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.

Many readers will already be familiar with Athena Stonecare - such is their reputation across the industry as one of the country's leading stone restoration companies. 

A considerable number of you will also know of Director Becca Cranfield. Perhaps you’ve heard her give a talk, had a chat with her at a Women in Natural Stone event for which, until recently, she was Co-Chair, or maybe even sought her out when in need of some stone care advice. Her insightful, generous nature is a welcome mainstay within the industry, and here she shares some advice that, in her own words, could put the company out of business!

"We never set out to be a company that advises on stone care. It just happened naturally (pun intended). 

When I first met Dave, he was Athena Stonecare. It was a one-person business that had grown organically over four years. He had built partnerships with several property management companies, and this was the bulk of the work. It was a savvy business model; one client might have several properties, and those properties would have a turnover of occupants. Every time a tenant moved out, the marble floors and bathrooms would need a refresh. Every time.  

For many, this would look like a gold mine. A continued stream of people who knew nothing about natural stone and would only be living in the property for a short period of time, so had no interest in the long-term degradation. However, the property owners were the ones suffering. And more importantly, so was the stone. Not just the stone in the individual apartment, but the reputation of natural stone. The lack of guidance on how to care for the stone meant that everyone involved in the chain assumed that stone was ‘a nightmare’. The property manager begrudged having to call in the ‘stone guy’ at the end of each tenancy and face the blame battle to figure out who was covering the bill. Stone restoration isn’t as cheap as replacing a few light bulbs that have blown.

So, after each job had finished, Dave would write an email to the property manager explaining how the stone should be cleaned in future. It was a simple set of bullet points that would ensure the right products were used and some of the silly mistakes could be avoided. It didn’t take long before this became asked-for information, and the bullet points turned into a Word document and then developed into a suite of PDFs for each stone surface. This was the first iteration of our Athena Aftercare guide.

It was also the point of difference that first got me interested in joining Dave in the business. Athena Stonecare wasn’t just another cleaning or restoration company. It was built with an ethos of care. Ultimately, we don’t want to walk away from a job and see the stone ruined again in two weeks. However, the question I had was why no one had already told our clients how to look after their stone. Unlike in a managed property, many of our private clients had chosen their stone. They’d been living with it for two, five, or even ten years, and now, when we were asked to restore it, they were asking the question, “What should I do to keep it looking this way?”

After doing some research, we discovered that very few were giving aftercare advice at the point of sale. A leaflet with a few products was handed over, but nothing comprehensive. No one wanted to talk about maintaining stone, in case it put someone off from buying it. A sentiment that just didn’t match how we’re used to making a big purchase. A new car comes with a manual, a pack of cleaning products, and a service package. If a cashmere sweater was sold without a dry-clean-only label, you’d be annoyed when it shrank in the wash. So why sell stone without explaining how to get the best from it? As an industry, we had given our own product a bad reputation. Frequently, I faced interior designers who told me that they would never use stone as they’d only ever had negative feedback from clients. If we wanted to have a business maintaining stone, we needed to make sure it was still being specified.

The black hole between installation and restoration is what Athena Aftercare set out to address. A glossy guide that can be handed out to clients as part of a handover pack. It outlines the simple steps needed to maintain a stone floor, worktop or bathroom. We suggest cleaning products and regimes, as well as dispelling a few myths and translating some basic terminology. It is now handed out by stone suppliers across the country and is part of the handover pack for many luxury property projects. We have even collaborated to create bespoke versions for several companies. 

In response to the demand for our expert insights, in 2025, we transformed the Athena Aftercare guide into a CPD. Whilst having a pack to hand over is great, we also wanted to upskill people who wanted to use stone on their projects. No one can be an expert in everything, but a little bit of knowledge can go a long way. To be able to hold a conversation with a client who is considering using stone about what to expect from it, or to answer the basic questions on cleaning when asked, is empowering. 

Nothing that we have to say on stone care is actually a secret, so we are always happy to share it!"

If you’ve enjoyed these insights, why not attend the Specifying Stone for Interiors That Will Last Forever panel talk that Becca will be hosting at the Stone & Surfaces Show? 

She’ll be joined by leaders in the industry from Ca’Pietra, Project London and Barr Build at the Main Stage between 11.00-11.45am on Wednesday 13th May.

Register for the show and this talk (and many more) for free here.

While the British weather continues to be predictably unpredictable, the riotous display of colour that the flora and fauna of the natural world are putting on right now is an unmistakably Springtime event. 

The cyclical return of plant life is a welcome relief, perhaps even distraction, during challenging and unsettling times. Yet, as this eruption of buoyant vitality unfurls up and down the country, I’m reminded of a surface brand that allows spring-like-feels in our interior spaces all year round.

Austrian manufacturer Organoid’s natural surfaces are unmistakably architectural, coming in panels, laminates and acoustic finishes designed for interiors. Yet they are composed not of engineered composites or mineral aggregates, but of recognisable fragments of the natural landscape itself. Alpine hay, wildflowers, moss, lavender, rose petals and even reclaimed coffee grounds are pressed directly into surface materials, preserving colour, scent and texture in a way rarely seen within contemporary specification culture.

Founded in Tirol, the company sits within a growing European movement exploring how buildings might reconnect occupants with natural material cycles. Rather than imitating nature through pattern or print, Organoid works with actual organic matter, embedding plant fibres into breathable carrier layers using low-energy production methods and largely natural binders. 

Texture is central: grasses remain tactile, petals retain variation, and no two panels are identical. What’s more, many Organoid products use rapidly renewable plant matter sourced from regional agriculture, including by-products that might otherwise be discarded. 

The panels can be applied as wall coverings, furniture finishes, acoustic elements and joinery surfaces, offering designers a material that performs technically while retaining sensory depth.

As interiors become ever more technologically mediated, materials capable of engaging smell, touch and memory are gaining renewed attention. A wall finished in Alpine hay or wildflower meadow introduces seasonality into architecture, and a welcome reminder that buildings exist within ecological systems rather than apart from them.

That said, Organoid’s work poses an interesting question: what constitutes permanence today? Stone represents endurance measured in geological time, while biomaterials such as these suggest a parallel value in renewal, growth and cyclical life. 

What is interesting is that both approaches challenge the dominance of synthetic finishes and point toward a broader material palette grounded in natural processes. Both forms of bio-derived materials demonstrate how surface innovation may lie not only in new technologies, but in rediscovering the sensory and environmental intelligence already present in the natural world. Regardless, it’s always a healthy feeling to be reminded of nature’s ceaseless and indiscriminate life-giving forces.

It is often said that there is an innate desire in our species to lay down roots of one kind or another. Houses generally become true homes when there is a deep connection between the building and its inhabitants, as well as its surrounding local heritage and landscape. A sensitive extension and refurbishment of a historic house in South Cambridgeshire demonstrates how contemporary architecture can reinforce these long-established relationships within residential design.

Completed by Neil Dusheiko Architects, Church House sits within a conservation area directly opposite the Grade II* listed All Saints Church. The project reworks both the main residence and its former coach house, strengthening spatial and visual connections between the home, its outbuildings and the historic stone church beyond.

Originally arranged around a more inward-looking plan, the house has been opened towards the garden through a new single-storey rear extension. Rather than alter the formal street elevation, the intervention focuses on the private side of the property, creating a contemporary living space orientated towards views of the church spire, which is now a constant reference point within everyday domestic life.

The clients, Susannah and Jonathan Manning, who both work in fashion, were pivoting from London life and seeking a long-term family home for them and their three teenage children. Manning’s early exposure to historic architecture, shaped by her father’s work as an architectural historian, informed a design brief rooted in continuity rather than contrast, with a deep desire for a connection to place and memory.

Material selection plays a central role in anchoring the new work within its surroundings. Yellow Cambridge stock brick and flint roofing references the textures and tonal qualities found across the village and church fabric, allowing the extension to sit comfortably within the historic context while maintaining a clearly contemporary expression.

Inside, the ground floor has been reorganised to establish a clearer spatial sequence from entrance to garden. A relocated WC frees the entrance hall to operate as a central circulation spine, while kitchen, pantry and dining areas are combined into a single open volume defined by proportion and controlled sightlines. Large-format glazing draws daylight deep into the plan, while a subtly lowered floor level aligns interior and garden without compromising privacy from the neighbouring churchyard.

Architectural references to ecclesiastical space feature, although through the structure itself, rather than mere decoration. Exposed rafters and a measured ceiling rhythm echo the spatial order of a church nave and nearby outbuildings, and are translated into a domestic scale. Materials including reclaimed brick, oak joinery, brass fittings and handmade lighting reinforce a restrained palette focused on longevity and tactility. Upstairs, interventions remain deliberately light-touch, retaining original sash windows and cornices while introducing a new ensuite to the main bedroom.

At the end of the garden, the former coach house has been transformed from storage building into flexible family accommodation. A deteriorated lean-to has been replaced with a timber extension incorporating full-height glazing, an oriel window and a green roof. Its form establishes a quiet dialogue between old and new structures, visually linking coach house, main extension and church into a cohesive architectural composition.

The result is a contemporary family home that sensitively interweaves itself into its historic village setting, and looks set to be a well-loved space for a long time to come. 

With less than a week to go before the Stone & Surface Show opens its doors, the final installment of what to expect from the event programme has just dropped - and it continues to tantalise!

Taking place at ExCeL London from 12–14 May, the exhibition will focus on innovative applications of stone and surface materials with a programme of talks examining how technology is reshaping specification, fabrication and construction practices across the sector running alongside it across all three days.

A key installation at the show is Arch Revival, a pair of freestanding vaulted hyperbolic arches standing four metres tall and constructed from a single layer of stone bricks. Designed by Hawkins\Brown with engineering support from Webb Yates Engineers, the arches use sandstone bricks supplied by Hutton Stone and Portland stone bricks from Albion Stone.

The project makes use of previously ‘unloved stone’, which is material rejected for aesthetic reasons because of geological variation, to demonstrate stone’s potential as a load-bearing, low-carbon construction material. According to the project team, the structure embodies 66% less carbon than an equivalent construction built using clay-fired bricks.

The sustainability theme continues in the Architects’ Theatre, where Toby Pear of Article 25 will present Building with Laterite Stone – Low-Carbon, Affordable, Beautiful. The talk examines the Collège Hampaté Bá project in Niger, where locally sourced laterite stone has been used to construct classroom buildings as an alternative to cement block construction.

Digital tools and material reuse will be explored on the Main Stage during Upcycling Stone Through Technology, featuring architect Levent Ozruh alongside Robert Greer of Paye Stonework and Restoration and Salvatore Caruso of Stone Automation. The session will examine how laser scanning, radar technology and digital twins can support reuse of stone in retrofit and heritage projects.

Ozruh will also present ANTI-RUIN, developed with Pietro Odaglia at ETH Zurich, which uses digital printing techniques to create new stone composites from waste material. A film documenting the making of the installation — filmed at Lasa Marmo Quarry, Digital Building Technologies at ETH Zurich and the Arsenale during the Venice Biennale — will be screened in the Surfaces Cinema.

While in the Architects’ Theatre, Studio Bark will discuss Building, Unbuilding, and the Carbon Balance, a session outlining how its U-Build system enables modular, bio-based workspaces designed for relocation and reuse.

Artificial intelligence and its implications for architecture and design inevitably form a significant part of this year’s programme. Design journalist Riya Patel will chair the panel AI in A&D – Friend or Foe?, featuring Anna Burles of Run For The Hills, Professor Oliver Wilton of The Bartlett School of Architecture, and architect and digital creator Agata Murasko. The discussion will explore AI’s potential to improve workflows, expand creative processes and influence material specification, while also addressing concerns around intellectual property, authorship and employment. Murasko will also present Can AI be a design process ally? at the Architects’ Theatre.

Further sessions include Ron Zaum of Structured AI demonstrating AI compliance reviews using Amin Taha’s Finchley Road project as a case study, and Ryan Canning of ARCHITEXTURES discussing digital material libraries and specification workflows.

Alongside technological change, the programme also considers workforce challenges facing the built environment. The panel How can we fix the looming skills gap? will include Aisha Lysejko of 2040 Leaders, Jamie Coath of Purcell and stonemason Emily Guest, examining recruitment, training and diversity within construction trades.

Sam Patel, Divisional Director of the Built Environment Super Event, which combines the Stone & Surfaces Show with UK Construction Week London and FutureBuild, said the exhibition aims to highlight how innovation, sustainability and digital technologies are transforming stone and surface materials across the supply chain.

The co-located events will give visitors access to all three exhibitions within ExCeL London.

Register for the Stone & Surfaces Show for free here

London is a city famed for its far-reaching history and rich cultural identity, which is imbued within the ever-evolving layers of architecture that make up the capital city. But, rather inevitably, as the built environment changes, elements can disappear - even those created from that seemingly permanent of all materials, stone.

The reinstatement of the lost statuary at the Grand Hall entrance of Olympia London represents two years of careful historical research, engineering and traditional stone carving. Completed by specialist conservation contractor DBR, the project restores three significant figures removed during mid-20th-century alterations, returning the Victorian façade to its intended composition.

Originally constructed in 1886 as the National Agricultural Hall, Olympia’s entrance pediment was designed with sculptural figures that expressed the building’s agricultural purpose. Historic records referenced only a seated figure of Britannia, yet archival photographs suggested a more complex arrangement. DBR’s conservation team undertook an extensive investigation, consulting historical sources and sculptural specialists to establish the original scheme.

Research identified the figures as Demeter, Greek goddess of agriculture, flanked by Triptolemus and Persephone, a classical grouping symbolising cultivation, harvest and renewal. The discovery reshaped the project, allowing reinstatement to proceed on a historically accurate basis rather than conjectural reconstruction. 

Material selection formed the next critical phase, with new blocks of Portland stone sourced and tested to ensure compatibility with the surviving masonry. Detailed technical drawings established dimensions, jointing and fixing strategies, although a significant challenge was still to come in reinstating the stonework. The original plinth structure had been removed decades earlier, leaving masonry incapable of supporting the weight of the new sculpture. Working within listed building constraints, the team developed a concealed structural steel frame to carry the load while preserving the visual integrity of the pediment. The intervention demonstrates a recurring principle in DBR’s work: modern engineering employed discreetly to sustain historic fabric.

The carving itself was led by master mason Simon Smith and DBR’s in-house team of specialist carvers, using historic photographs alongside classical sculptural references. Once the hand carving was complete, each element was lifted, positioned and jointed with precision, balancing traditional craftsmanship with contemporary installation methods.

Indeed, the project reflects DBR’s broader position within the conservation sector. Working across projects ranging from major public landmarks to smaller heritage buildings, the company has developed a model that combines craft skills, technical management and research-led conservation. This approach recognises that restoration increasingly requires interdisciplinary collaboration, not only to preserve architectural character but also to extend the lifespan of existing buildings as part of a more sustainable construction culture.

In an era when retrofit and conservation are central to reducing embodied carbon, projects such as this demonstrate how reinstatement and repair can contribute to both cultural continuity and environmental responsibility.

AK Surface Solutions specialises in the repair, restoration and maintenance of architectural surfaces, working across natural stone, terrazzo, concrete and resin finishes. The company has grown out of the success of Concrete & Stone Solutions, expanding from a specialist focus on concrete and hard-surface repair into a broader provider of surface care that includes the machinery and cleaning products they know from experience do the job. A dedicated supplier of Lavina equipment and official reseller of Faber products, the company supports both conservation and commercial projects, extending the life and performance of existing materials through technical surface expertise. Owner Artur Kowalczyk shared his unique insights about the industry in the latest of our Surface Perspectives series.

What does a typical day look like for you?

A typical day usually starts at the office, where I spend some time working on our new B2B business, AK Surface Solutions. That can mean packing orders, working on the retail website, adding new products, checking stock, placing orders when needed, and trying to keep on top of SEO when time allows.

I also go through enquiries and reply to emails, WhatsApp messages and customer questions for AK Surface Solutions and for my restoration business Concrete & Stone Solutions. These can be anything from product orders and trade enquiries to technical questions, quotations or advice about stone and hard surface restoration.

If we have orders during the day for the next day delivery, my wife also comes into the office to help with packing and sending parcels, and she takes care of the paperwork and admin side of the business. After that, I usually load the van from our unit, which we also use for storing my restoration equipment. I am still very much on the tools myself through Concrete & Stone Solutions, so a big part of my day can also be spent on site carrying out stone, concrete and hard surface restoration work.

After work, I often try to go through messages again and reply to clients where I can. When time allows, I also like to escape for an hour to my loft and jump on my rowing machine, and most importantly, spend some time with my family. So the days can be busy, but I enjoy the mix of practical work, customer contact, and building AK Surface Solutions.

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

Materials and surfaces are a very important part of my day-to-day. I’m always dealing with cleaners, sealers and diamond tools, so I’m constantly thinking about which product or method is right for each surface. In my opinion, almost every job needs a slightly different approach, especially with stone. You can’t always use the same process on every floor, because the type of stone, condition, finish, age and previous treatments can all affect how to restore it.

I also speak quite a lot with regular clients, many of whom are experienced people in the trade. We often talk about products, tools, different methods they used, or myself on certain jobs to get the best finish. I’m always happy to share what I’ve learnt over the years, much of it from being on the tools myself, but I also learn a lot from those conversations too. That exchange of knowledge is something I really value.

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

One of the biggest parts of my training was with Tiling Logistics, and also learning from Kevin and Antony Martin. That gave me a strong foundation, but I think some of the biggest lessons come from being on-site and dealing with real jobs.

One job that really stands out was my first marble grinding project. There was a lot of time pressure, and I was working from early morning until late evening every day, with barely any breaks — usually just a quick sandwich while emptying the vacuum or sorting something out.

I didn’t really make any money on that job because it took much longer than expected. It was probably the hardest seven days of work I have ever done, but what I learnt from it changed my confidence completely. After that, I felt I had reached a different level in stone restoration.

For me, training is very important, but the real education also comes from difficult jobs, problem-solving, and learning how different stones behave when you are actually working with them.

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

From my hands-on restoration work, one project I’m especially proud of is Ipswich Museum. The building is currently undergoing a major £12.3m+ redevelopment to restore its Victorian features while also modernising the facility. It is a Grade II listed building, so being involved in that kind of project felt very special.

My company was responsible for restoring the floors, including an original quarry tile floor dating back to 1881, which had been covered for many years. That project stands out because of the history of the floor, but also because of the challenges involved.

The red quarry tiles were very shallow, while the black tiles were bevelled, which made the floor very uneven and wavy in places. It was not ideal or safe to walk on, so we had to carefully grind the surface down. The black quarry tiles were not full-bodied, so there was a limit to how far we could go, and we had to be very controlled with the process.

We also had to remove years of built-in dirt and grime, especially from the low spots, before closing the surface up to 200 grit and sealing it. It was a careful balance between improving the floor, making it more practical, and respecting the age and character of the original material.

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

One challenge I have come across recently is the confusion between real stone and artificial or composite materials. Some products are marketed with names that sound very natural or stone-like, so customers believe they are choosing a stone surface, when actually it may be acrylic, resin-based or only contain some stone dust.

I’m currently restoring 45 worktops for one of my commercial clients at a retirement village, and many of the residents thought they had chosen stone because the material was called “Earthstone” and they didn’t have a chance to see it before they purchased. In reality, they’re acrylic worktops with some stone content, so it behaves very differently from natural stone and is a very soft material.

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

For me, one of the biggest positives of using stone in the built environment is that it lasts. It is a natural material with its own character, and every piece is slightly different, which makes it unique and beautiful.

Another big advantage is that stone can be restored rather than replaced. Like wood, it can often be brought back to a very high standard, sometimes almost as new, with the right process and knowledge. That makes it a very practical and sustainable material when it is looked after properly.

Stone also has a quality and feel that is difficult to copy with artificial materials. It can suit both old and modern buildings, and over time, it can develop character rather than just looking worn out.

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

Instead of removing stone and sending it to waste, we can extend its life and make it beautiful again. Good restoration protects the original material and helps clients get much more life from the surfaces they already have. With the right protection, stone stays looking great a lot longer without the need for restoration

Stone took centre stage during this year’s Milan Design Week with 7+1 Acts of Survival, an exhibition asking what allows materials and the ideas they shape to endure across time.

Curated by Librizzi and Robustini at the new Milan cultural platform THE LINE, the exhibition brought together seven international designers, each invited to respond to a single starting point: a 50 × 50 × 50cm block of black African stone formed more than 2.5 billion years ago. From this shared geological origin emerged a series of works positioned somewhere between sculpture, architecture and functional object.

Rather than treating stone as a finished architectural surface, the exhibition reframed it as an active participant in cultural memory. Each designer interpreted survival differently, through carving, subtraction, structural manipulation or symbolic gesture. 

The pieces on display included Maurizio, a table of interlocking stone shaped through stereotomy created by AAU Anastas. Brumance chose the act of subtraction as their focal point, with all the pieces cut during the creation of their minimal chair being used to form complementary furniture. Perhaps even more conceptually, Studio MK27 chose to reinterpret cutting dust in a unique circular process that visualises both literal and metaphorical dust on the surface of their low table.

Other participants included Kengo Kuma, Bernard Khoury, Claudio Silvestrin, and Ugo Cacciatori, with all the pieces exploring durability not simply as permanence, but as the ability of materials to adapt, carry meaning and remain relevant across generations.

The works were arranged along a linear 30-metre exhibition space, encouraging visitors to move sequentially through the installation. Lighting designer PSLab developed a restrained scheme that emphasised texture, shadow and geological depth, allowing subtle differences in finish and form to emerge.

Production partner Casone Group supplied the stone blocks and provided fabrication expertise, underscoring the continuing importance of specialist craftsmanship in translating conceptual design into physical material.

While Milan Design Week frequently foregrounds novelty, 7+1 Acts of Survival offered a quieter reflection on durability, reminding visitors that innovation often begins with reinterpreting materials already shaped by deep geological time. 

All Images © Piercarlo Quecchia