Natural stone has become an increasingly important part of Studio Folk Architects' material palette, reflecting the practice's wider interest in low-carbon construction, craft and place-based design. 

Directors Edward Powe and Patrick O'Keeffe recently visited the Lundhs quarries in Larvik, Norway, where the distinctive Larvikite stone has been extracted for generations. Following the engaging conversations they had while on site, we have invited further discussion and invited the pair to interview and be interviewed by Lundhs Marketing and Business Development Manager, Hege Elisabeth Lundh. 

In this first conversation, they reflect on how the experience has influenced their understanding of stone, discussing why stone is increasingly becoming a default specification, how visiting the quarries challenged assumptions about variation and material value, the opportunities for using lower grades and surplus material, and why greater understanding of stone's origins could help architects design more creatively and sustainably.

HEL: In your practice, where does natural stone genuinely earn its place: what makes you specify it, and what tends to rule it out?

EP: We have increasingly been specifying natural stone as a default material for masonry applications. Its sustainability credentials, together with the wide variety of colours and finishes available, make it a compelling alternative to the high embodied-carbon materials that dominate much of contemporary construction. There remains a deeply ingrained perception that natural stone is a ‘premium’ product with an equally premium price tag. Our experience, however, is that when carefully selected and considered early in the design process, cost need not be the defining factor.

HEL: After visiting the Lundhs quarries, did it change how you think about stone; its possibilities, or the risks architects have to manage?

POK: As designers, we often only encounter the most refined grade of a material when sourcing and specifying it. The construction industry frequently compares natural and manufactured materials on a like-for-like basis, which, in our view, overlooks one of the greatest qualities of natural materials: variation. Visiting the quarries reinforced the idea that there is a significant opportunity for us to think beyond the sample box and work more creatively with the material by considering the full range of qualities, grades, and formats produced through the extraction process.

HEL: When you’re choosing materials, how do you weigh sustainability against cost, and aesthetics? And who usually has the final say?

EP: We now specify natural, sustainable materials such as stone as the starting point for all projects. By doing so, we embed sustainability within the design process and shift the burden of justification onto those arguing against their use, rather than onto designers advocating for them. The final specification will inevitably involve a balance between cost, aesthetics, performance, and sustainability considerations.

HEL: With the growing concern about silica exposure, especially around engineered stone, has your approach to specifications or material substitutions changed?

POK: Although we are not usually directly involved in fabrication processes as architects, it is good to see a growing awareness of the risks associated with silica exposure during stone cutting and finishing. It highlighted to us the importance of considering the impacts of material specifications not only on the health of the final occupants and users of buildings, but also for those involved in their manufacture and construction.

HEL: What do you wish more clients (and even architects) understood about how stone is quarried and fabricated, and how would that change the way we design with it?

EP: We wish more people understood that stone is not always a uniform, manufactured product. When working with a natural material, understanding the process behind it can be as important as the finished product itself, whether that’s material traceability, or simply recognising that different grades and formats of the same stone exist and may be suitable for different applications. This broader awareness, we believe, can lead to more informed decisions and ultimately more interesting and creative design outcomes.

There is also a preconception that stone is grey and uniform in appearance, but our experience of it couldn’t be any further from this. It is a varied and vibrant material to design with, and we are always finding more ways to celebrate this.

HEL: Where could surplus materials and off-cuts realistically be designed in: façades, floors, landscape, interiors? And what would need to change (standards, detailing, procurement) for that to become mainstream?

POK: There is significant potential for surplus stone to be used more widely across all grades and sizes. We are already seeing an emergence of what is possible with surplus material in the construction industry, including its use in structural applications. 

We are particularly interested in how the use of surplus material could be reimagined without the need for extensive further processing. For example, by starting a design process cataloguing what material forms and sizes already exist - by simply visiting quarries in person or with digital 3D scanning technology - could result in more characterful and more sustainable designs across all sectors.

EP: We believe the challenge is less about design possibility and more about awareness. If there were a greater understanding about what materials were available for use, then systems of supply and procurement would naturally evolve to meet demand.

HEL: In stone, variation is inevitable. How do you frame that with clients and contractors? Do you treat it as character to be celebrated, or as a quality-control issue to be designed out?

EP: Variation is one of stone’s greatest qualities, and we frame it as part of the material’s inherent character rather than a defect to be controlled out. Each type of stone has its own uniqueness, often caused by the presence of natural impurities and minerals. These are precisely the qualities that can give materials such as marble their distinctive and highly sought-after appearance.

During our visit to the Lundhs quarries in Larvik, we were particularly interested to see the pegmatite mineral seams that contribute to the unique character of the Larvikite quarries. While only present in certain areas, when cut into blocks these seams can reveal large, dramatic contrasts in colour and form, giving each block a distinctly individual character to be celebrated.

POK: With the emergence of AI and increasing automation across many aspects of life, we are also seeing a shift among our own clients towards valuing more tactile, natural materials over perfectly uniform manufactured finishes. This preference extends to the process of construction itself, where there is a growing appreciation for craft, which is something that stone is particularly well suited to and something we are celebrating more and more within our current projects.

Watch this space for the second installment of the conversation, where it's Studio Folk's chance to ask the questions of Lundhs.

Moulton College welcomed construction students and apprentices from across the UK last month as it hosted a regional qualifier for the Construction Industry Training Board's (CITB) SkillBuild competition.

Recognised as the UK's largest and longest-running multi-trade skills competition, SkillBuild provides trainees with the opportunity to demonstrate their practical abilities across a range of specialist disciplines. The Northamptonshire college hosted 48 competitors taking part in bricklaying, carpentry, joinery, furniture and cabinet making, and stonemasonry challenges.

The regional heats form part of a nationwide programme, with the highest-scoring competitors progressing to the SkillBuild UK National Final later this year.

Among those competing were several Moulton College students, including stonemasonry student Ben Teale, who previously won the York College regional qualifier in March and is now awaiting confirmation of a place in the national final. Bricklaying student Kaydon McLennan also secured first place in his heat, while Matthew Denton and Matthew Pisano finished first and second respectively in the Furniture and Cabinet Making competition.

Richard Ball, Head of Faculty for Construction Trades and Heritage Skills at Moulton College, said the competition provides an opportunity for students to demonstrate not only technical ability but also time management and problem-solving skills.

The inclusion of stonemasonry reflects the continuing importance of specialist heritage and construction trades at a time when the industry faces a growing skills shortage. According to CITB's Construction Workforce Outlook, the UK construction sector will require more than 47,000 additional workers each year until 2029.

Robert Smith, Product Manager for Careers at CITB, has highlighted how SkillBuild showcases the breadth of opportunities across the construction industry while supporting the development of the next generation of skilled professionals. Moulton College has a long-standing focus on construction and heritage skills training and offers courses ranging from entry-level through to degree-level study.

For more information, visit: https://www.moulton.ac.uk/

Recently completed St. Raphael's Health & Wellbeing Centre at Mayfield School in East Sussex demonstrates how natural stone can contribute to both the environmental performance and character of contemporary healthcare architecture.

Designed by Adam Richards Architects, the 277m² facility provides dedicated space for medical treatment, counselling, wellbeing support and health education for pupils at the independent Catholic boarding and day school. Fully operational since September 2024, the centre replaces the school's former infirmary and has quickly become an integral part of campus life, serving pupils aged 11-18.

The project is notable for combining a cross-laminated timber (CLT) structure with an outer envelope constructed from natural limestone bricks, believed to be the first new building to use this combination of materials. The approach was driven by a desire to reduce embodied carbon while creating a building that sits comfortably within the historic context of the school.

Founded in the 19th century and centred on a restored medieval palace, Mayfield School has long placed pastoral care at the heart of its educational philosophy. The brief called for a purpose-built facility that would support both physical and mental wellbeing in a welcoming, non-institutional environment.

Adam Richards Architects responded with a single-storey building positioned on a previously underused part of the campus. Replacing temporary portacabins and parking, the scheme improves access across the site while preserving the historic core of the school. A limestone wall defines the northern edge of the building and creates a new gateway, while a sheltered courtyard to the south provides a quieter setting connected to treatment and counselling spaces.

At the centre of the plan is a communal kitchen and gathering space arranged around a long table designed by Adam Richards and crafted by Sussex-based joinery workshop Fisher Morrison. This social hub connects to a secluded garden, which is overlooked by treatment and counselling rooms, bringing natural light and views of greenery into the building while maintaining privacy.

The centre includes counselling rooms, a treatment room, an isolation room and a four-bed dormitory, alongside reception and support spaces. Internally, exposed timber surfaces, soft daylight and carefully considered proportions create an atmosphere more akin to a domestic environment than a conventional healthcare facility.

Natural materials play a central role in the building's environmental strategy. The CLT structure reduces reliance on steel and concrete while storing carbon within the building fabric. Exposed timber internally minimises the need for additional finishes.

The limestone brick cladding, developed by Polycor, was selected both for its low-carbon credentials and its relationship to the wider campus. Unlike conventional fired clay brick, the stone units require less energy to manufacture and are laid in lime mortar, allowing future disassembly and reuse. Their pale appearance also establishes a visual connection with the school's historic buildings.

The building is all-electric and incorporates air-source heat pumps and mechanical ventilation with heat recovery. Together with the thermal performance of the stone and timber envelope, these systems contribute to a design life of more than 60 years while helping to reduce operational energy demand.

For the natural stone sector, St. Raphael's offers an example of how stone can move beyond traditional construction and conservation settings to play a significant role in contemporary low-carbon architecture. Rather than being used as merely a decorative finish, the limestone brick forms an integral part of the building's environmental strategy, demonstrating how natural stone can contribute to both performance and longevity in modern educational and healthcare projects.

All images © Lorenzo Zandri

Last year, DBR was awarded a Royal Warrant of Appointment to His Majesty The King, adding to the warrant it previously held under Queen Elizabeth II and reinforcing its position among a select group of firms recognised for exceptional service to the Royal Household.  With over 100 years of experience in the conservation of historic buildings, few companies have shaped Britain's historic built environment as extensively as DBR. For more than three decades, the company has worked on some of the UK's most significant heritage assets, including Nelson’s Column and the V&A, combining traditional craft skills with a growing focus on retrofit and long-term stewardship. 

We spoke with DBR Chairman, QEST Trustee and President of the Stone Federation Adrian Attwood about the significance of the appointment, the challenges facing heritage conservation, and the urgent need to safeguard the specialist skills on which the future of Britain's historic buildings depends.

SS: Congratulations on the appointment of the Royal Warrant; can you give us a sense of just what that means for DBR? 

AA: Receiving a Royal Warrant of Appointment to His Majesty the King was more than an honour; it was a testament to the unwavering dedication, craftsmanship, and expertise of our entire team. We take immense pride in our role in preserving the UK’s built heritage - whether for the Royal Household, the Palace of Westminster, Blenheim Palace, or any of the historic buildings we are privileged to work on. Displaying the Royal Arms is not something we take lightly. It embodies the sense of tradition and continuity that our firm is all about preserving. It sets a standard we hold ourselves to on every project, at every scale, and we're conscious of that responsibility every single day. 

SS: I’m sure our readers will be intrigued to hear about the work behind the scenes in not only landing such an award, but in maintaining the warrant itself.

AA: DBR has spent more than three decades at the forefront of historic building conservation in the UK. Our portfolio spans some of the country's most significant heritage assets. The work covers specialist façade conservation, stonemasonry, leadwork, joinery and internal conservation projects, taking in Grade I and Grade II listed buildings, scheduled monuments and globally famous World Heritage Sites. What connects all of it is a commitment to quality craftsmanship and a genuine respect for the buildings and the stories they carry. Every one of these places matters to the people who live near them, visit them and care for them. That relationship between a building and its community is something we feel privileged to be part of. We firmly believe in ensuring that the past has a future, and the work we carry out helps to preserve the very best of our nation's built heritage. 

SS: I can only begin to imagine what is required to work on listed buildings; they must represent a real, and no doubt freshly unique set of challenges on each project?

AA: Listed buildings carry additional statutory duties and, I would say, ethical responsibilities too. It's understandable that owners sometimes feel daunted by that. But I believe these challenges are entirely manageable with expert help and guidance from the right professional team. A qualified conservation architect and skilled craftspeople will guide you through planning consents, help you select appropriate materials and make sure restoration techniques are both sympathetic and compliant. What often surprises owners is that the process itself becomes meaningful. The building rewards the investment it receives, and that relationship between owner and building deepens over time. The craftsmanship, the character and the history embedded in listed properties are qualities that new construction simply cannot replicate. With the right support, you don't only maintain a listed building. You cherish it as you become its custodian. 

SS: I love the notion of becoming a custodian as it implies a sense of care and longevity. Of course, as well as conservation, another buzzword comes into this mix with your work: retrofit.

AA: Yes, the case for conserving and retrofitting existing historic buildings is a compelling environmental argument, and the numbers make that very clear. According to Parliament's Retrofitting Homes for Net Zero report, around 80% of the homes that will be occupied in 2050 already exist. They need to be brought up to modern energy efficiency standards without compromising their historic fabric, and that requires a very particular kind of expertise. The Heritage Alliance has made it clear that the UK will need to double the number of conservation-skilled retrofit contractors in order to meet the 2050 net zero targets. The updated Historic Environment Skills and Careers Action Plan identifies a need for an additional 86,500 retrofit workers annually. In January 2026, the government announced £230 million for heritage building protection and conservation, including £75 million for buildings at risk. That investment is hugely welcome. But unfortunately, there's a disconnect; having the funding without the skilled workforce to deliver on projects achieves very little. That's the challenge we need to work hard to resolve.

SS: Indeed, we hear a lot about a critical gap in skills in the workforce, which is something that the new V-level qualifications could help to turn around. Do you have any insights on them and what impact they may or may not have?

AA: The government's new V-Levels, launching from 2027, are a genuine step forward in post-16 education, and I welcome them. Getting two-thirds of young people into quality training or further education by the age of 25 is the right ambition. But when you look at the subjects confirmed across the first three years of the rollout, heritage craft skills simply aren't there. Vital trades for our work, like stonemasonry, leadwork, joinery and conservation plastering, don't feature at all. The 2028 expansion introduces a broad construction category, but that's not the same as specialist heritage training, and we shouldn't pretend it is. These trades take years to learn and require a specific kind of teaching. It's an immersive process. Bundling these trades into a generic construction pathway risks producing candidates who aren't equipped to work on the buildings we most need to protect. 

SS: That’s a shame to hear, and a little alarming too. What is your message to the government, and the industry as a whole, on the matter?

AA: The skills gap is threatening to become a chasm, and it goes well beyond a missing spot in a qualifications document. According to the Heritage Alliance, 84 heritage crafts are currently endangered in the UK and five are already extinct. That should alarm every policymaker who cares about our built environment. Our workforce is ageing, and there aren’t enough young people coming through to replace those who are retiring and taking decades of irreplaceable knowledge with them. A skilled stonemason takes up to five years to become truly accomplished and a decade to reach master craftsman level. That kind of expertise cannot be rushed or replicated in a classroom alone. DBR has invested directly in this through our Heritage Education and Skills Centre in West Sussex and our partnership with the Queen Elizabeth Scholarship Trust. But individual employers cannot carry the whole system. The new V-Levels are a genuine opportunity to signal that these skills really matter. Right now, that opportunity is being missed.

A new exhibition examining the role of indigenous stone in contemporary construction is bringing together research, mapping, film and material installations to explore how Britain's geological resources could contribute to lower-carbon building practices.

Hosted by Allies and Morrison at their London studio, Unlocking UK Stone, is curated by Giulliana Giorgi and stems from the research project Unlocking Indigenous Stone Construction in the UK: A Guide for Sustainable Sourcing. Originally funded through the RIBA Scott Brownrigg Award for Sustainable Development, the project investigates the opportunities and barriers surrounding the wider use of British stone in modern construction.

"The United Kingdom is entering a decisive moment in construction," says Giorgi. "As the demand for housing intensifies and the built environment faces mounting pressure to reduce embodied carbon emissions, architecture is being asked to reconsider not only how we build, but what we build with."

At the centre of the exhibition is research into the UK's active stone quarries and the wider supply chain that supports stone extraction, processing and construction. While stone is often associated with heritage projects, the exhibition argues that it should also be considered as a contemporary structural material, particularly as interest grows in reducing embodied carbon within the built environment.

One of the key exhibits is an atlas and mapping installation documenting active stone quarries across the UK. Developed as part of an ongoing research programme, the work highlights the country's geological diversity while revealing how many historic quarries have disappeared from production. The mapping has also informed the creation of a digital platform that allows architects and specifiers to identify local stone resources and better understand the carbon implications of material choices.

Alongside it, Spolia explores the historical practice of reclaiming and reusing stone. Constructed from reclaimed stone elements and supported by conservation specialist PAYE, the piece functions as both seating and archive. By bringing together fragments from different contexts, it examines stone as a material shaped by cycles of extraction, construction, dismantling and reuse rather than as a permanent, static resource.

The exhibition also includes Sites of Extraction, a documentary film following stone from quarry to construction site. Featuring contributions from quarry operators, architects, engineers, contractors, conservation specialists and policy experts, the film examines the complex networks that underpin contemporary stone production and highlights the challenges involved in increasing the use of structural stone.

A further display, Building with Stone, presents projects by Allies and Morrison alongside examples from other practices in the UK and Europe. Featured schemes include the practice's work at The Mound in Edinburgh, Cambridge Synagogue and Harlow Bandstand, as well as international projects that demonstrate how local stone can support housing, public buildings and landscape schemes. Together, the projects explore the relationship between regional materials, craft skills, local economies and low-carbon construction.

Rather than presenting stone as a nostalgic return to traditional building methods, Unlocking UK Stone asks how indigenous materials might help shape a more resource-conscious construction culture. Through research, case studies and material investigation, the exhibition seeks to reconnect architecture with the landscapes, supply chains and skills that underpin the built environment.

The exhibition is free to view until 26th June at Allies & Morrison, 85 Southwark Street, London SE1 0HX.

With additional research support provided by Webb Yates and Stone Federation Great Britain.

All images © Roc H Biel

Award-winning sculptor Nicolas Moreton is set to share more than three decades of stone carving experience this summer when he returns to Cowslip Meadows in Leicestershire to lead a three-day sculpture workshop.

Taking place from 10-12th July, the course will be held at the rural retreat near Market Harborough and is open to both complete beginners and those looking to develop existing carving skills.

A member of the Royal Society of Sculptors, Moreton has worked in stone for more than 35 years and has established an international reputation for sculpture that combines a deep understanding of material with an exploration of form, balance and movement. His work is held in private collections around the world, and this year sees him exhibit with Messums Fine Art at RHS Chelsea as well as showing at Carden Park Sculpture Garden in Cheshire.

The Leicestershire workshop offers participants an opportunity to learn directly from a practising sculptor whose career has been rooted in the traditions and possibilities of carving stone. Over three days, attendees will be guided through the process of designing, carving and finishing their own sculpture, gaining hands-on experience with both tools and techniques.

Kate Gilbertson-Hart, who runs Cowslip Meadows, said Moreton's courses have become a popular fixture in the venue's programme of creative workshops. As she points out, attendees benefit from a focused and contained group: "This is a super opportunity to gain knowledge from a celebrated practising sculptor," adding, "The small group size allows for more individual attention from Nicolas; it is advisable to book in early as the course is very popular."

The setting itself forms part of the appeal as Cowslip Meadows is a sustainable countryside retreat surrounded by wildflower meadows, rolling farmland and a herd of Longhorn cattle. Designed as a place for creative and restorative activities, the venue hosts a range of arts, crafts and wellbeing courses throughout the year.

At a time when concerns remain about the future of traditional craft skills, courses such as this provide an opportunity for newcomers to engage directly with stone as a material and gain insight into the techniques that continue to underpin contemporary sculpture and masonry practice.

The workshop includes the use of carving tools, goggles and protective equipment, while drawing materials are also provided. Participants are advised to wear practical clothing and footwear suitable for workshop activities. For those travelling from further afield, accommodation can be arranged within walking distance of the workshop.

Further information about the workshop and booking details are available from Cowslip Meadows.

The Extractive Industry Geology (EIG) Conference will return this September with a four-day programme exploring quarrying, geotechnics, mineral resources and low-carbon extraction across the built environment sector.

Taking place from 8–11 September 2026 at the University of Liverpool, the biennial conference brings together geologists, quarrying professionals, consultants, academics and suppliers working across the extractive industries. Organised by the Extractive Industries Geology (EIG) conference committee, the event has become a key date in the calendar for professionals involved in mineral planning, aggregates, natural stone, geotechnics and resource management.

The conference opens with a plenary session featuring an introduction to the geology of North West England by Professor Peter Burgess from the University of Liverpool. The programme also includes the Ansel Dunham Memorial Lecture, which this year will be delivered by Fiona McEvoy.

Across the following days, delegates can attend parallel sessions covering a wide range of topics linked to extractive industry practice and policy. These include quarry design case studies, professional practice, prospecting, geomorphological quarry restoration, water management and low-carbon resources.

The programme reflects the growing pressures and opportunities facing the sector, particularly around sustainability, decarbonisation and responsible resource management. Sessions examining low-carbon materials and restoration strategies sit alongside more technical discussions focused on engineering geology, hydrogeology and operational quarrying challenges.

As in previous years, the conference will also include trade stands and sponsorship opportunities, creating space for suppliers, consultants and technology providers to connect directly with delegates from across the industry.

Booking for the 2026 edition is now open, with an early bird delegate deadline running until 30 June.

Further information, delegate booking and the full conference programme are available via EIG Conferences and the dedicated conference booking page.

Women in Natural Stone (WINS) is hosting an exclusive visit to the Roman Temple of Mithras beneath Bloomberg's London headquarters on Tuesday 30th June.

The event will offer members the opportunity to learn more about one of the capital's most significant archaeological sites, which was carefully conserved and reconstructed as part of the development of Bloomberg's European headquarters.

The afternoon will begin with a presentation from PAYE, the conservation specialists involved in preserving and interpreting the remains discovered during the construction project. The talk will explore the challenges of conserving the site and integrating it within a contemporary commercial building while retaining its historical significance.

Following the presentation, attendees will be taken on a guided tour of the Temple of Mithras, providing an opportunity to explore the history of the Roman-era temple and the archaeological discoveries made during excavation works.

The visit starts with arrivals from 3.15pm for a prompt start at Bloomberg's main entrance on Bucklersbury in the City of London. Further details will be provided to attendees ahead of the event.

After the tour, members will have the opportunity to continue discussions and network informally over drinks at a nearby venue, although refreshments will be at attendees' own expense.

Places are limited and early booking is recommended. To reserve a place, email wins@stonefed.org.uk.

Apprentice stonemason Petra O'Flaherty from County Wicklow has been named one of two winners of the Screwfix Trade Apprentice 2026 competition, beating more than 3,000 apprentices from across the UK and Ireland.

The 22-year-old impressed judges during the competition final at Google's London headquarters, becoming the first stonemason to win the title in recent years and helping to secure a landmark moment for the natural stone sector. For the first time in the competition's history, two apprentices were awarded the title, with apprentice electrician Gracie Donaghy also named a champion.

As one of the winners, O'Flaherty receives a package of tools, training and technology worth €10,000, designed to support her future career in the trade. Kerry College, where she is currently completing phase seven of her apprenticeship, also receives €2,000 in Screwfix vouchers.

O'Flaherty's route into stonemasonry reflects a combination of tradition and career reinvention. Following the Covid pandemic, she decided to leave a career in nursing and pursue an apprenticeship in the family trade. She is the eighth generation of stonemasons in her family and the first registered female stonemason in Ireland for more than 30 years.

Her commitment to preserving traditional skills while encouraging greater diversity within the industry was a key factor in her success. O'Flaherty has already helped two other women begin apprenticeships in stonemasonry and regularly uses her own experience to promote the trade as a rewarding career option.

During the final, judges from Screwfix, the National Inspection Council for Electrical Installation Contracting (NICEIC), the Chartered Institute of Plumbing and Heating Engineering (CIPHE) and the Federation of Master Builders (FMB) praised her passion for stoneworking, particularly her enthusiasm for taking locally quarried Irish stone and transforming it into work that will endure for generations.

Sarah Howell, Director of Marketing Communications at Screwfix, said O'Flaherty's dedication to her craft, commitment to local materials and desire to make a positive difference within the industry had made a strong impression on the judges.

"Petra's dedication to her craft and using local materials, together with her drive to make a difference in the industry, are inspirational," she said. "The entire judging panel was moved by her ambition and talent."

Speaking after receiving the award, O'Flaherty said: "The whole experience of the competition has been unbelievable. I've even been able to share my story on TV and radio, but getting the chance to meet and know the other apprentices has been the icing on the cake.

"Sitting there with them as the judges announced the winner, I honestly think we all could have been chosen, so to hear my name was incredible. This award is going to be so valuable to me and my career, but more importantly, to my college and any future stonemasons out there who are thinking of embarking on an apprenticeship.

"I really hope I can use my story to inspire others to consider a career in stonemasonry, and to show that it's never too late to switch careers – it's honestly the best thing I've ever done."

The RHS Chelsea Flower Show is, understandably, remembered for its planting. New cultivars, layered borders and horticultural spectacle remain at the centre of the event. Royal visits, big brands and extensive queues have also become perennial features of the event during this century in particular. Yet some of the show's most enduring ideas are often carried not by flowers, but by the materials that shape the landscape around them.

This year, Flourish in the City, designed by Joe and Laura Carey of Carey Garden Design Studio for Addleshaw Goddard, offered a thoughtful example of how surface, structure and planting can work together to tell a wider story about urban life. Awarded a Gold Medal in the Small Show Garden category, the project drew inspiration from London's overlooked green spaces, hidden rivers and status as the world's first National Park City.

While the garden's planting palette reflected species adapted to city conditions, including London Pride, ornamental grasses and drought-tolerant shrubs, its material palette elegantly anchored the scheme. Portland stone, copper and reclaimed materials were used throughout, referencing both the city's architectural heritage and its evolving environmental ambitions.

Most striking was the use of oyster shell-based concrete, or "oystercrete" from London-based material makers Matterforms. As we’ve previously reported, the team uses recycled oyster shells collected from London restaurants to create richly textured, stone-like concrete alternatives. In this context, the material connected the project to the city's historic oyster trade while exploring alternative approaches to construction and material reuse.

The result echoed a broader shift visible across Chelsea this year. Alongside conversations around biodiversity, climate resilience and urban greening, there was a noticeable focus on the physical fabric of gardens themselves: reclaimed stone, low-carbon construction, water-sensitive detailing and materials selected as carefully as the planting schemes they supported.

For an event centred on gardens, Chelsea continues to demonstrate how landscape design is inseparable from material design. Plants may provide the seasonal drama, but it is often the surfaces beneath them that weather, hold water, frame views and carry memory, which give a garden its lasting character.