The world has never felt so still, so calm and so quiet to me as the evening when I stood inside the central chamber of the long barrow at Fingask Castle in the Braes of the Carse in Scotland. The skies, the darkest tones of obsidian and the stars clustered as if guardians of the moon.

We are taught to fear the dark, perhaps we even fear the night and yet, when I turned my head torch off and looked up through the main oculus, I had the most visceral sense of being alive; an imperceptible sensation in my solar plexus. Underneath my feet, autumn leaves had gathered, windswept into an oval shape.

I’m standing in a structure that’s been built by a small team of men led by seventh generation stonemason, James Davies whose father, Geraint Davies is a master stonemason and designer of long barrows. Each barrow is drawn by hand and in 2014, Geraint completed the long barrow at All Cannings, Wiltshire – thought to be the first Neolithic-style burial mound to be built in the UK for more than 5,000 years. It can be described as a columbarium – with more than 200 niches and, within these, cremated remains can be placed in urns.

All Cannings is owned by Timothy Daw who was a historic property steward at Stonehenge and would often experience grieving relatives wishing to scatter loved ones ashes within this spiritual place. This of course isn’t allowed. He knew people wanted a more natural, less commercial way to remember the dead and a barrow made sense to him.

It was Geraint who persuaded Timothy to build the barrow from stone –  dry-stone laid honey-coloured limestone with a Sarsen stone entrance like the one at Stonehenge. It’s now a registered Druidic Place of Worship and those who visit can celebrate Solstices and Equinoxes. There are regular open days throughout the year and visits can be arranged. 

The Health and Safety Executive (HSE) has published a new guide for people fabricating and installing stone worktops. This guidance is designed to remind dutyholders and workers about the need to ensure that suitable procedures and controls are in place to help protect against exposure to stone dust and prevent workers breathing in respirable crystalline silica (RCS).

Stone workers are at risk of exposure to airborne particles of stone dust containing RCS when processing stone, including engineered stone, by cutting, chiselling and polishing. Over time, breathing in these silica particles can cause irreversible, life-changing and often fatal respiratory conditions such as silicosis, chronic obstructive pulmonary disease and lung cancer.

HSE’s guidance covers: competent staff and effective processes; pre-installation, on-site installation, and post-installation. The recommendations include:

• Installers should understand the risk from processing stone and how to use suitable controls.
• Worktops should be pre-fabricated so further processing on site is avoided.
• Water suppression or on-tool extraction with shroud and dust collector attached to an M-class vacuum should be used to control any dust generated.
• Respiratory protective equipment with an assigned protection factor (APF) of at least 20 (e.g. FFP3 face mask) should be worn when processing the stone.
• Cleaning should be by wet methods or dust class M vacuum to prevent creation of dust.

A link to the guidance is available here – Silica in Stoneworking – Work Right to keep Britain safe.

Mike Calcutt, deputy director at Health and Work, said: “HSE will continue to work with industry stakeholders to raise awareness of managing the risks from exposure to respirable crystalline silica. It’s important that businesses act now to ensure they comply with the law and protect their workers from serious lung diseases.

“Great Britain has a robust and well-established regulatory framework in place to protect workers from the health risks associated with exposure to hazardous substances. We want employers and workers to make sure they are aware of the risks associated with the activities they do, and that’s why we are sending this reminder.

“HSE’s inspectors have often found poor management of control measures including water suppression, dust extraction, equipment maintenance, cleaning and RPE provision. Employers should ensure suitable control measures are properly used and maintained.”

Employers have a legal duty to create suitable arrangements to manage health and safety and ensure they comply with the Control of Substances Hazardous to Health Regulations 2002 (COSHH) (as amended). Businesses should have in place effective control measures, including combinations of the enclosure and automation of processing equipment, use of water suppression and control of any mist generated and personal protective equipment such as RPE, to reduce workers’ exposure to the RCS.

You can sign up for regular updates from HSE on silica here.

Charlotte Shacklock met up with sales director Ant Collins of the Hardscape Group at the Public Space Expo where the company had created its very own village.

CS: Can you tell us how Hardscape Village came about?  

AC: The starting point is probably our 30th birthday which we are celebrating this year. We started out in 1994 and we became employee-owned around two years ago. We started exploring our profile and wanted to demonstrate ourselves as one of the bigger players in commercial spaces. We sit in quite a niche position and work with quarries and manufacturing partners to bring those materials through the design process into the built environment which not many can offer in our market. Through some research it was clear everyone who knew us in the industry were impressed by what we offered, but some people outside the industry either hadn’t heard of us or maybe thought we focused on small commercial and domestic garden projects.  

For many years we have operated right across all commercial spaces – public municipalities, city centres – it’s the core of what we do.  We spotted the opportunity to raise our profile at the Public Space Expo as we know the wider Futurescape event to be a good industry mixer and networking event, we’ve never exhibited here, but when they announced it would include the Public Space Expo, we were certainly interested. We were looking for key events to mark the anniversary and this seemed perfect for us to be the headline sponsor. The idea of creating our own village at the show evolved over time. How does the village differ from having a stand at the show? It’s hard for us to show things in a small space because there’s so much – even one or two stands doesn’t do it justice. I thought it would be nice to remove the mystique of who we deal with and allow the design community, clients – even our competition, to come and speak to our suppliers because we feel that strongly about the relationship we have with them. If you’re interested in Italian porphyry, for example – you can speak directly to the stakeholders of the quarry and factory who are part of the Hardscape Village. 

You don’t need a Hardscape representative there to listen to the conversation or hand out a business card or scan your lanyard. We’re experts through experience, they’re experts because the live and breathe those materials. We have manufacturers and quarry owners from Spain, Portugal, Italy, the Netherlands, Ireland and the UK here. So again, from that angle, there’s materials there that a lot of the market don’t know exist. There’s a material from eastern Scotland called Angus sandstone. Not many commercially seem to know what that product is and what it can do. But we have got samples here and the company has been proud as punch to be a part of it. That kind of reciprocal relationship is really helpful for us. People buy from people after all. 

How important is it to be ethical and sustainable? 
For over a decade we have been leaders in ethical trading and had every accreditation that you could wish for, to be able to explain that you can work directly with local authority in their procurement routes. Still, it took a pandemic to then shake our market to say we had already had these supply chain relationships but they were much lower volume than they are now. We are supported by the Stone Federation of Great Britain and the Landscape Institute and have a duty of care for where we source materials and are very selective. Cost is still crucial to a project, but it’s now not always number one priority. As an example speed is key now because the markets are busy. Lead time is an issue across the board. Carbon is a bigger agenda. More clients are saying “we don’t mind so much if it costs a bit more, as long as we can lessen our carbon footprint” and we can do carbon analysis of specifications. We can say to the client, spec A, which is European granite, as an example, based on quantities and where they’re from, will spit out X carbon. And we can compare materials along with relatable costs.  

The Hardscape Village was an opportunity to show the best of the industry, which we definitely achieved. And again, having some of the supply chains that aren’t physically here coming to visit just to say hello and thanks for showing the material, it’s fantastic for us because it’s a wide chain of people who support our business.  A lot of the quarries traditionally, certainly in Europe, they’re owned by families. I’ve known some of these families for 20 years. I’ve seen their children grow up and they’ve seen mine grow up – it really is personal. 

Blenheim Palace has announced that its annual deep clean of the stately home is underway in preparation of the monumental £10.4 million undertaking to preserve the Palace's historic architecture and safeguard its heritage for future generations.

Last year, the UNESCO World Heritage Site, which has been home to the Dukes of Marlborough since 1705, and one of Britain’s most iconic landmarks, announced its most ambitious restoration project to date, the major repair of the Palace roof.

This month, in preparation for these vital repair works, the cleaning of the plaster and gilded work on all ceilings is being prioritised. The team will be deep cleaning every corner of the ceilings plus monitoring and recording existing damage in case there are any movements due to the restoration works.

The annual deep clean process which takes roughly 6-8 weeks to complete includes everything from the 19 chandeliers, 18 clocks, 11 thousand books, over 1000 pieces of silverware, Boulle furniture, 38 pieces of armour, 40 busts and sculptures, plus tapestries.

The Palace team is using natural cleaning products, distilled water and no aerosol sprays, bristle brushes and old-fashioned elbow grease giving each item the special attention and techniques required for quality preservation. New technologies such as museum vacuum cleaners with HEPA filters, are also incorporated as each room is carefully stripped of all the furniture and artefacts and vacuumed from floor to ceiling.

Kate Ballenger, keeper of palace and collections, said, “Every year this is an enormous undertaking that, once complete, is the most satisfying feeling for the whole team of specialists that come together. Whilst it’s always a mammoth task, this year, we have a smaller window of time to complete our vital deep clean, ahead of the start of the roof restoration project.”

Alongside the restoration works starting, Blenheim Palace is introducing unique visitor experiences that provide exclusive access to previously unseen areas of the Estate as well as the surrounding Oxfordshire countryside. Three exclusive new experiences will also live at the landmark this year:

An all-new ticketed Roof Top View platform experience, providing visitors with never seen before breathtaking views over the Estate and surrounding Oxfordshire countryside.

This year, Blenheim’s renowned gardens undergo a transformation, too – with new features to be explored every season.

Blenheim Palace first opened its doors to the public 75 years ago to raise funds for essential roof conservation work. The project represents the most significant roof restoration in Blenheim Palace’s history. Every penny of visitor funds will contribute directly to this vital conservation effort, ensuring the project’s completion by 2026. In return, visitors will not only be supporting the preservation of this historic landmark but will also have the opportunity to immerse themselves in the rich history.
 

I’m not much of an early bird, I like to enjoy a few extra minutes in bed before starting the day. My mornings are all about simplicity. I’ll get ready with a cup of coffee in hand, accompanied by some classic rock from the 70s (my go-to for setting a positive vibe) and then head into central London to start the day.

I am usually found working at DBR’s head office, which serves as my base as marketing officer. In this role, I oversee our digital presence – managing social media, engaging with clients, and coordinating community engagement and sustainability initiatives. It’s a diverse role, and no two days are the same. What’s special about my job is that I also get to continue my work as a conservator. On some days, I’m tracking online activity and fine-tuning our messaging, while on others, I’m out on site, climbing scaffolding and working on one of our fantastic masonry conservation projects. It’s a unique blend that keeps me on my toes.

A typical day starts with checking how our social media posts from the previous day have performed, monitoring engagement levels, and seeing what conversations have sparked online. I have regular calls with various team members, discussing everything from preparing tender packages to arranging site tours and CPD events for our clients, colleagues, and supply chain partners. I usually listen to music or podcasts to keep the flow of the day going. Quite often, I split my time between the head office and our project sites, capturing photographs of our projects and the amazing people who bring them to life.

What continues to surprise me is just how varied and dynamic my role can be. At DBR, many of us have the opportunity to take on a wide range of responsibilities, which keeps the job feeling fresh and exciting. Being in a position where I can both market DBR and actively work as a conservator is incredibly rewarding. The company has grown from a specialist masonry conservation firm into a multi-million-pound principal contractor that can offer all aspects of conservation and restoration. I get to showcase that growth to the world, while still getting my hands dirty in the conservation work I love. It’s not a common career path, and I’m immensely grateful for it.

When I was younger I wanted to be anything that involved creativity or craftsmanship. I’ve always had an interest in history and different cultures, which led me to study cultural anthropology and archaeology, following in the footsteps of my grandmother. Through those studies, I developed a deep appreciation for the past and the ways in which we preserve it. That passion ultimately led me into the field of historic building conservation, where I get to combine my love for history with hands-on restoration work.

Something you might not know about me is that I’m certified to operate a forklift, mobile tower, and boom lift. This skill came in handy during a project in Somerset, where I had to step in as the plant operator when the main operator went on holiday. I was the only other certified person on the team. Some of my male colleagues were sceptical about whether I could handle the forklift, especially on a bumpy, uneven site, but I proved them wrong. It’s a reminder that sometimes the skills we least expect to use ends up being the most valuable.

One of the standout moments in my career was laser cleaning the terracotta sculptures on the façade of the Natural History Museum. Having a direct hand in conserving such a globally recognised landmark was an absolute honour. I first became certified in laser cleaning while working on sculpted marble in Washington, DC, and I never imagined I’d get the chance to apply those skills in London, let alone on such an iconic building. It felt surreal at times, standing on scaffolding in front of those magnificent sculptures, knowing that my work was helping to preserve a piece of history for future generations.

If I could give one piece of advice to someone considering a career in the stone industry, I’d say don’t let fear hold you back. When I first started in the industry as a conservation technician in the US, working on the marble of the US Capitol Building, I often felt overwhelmed. But I quickly found my footing, especially after discovering I was surrounded by a team of talented female conservators. That experience gave me the confidence I needed to push forward. Now, working with DBR as both a conservator and marketing officer, I’m proud to highlight the incredible women in our field; I love being able to post about these incredible women on the tools to promote the beauty, strength, and tenacity of women in conservation. My advice to anyone considering this career, particularly women, is to embrace the challenge. 

The stone industry may have traditionally been male dominated, but that’s changing. Pursue your passion, prove any doubters wrong, and show the strength and resilience women bring to the stone industry. There’s a growing space for us in this field, and it’s incredibly rewarding. 
 

A Neolith-style Long Barrow in Perthshire has been awarded Best Use of Stone in the annual Dundee Institute of Architects (DIA) awards. Located within the grounds of Fingask Castle in Perthshire, the Long Barrow took just over 12 months to complete and was constructed by a team of four led by James Davies of Davies Stone Creations. 

Based in Bedfordshire, Davies is a seventh-generation stonemason and this large-scale barrow was designed by his father, Geraint who also designed and worked on the long barrow at All Cannings, Wiltshire with Tim Daw in 2014.

Defind Stone in Monikie supplied blocks of Angus Sandstone from its own quarry for the build. Stone was then dressed on site by the team and it is believed to be the first oval corbeled roof of its kind containing oculi.

The judges said: “a masterclass in stonemasonry, the judges were highly impressed by the scale of the Long Barrow and its corbeled spaces. Constructed from local stone, minimal lime mortar and minimal machinery, large slabs of stone to small infill pieces were skilfully assembled. Overtime, this stone celebration will blend further into the hillside looking over the Carse.”

The award was presented to Fingask Castle owner, Andrew Threipland at the ceremony held at Dundee’s Apex Hotel in November.

Denfind Stone shared on LinkedIn: “We had a fantastic time at the 2024 DIA Design Awards, where our general manager, Fraser, had the honour of presenting the award for Best Use of Stone to Davies Stone Creation for their exceptional work on the Long Barrow at Fingask Castle in Perth.

We’re proud to have supplied the Angus sandstone used in the winning project and are equally thrilled to have worked with all the nominees in this category, showcasing the versatility and beauty of our stone across such remarkable projects.”

On winning the award, James Davies said: “I’m incredibly proud of what we have achieved at Fingask – but this wouldn’t have been possible without Andrew’s vision. He provided us with a blank canvas on which to create something of this scale. We wanted to build something magical using traditional techniques evoking the sense that the barrow had always been there, as part of the landscape.”

For more information, visit: https://daviesstonecreations.co.uk

The Stone Federation has announced the winners of the biennial Natural Stone Awards during an event held on 6 December at the Leonardo Royal London Tower Bridge.

Proceedings opened with an address from Stone Federation president, Adrian Attwood. Commentator Jim Rosenthal hosted the event and National Lottery ‘voice of the balls’ Alan Dedicoat announced the winners. Kevin McCloud presented the awards. 

In total, there were 14 categories highlighting and celebrate success across the stone industry. The winners were as follows:

New Build Cladding Traditional Handset – Winner
Auckland Castle Faith Museum, Co. Durham

New Build Cladding Precast – Highly Commended
18-20 Greycoat Place, London

New Build Cladding Rainscreen – Winner
Auckland Castle Faith Museum, Co. Durham – Roof

New Build Traditional Load-bearing Stonemasonry – Winner 
Private Residence, Surrey

New build Traditional Stonemasonry – Winner
Private Chapel, Suffolk

Repair & Restoration (Commercial) – Winner
Primark - The Bank Buildings, Belfast

Repair & Restoration (Ecclesiastical) – Highly Commended
St. Philip's Church Litherland, Liverpool - North Transept Window

Repair & Restoration (Cathedrals) – Winner
Salisbury Cathedral, Wiltshire                       

Interiors – Winner
Rhodes House, Oxford

Landscape (Commercial & Public Realm) – Winner
M8 Footbridge, Glasgow

International – Certificate of Recognition
Perelman Performing Arts Center, New York

Landscape (Domestic) – Winner
Seaview Farm & Garden, Dornoch, Scotland

Craftsmanship – Winner
Mitchell Library, Glasgow

Art in Stone – Winner
Torus of Time & Tower of Time, Oxfordshire

International – Certificate of Recognition
The British Normandy Memorial, France

Full details of the winners can be found in the Natural Stone Awards programme, available to view here.