft and a future-facing profession, introducing visitors to carving techniques, tooling and the wider career pathways available within the stone sector. The consistent crowds gathered around these activities reflected ongoing industry concerns around skills succession while showcasing the enduring relevance of traditional craftsmanship.

In terms of the defining trends spotted at the show, variations in surface texture came to the fore. Portuguese stone supplier Dimpomar presented a refined palette of limestones and marbles, emphasising tactile finishes, from softly honed surfaces to bush-hammered textures that respond subtly to changing light conditions. 

The emphasis here moved away from high polish toward finishes that prioritise material authenticity, as reflected by Arcturus Stones, who showcased stone surfaces designed to deliver visual depth without excess, with split-face and textured finishes demonstrating how stone is increasingly specified to introduce atmosphere and tactility rather than visual statement alone. 

Large-format materials, rather naturally, also stood out, reflecting ongoing demand for seamless surfaces in residential and commercial interiors. LaMar Ceramics highlighted expansive porcelain slabs suited to worktops, façades and interior cladding, demonstrating how fabrication technologies now allow ceramic materials to operate at architectural scale. 

Complementing this, RT Stone presented large-format stone and engineered solutions aimed at reducing joint lines while maintaining the visual integrity of natural material patterns. The convergence between stone and advanced ceramics was particularly evident, underscoring the exhibition’s wider surfaces identity.

While lightly coloured surfaces defined many displays, not least veined quartz from the likes of Xiamen Jialei Stone, there was also room for expressive, even maximalist materiality. Goldtop Stone drew attention with semi-precious stone offerings, including agate and gemstone panels designed for feature walls and high-end interiors. 

These installations illustrated a parallel direction within the industry: alongside minimalism and texture-led design, there remains strong demand for statement materials capable of delivering colour, translucency and visual drama when used selectively.

Beyond product launches and technical discussions, the social programme reinforced the industry’s growing focus on inclusivity and professional networks. Women in Natural Stone (WINS) hosted an informal drinks reception during the show, bringing together professionals from across the sector for networking and conversation. As organiser Lisa Nunn noted: “It was great to network and meet up with so many women at the Stone & Surfaces Show. Thank you to everyone who took the time to stop and chat, we are looking forward to our upcoming events and continuing to grow the WINS network.”

Stone & Surfaces Show 2026 ultimately highlighted that natural stone remains fundamental to architecture and design, not least with the growing move (back) towards structural stone, as highlighted by the likes of Amin Taha, Justin McGuirk and Eleonora Regni on the Main Stage. Yet its role is expanding, positioned alongside ceramics, engineered materials and hybrid systems rather than in competition with them. The prominence of textured finishes, the continued rise of large-format surfaces, renewed emphasis on education and skills, and the strengthening of professional networks all pointed toward an industry increasingly defined by collaboration, material intelligence and a broader understanding of surfaces within contemporary architecture and design.

We’ll see you there for the next exciting installment this time next year!

At this year’s Stone & Surfaces Show, Barham & Sons emerged as a great example of how material suppliers are continuing to evolve in an uncertain market, and are, at least in part, using stone to do so. As keynote speaker Amin Taha reflected in his rousing talk, the combined use of natural stone and timber can greatly help reduce the construction industry’s current 40% of global carbon emissions. While he was largely focusing on structural applications of the materials, the same can indeed be said of surface-based applications. Something Barham & Sons clearly agree with.

Based in Suffolk, Barham & Sons has its roots firmly in timber craftsmanship. The family-operated company built its reputation through bespoke hardwood flooring, custom manufacturing and finishing processes carried out in England, supplying projects ranging from domestic interiors to commercial environments. The company remains grounded in material knowledge, from grading timber, controlling finishes and understanding how natural materials age and perform over time.

This timber-led background continues to inform the company’s broader approach to surfaces today. Rather than abandoning its origins, Barham & Sons has expanded its offer into a more holistic interior material palette that now includes doors, flooring systems and wall finishes spanning both wood and stone applications. Their product range combines solid and engineered oak flooring with luxury mineral plank and vinyl surfaces, alongside natural stone wall panelling solutions designed to sit comfortably within contemporary interiors.

The move into stone is less a departure than a logical progression. At the Stone & Surfaces Show, Barham & Sons presented stone wall panelling systems that emphasise texture, tactility and ease of specification — qualities increasingly valued by architects and designers seeking durable yet expressive interior finishes.

Rather than presenting stone as novelty, the company’s showcase reinforced a quieter message emerging throughout the exhibition: innovation in surfaces often comes not from entirely new materials, but from rethinking how established ones are combined, detailed and experienced.

It’s finally here, the wait is over. The doors are open, the ribbon is cut. 

The Stone & Surfaces Show is officially open and in full swing!

At 10 am Tuesday, 12th May, the eagerly awaiting crowds streamed across the threshold of London ExCel, gaining access to the only UK trade show with a dedicated section for stone. 

As well as natural stone, it is also one of the UK’s leading gatherings dedicated to engineered surfaces, the technologies shaping contemporary construction and design. Bringing together architects, designers, specifiers, fabricators and suppliers, the event is celebrating the full lifecycle of surface materials — from quarrying and craftsmanship to fabrication, installation and innovation.

As visitors are finding, the show combines a vibrant exhibition floor with live demonstrations, technical insight and industry-led talks, creating a meeting point where tradition meets forward-looking material thinking. Alongside established stone specialists and global surface brands, visitors are being wowed by new product launches, advances in processing technology, sustainability discussions and practical knowledge sharing across the sector.

The talks programme, which extends across the Main Stage, Architects Theatre and Surface Cinema, opened with insights from Amin Taha and his keynote, Let’s Get Stoned. While an amusing title, Amin shared his expert experience with hybrid timber and stone buildings, and that set the tone for the very serious theme of reducing carbon emissions to play out throughout the day. 

The likes of  David Kong of Kong Industries, Marcus Paine of Hutton Stone and Giullian Giorgi from Allies and Morrison delivered their own thoughts about the sustainability credentials of stone, with the latter two doing so in discussion with design world A-lister, George Clarke.

In terms of the exhibitors, the hall is split into three main sections, and the stone area is a treasure trove of discovery! UK stone specialist Sonic Stone’s stand certainly catches the eye. 

The company is focused on precision fabrication and installation of natural stone and engineered surfaces for residential and commercial interiors. They’ve pulled out all the stops this year, with a selection of large-scale, backlit semi-precious panels ranging from deep green quartz to luminous agate.

A stand out surfaces offering comes from UK-based supplier Specta Surfaces, which specialises in large-format quartz surfaces for architectural and interior applications. The company focuses on high-performance, design-led materials suited to kitchens, bathrooms, façades and commercial environments, combining contemporary aesthetics with durability, low maintenance requirements and technical consistency. Visitors to the Stone & Surfaces Show can expect a beautiful range of products across an array of material types and colours, and all at a vast scale.

In terms of technology, there is much innovation to absorb! As a global manufacturer of construction chemicals and installation systems, that includes adhesives, grouts and sealants, visitors may already be familiar with Mapei UK. But what this showing underlines is its strong emphasis on research, performance and sustainability. Mapei supports architects, contractors and fabricators with products designed to enhance durability, efficiency and long-term material performance. At the Stone & Surfaces Show, the company represents the critical role of fixing systems and technical innovation in delivering successful stone and surface installations.

Of course, the fitout of any architectural project doesn’t begin with surfaces or their adhesion. They generally start with a measurement, and both Leica Geosystems and Prodim Systems have all of your measuring needs covered.  

Leica Geosystems provides advanced measurement and reality-capture technologies used across construction, surveying and fabrication. Its laser scanners, digital layout tools and precision measuring systems support accurate templating, surveying and installation workflows within the stone and surfaces sector. While Prodim Systems develops digital measuring, templating and workflow solutions tailored to the stone and surfaces industry. Its software and hardware systems enable fabricators to capture precise site measurements, streamline production processes and improve accuracy from survey through to installation. 

And what trade show would be complete without a notable installation or two? As we’ve previously reported, ANTI‑RUIN is an experimental research installation exploring new possibilities for stone reuse and material circularity. Developed by architect Levent Ozruh in collaboration with researchers at ETH Zurich, the project combines digital fabrication and advanced printing technologies to transform stone waste into newly engineered composite elements. A large section of ANTI-RUIN is presented throughout the event, and demonstrates how emerging technologies can extend the lifecycle of stone while challenging conventional ideas of preservation, demolition and material value.

More than a trade exhibition, the Stone & Surfaces Show has become a focal moment for the UK stone and surfaces community. A place to reconnect, discover emerging ideas and celebrate the enduring relevance of material expertise in architecture and design. And it’s not even finished yet!

Before taking to the stage at the Stone and Surfaces Show on Wednesday, we caught up with Ross Williamson of The Surface Collection to get some pre-show insights into what makes him tick and how he views the industry. With experience shared across four generations of the Thomas family, the company knows a thing or two about natural and composite stone. So who better than its sales director to shed some light on how this 70-year-old operates within the wider UK industry? 

What does a typical day look like for you?

No two days are ever the same, which is one of the things I enjoy most about working in the stone and surfaces industry. My role covers distribution, client relationships, project support, and helping grow premium surface brands across the UK market.

A typical day involves speaking with fabricators, kitchen studios, developers, architects, and retail partners to help them find the right materials for their projects. I spend a lot of time discussing product suitability, slab availability, lead times, and technical performance, as well as supporting showroom displays and new project specifications.

A major part of my focus is helping drive the success of premium brands such as Vadara Quartz and Atlas Plan porcelain slabs. This means staying close to design trends, understanding what the market is asking for, and making sure our customers receive both the right product and the right level of support.

It is a fast-paced environment where strong relationships and technical knowledge go hand in hand.

Image © Marlborough

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

Materials are at the centre of everything I do. I work daily with quartz, porcelain, granite, marble, and other hard surfaces, with a particular focus on premium quartz and large-format porcelain slabs.

I am constantly thinking about how materials perform, how they look, how they are fabricated, and how they fit the needs of both residential and commercial projects. I regularly handle samples, review slabs, discuss finishes, and advise customers on which surfaces will work best for specific applications.

Communication around materials is a huge part of the role. I spend a lot of time speaking with fabricators, designers, architects, and developers about technical performance, aesthetics, installation requirements, and long-term durability.

In this industry, materials are not just products—they are a major part of the design story and the finished experience for the customer.

Image © Marlborough

What are the biggest lessons you have taken forward from your original training?

One of the biggest lessons I have taken forward is the importance of understanding both the technical and commercial sides of the business. Product knowledge is essential, but success in this industry also depends on relationships, trust, and understanding how people work.

My education and early industry experience taught me the value of attention to detail, problem-solving, and consistency. In stone distribution, small details matter — from slab selection to fabrication advice to managing customer expectations.

I also learned very quickly that listening is just as important as selling. Understanding what a customer really needs often leads to better long-term partnerships than simply focusing on the immediate sale.

The industry itself has been my greatest education over the last 13 years, and continuous learning is still a major part of what I do.

Image © Prestige Granite

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

Over the past 13 years, I have been fortunate to be involved in many fantastic projects across both residential and commercial spaces, but one recent experience stands out for a very personal reason.

I was out for a meal with my mother, and she was admiring the restaurant tables and the overall interior finishes, particularly the marble and porcelain surfaces used throughout the space. In that moment, it suddenly dawned on me that I had actually been part of that very project—helping with the selection of the marble and porcelain used across the restaurant.

It became a really special moment because it gave me the chance to show my 83-year-old mother what I actually do and how the work we do in this industry shapes everyday spaces people enjoy without always realising it.

We often work behind the scenes in stone and surfaces, so seeing her appreciate the finished result—and being able to say, “I helped create this”—was something I was genuinely proud of. It reminded me that our work is not just about supplying materials, but about creating environments people connect with and remember.

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

The industry is facing several challenges, including rising costs, supply chain pressures, labour shortages, and increasing competition across both domestic and imported materials.

There is also much greater focus on sustainability, compliance, and responsible sourcing, which is absolutely necessary but requires serious long-term commitment from businesses across the supply chain.

Another challenge is education—helping customers understand the real differences between materials and the long-term value of investing in quality surfaces rather than making decisions based purely on price.

Balancing quality, service, and competitiveness has become more important than ever, especially as customer expectations continue to rise.

Image © Prestige Granite

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

Stone and hard surfaces bring durability, longevity, and timeless design value to the built environment. Unlike many short-term finish materials, stone is built to last and continues to perform for decades while maintaining both its appearance and functionality.

Natural stone offers individuality and character because no two pieces are ever the same, while engineered surfaces like quartz and porcelain provide consistency, technical performance, and greater design flexibility.

In both residential and commercial settings, these materials create spaces that feel premium, practical, and long-lasting. Good surfaces are not simply decorative—they are an investment in quality and sustainability.

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

Sustainability is becoming one of the most important parts of decision-making across the industry. It influences how we source materials, which suppliers we work with, how products are transported, and what we recommend to clients.

Durability plays a huge role in sustainability. Materials like porcelain, quartz, and responsibly sourced natural stone offer a long service life, reducing replacement cycles and unnecessary waste.

We also pay close attention to manufacturing standards, environmental certifications, and how suppliers approach responsible production. Sustainability should not just be a marketing message—it needs to be built into genuine long-term decisions.

For me, it is about helping customers choose better materials that perform well, last longer, and create better outcomes for both the project and the wider environment.

Interested in hearing more from Ross? Why not listen to what he and the rest of the panel discuss during The Reputational Risk of the Race to the Bottom seminar on the main stage, 12.00-12.45 pm, Wednesday 13th May.

Register for the entire event for free here.

The Stone & Surfaces Show opens tomorrow, 12th May, at ExCeL London, marking a significant new chapter for what has been the UK’s leading gathering for stone and surface design professionals for more than 27 years.

Formerly known as The Stone Show & Hard Surfaces, the event returns from 12–14th May as a broader, reimagined platform celebrating innovation, craftsmanship and the future of material design across the built environment.

Together, exhibitions, installations and discussions aim to demonstrate how natural stone and advanced surfaces are evolving within a rapidly changing construction landscape.

This year’s relaunch introduces three dedicated zones — Natural Stone, Technology, and Surfaces — bringing architects, designers, fabricators, suppliers and specifiers together for three days of demonstrations, talks and exhibitions. Exhibitors are set to include Athena Stonecare, Hutton Stone Co, Stone Automation, Szerelmey  and Arcturus Stones among many, many more!

Athena Stonecare

As the UK’s only trade exhibition with a dedicated natural stone section, the 2026 programme significantly expands its educational offer across the Main Stage, Architects’ Theatre and Surfaces Cinema.

Finchley Road

Architect Amin Taha of Groupwork opens the Main Stage programme with a keynote titled Let’s Get Stoned. His address will explain how stone and timber hybrid structures create carbon-negative buildings, which can allow the construction sector to reduce the 40% contribution to global carbon emissions that it currently produces, and can instead become a carbon-sequestration industry.

Stone Demonstrator

Further sessions moderated by television architect George Clarke will examine the growing interest in load-bearing stone construction, including discussion of the Stone Demonstrator project at Earls Court. Speakers include Justin McGuirk of the Design Museum’s Future Observatory, Marcus Paine of Hutton Stone, engineer Eleonora Regni of Webb Yates Engineers and Pierre Bidaud of The Stonemasonry Company.

Trehus

There will be case studies galore, with presentations on projects including Trehus in Maidenhead — a timber-framed office building clad in natural stone targeting a 40% embodied carbon reduction — and Amin Taha will also discuss Groupwork’s Finchley Road development alongside Webb Yates and stone supplier Lundhs.

Studio Folk

Architect-led sessions from Fieldwork Architects, Studio Folk and Hawkins\Brown shall explore stone detailing, landscape integration and contemporary applications of traditional materials. Across the wider programme, five major industry trends underpin discussions at the show: load-bearing stone construction, biophilic materials, ethical supply chains, circularity and the growing role of artificial intelligence.

Chris Hopkinson

A major addition for this year's event is the launch of the Surfaces Cinema, introducing film, photography and live presentations into the exhibition environment. The new space is ready to screen documentary films, architectural photography and material-focused storytelling alongside talks by designers and architects. The cinema is part of a wider effort to “festivalise” the show, providing a more relaxed setting alongside the technical seminar programme — complete with free popcorn.

Among the highlights are screenings from ARCHITEXTURES’ Materials in Motion series, offering behind-the-scenes access to manufacturers including Mirrl, Tiny Temple and No Rules Wallpaper. ARCHITEXTURES founder Ryan Canning will also present in the Architects’ Theatre on the role of digital material libraries in specification workflows.

ANTI-RUIN

The cinema will additionally screen a film about ANTI-RUIN, an experimental project by architect Levent Ozruh exploring how stone dust and demolition waste can be transformed into new architectural structures using large-scale 3D printing. The cinema will also feature work by leading interior photographers Chris Hopkinson, Ivan Jones and Andy Stagg, alongside films curated by award-winning filmmaker Edward Bishop examining sustainability, construction and model-making craft.

With doors opening tomorrow at ExCeL London, the 2026 edition promises three days of discovery for an industry navigating sustainability, technology and the future of building materials. Organised by Media 10, the show forms part of the Built Environment “Super Event”, co-located alongside UK Construction Week London and FutureBuild.

Registration remains free via the Stone & Surfaces Show website.