Natural stone, put to work.

Ventilated and adhered facade systems in limestone, cut to the architect’s setting-out drawing.

Panels are sequenced from the block so the grain runs continuously across an elevation, and finishes are selected for how the surface will read in raking sunlight rather than under showroom light.

Full-height cladding, flooring, stairs and monolithic details for lobbies, residences and hospitality interiors.

Bookmatched and sequenced Sivec marble is laid out against the drawing before cutting, so a wall arrives as one continuous surface instead of a grid of unrelated panels.

Limestone for wet environments: basins, benches, niches and full surrounds.

Finish selection matters more here than anywhere else: brushed and honed surfaces keep their grip and their warmth underfoot, while the stone’s close, even grain stays easy to keep clean where water sits on it daily.

Pool capping and fountains in limestone, cut to whichever coping profile the detail asks for and finished for grip rather than shine.

Bushhammered and sandblasted surfaces keep their footing wet. Limestone is chosen at the waterline for the warmth it holds underfoot in full sun.

Treads, risers, landings and window sills cut to size from the block, so a flight arrives as a set of parts that already fit each other.

Solid treads are worked from single pieces wherever the detail allows it, and nosing profiles are cut to the drawing rather than adapted on site. Travertine is chosen here for its abrasion resistance, and for a grain that stays even across every tread in the flight.

Basins, vanity blocks, countertops and thresholds worked from one piece of travertine on the CNC bridge saw, then finished by hand.

Monolithic work has no joint to hide behind, so the block is selected first and the piece is cut to suit what is actually inside it. It is also where bookmatched pairs begin: the same stone taken from the same block and kept together all the way through cutting.

Counters and display plinths worked from thick travertine, with the grain carried around the returns so the piece reads as one mass rather than four panels on a frame.

Unfilled surfaces are specified where the pore is wanted as texture, filled and honed where the top has to stay easy to wipe down. The stone is selected for how it will look under display lighting as well as daylight, because a retail interior is lit twice.

Islands, worktops and matching splashbacks cut to size from the block, with mitred edges so a thin slab reads as a solid section. The island and the wall behind it are taken from the same sequence, so the pattern continues across the room instead of restarting at the hob.

The finish is chosen against the way the room is lit rather than the way it photographs: honed keeps the reflection down, polished keeps the colour up.