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Surface Spot: An Exploration of Limestone Waste

2026-02-20

 

In Ground Truths, multidisciplinary artist and designer Mie Kim turns her attention to one of the stone world’s most overlooked by-products: waste limestone. Typically shunned in ceramics for its volatility and tendency to fracture or deform in the kiln, the material becomes the conceptual and physical core of this work. Through experimental glaze applications and a series of suspended sculptural forms, Kim tests the limits of limestone’s structural and aesthetic potential. The resulting works carry visible traces of instability, with pitting, blistering, and subtle distortions embraced not as flaws but as evidence of material truth.

 

 

Kim’s broader practice is rooted in a desire to stay connected to the origin of things. Primarily creating sculpture and limited design objects, she works in a spontaneous dialogue with her natural surroundings, often sourcing indigenous organic materials such as tree ash and wild clay harvested from riverbeds in nearby mountain ranges. These elements find their way into her glazes and bodies, binding each piece to a specific landscape and moment in time. Her approach reflects an effort to reclaim a kind of ascetic intentionality in an era of perceived abundance, where objects are frequently divorced from their source and means of production. In this context, limestone, especially in its discarded, industrial form, becomes a potent symbol of both neglect and latent potential.

 

 

Materiality remains the driving force of Ground Truths. By working with wild clay, industrial waste, and foraged minerals, Kim foregrounds slow, hands-on processes that resist standardisation and permanence. Rather than imposing strict control, she allows the inherent behavior of the materials to shape the outcome, inviting collaboration with what she describes as “unruly matter.” 

 

Ground Truths reads as both an inquiry into secondary material streams and a meditation on how value can be redefined through imperfection, unpredictability, and constraint.

 

 

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Case Study: Komorebi, ConForm Architects

2026-02-19

 

Set within the familiar rhythm of brick-fronted terraces in Dulwich, Komorebi is a layered, light-filled family home that reinterprets the existing structure through a carefully orchestrated sequence of voids, surfaces and material contrasts. Designed by London-based architecture and interiors practice ConForm for a father and his two sons, the project is defined by spatial connection, filtered daylight and a restrained palette in which stone plays a quietly anchoring role.

 

 

While the front elevation retains its original character, the rear of the house has been entirely reworked, allowing the interior to unfold as a series of interlinked levels bound together by light. At the heart of the scheme is an existing central rooflight, an unusual feature for a London terrace, which the architects expanded into a multi-storey void. Rather than infilling above, the volume is extended vertically, forming the project’s architectural core and allowing daylight to penetrate deep into the plan.

 

 

This central space is defined by open stair treads, perforated steel floorplates and carefully aligned openings that allow light, air and sound to filter between levels. Whitewashed brickwork lines the void, its softened surface reflecting light while retaining the texture of the original masonry. Together, these elements create a dynamic interior landscape in which shifting daylight becomes a constant presence throughout the day.

 

 

The plan is arranged vertically to reflect patterns of family life, with shared spaces cascading downwards from the central void. At ground level, kitchen, dining and living areas are unified through a continuous counter, encouraging fluid movement and visual connection. Upper floors accommodate more private spaces, including a heavily glazed study housed within a first-floor infill extension and a second-floor pod room offering the teenage sons a retreat.

 

 

Material continuity underpins this spatial organisation. Oak joinery, perforated steel, whitewashed brick, concrete downstands and lime mortar establish a cohesive backdrop, while ceppo di gre stone introduces moments of density and tactility. Used for internal flooring and threshold elements, the stone’s mottled texture and mineral depth provide visual weight within the otherwise light-filled composition, anchoring the interior and tempering the openness of the vertical arrangement.

 

 

Externally, the rear extensions draw on the varied roof forms and angled outriggers characteristic of the surrounding streetscape, while their concrete-framed construction and carefully detailed glazing establish a contemporary identity. At the lowest level, a pivoting glazed door opens directly onto a sheltered terrace, where stone paving continues the internal material language into the garden, blurring the boundary between inside and out.

 

 

Throughout the house, bespoke joinery is integrated into the architecture, with timber-framed windows, concealed lighting and sharply defined stair balustrades guiding movement and sightlines. These elements work in concert with the stone, brick and concrete surfaces to create a restrained material palette that supports both functional living and spatial clarity.

 

 

Rather than maximising floor area, the project focuses on extracting generosity from the existing volume, using sectional complexity, carefully positioned openings and material consistency to create a sense of connection and openness. In doing so, Komorebi demonstrates how strategic architectural interventions, anchored by thoughtful material selection, can transform a modest urban terrace into a richly layered family home.

 

All images courtesy of James Retief

 

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Profile: Material Index

2026-02-18

 

As the construction industry faces mounting pressure to reduce carbon emissions, cut waste and preserve finite resources, circular methodologies are rapidly shifting from aspiration to necessity. Nowhere is this more evident than in the growing movement to reclaim, reuse and repurpose materials already embedded within the built environment. At the forefront of this shift is Material Index, a London-based platform and services company dedicated to enabling material reuse at scale through a combination of digital technology, technical expertise and logistics support.

 

 

Founded by architect Morgan Lewis and engineer Rob Smith to tackle the systemic inefficiencies that see vast quantities of valuable materials sent to landfill, Material Index works collaboratively with building owners, contractors and design teams to unlock the latent value within existing buildings. By integrating pre-demolition audits, materials passports, digital marketplaces and storage and logistics services, the company provides a joined-up approach to circular construction that bridges the gap between ambition and delivery.

 

 

At the heart of Material Index’s offering is its proprietary digital platform, which underpins every stage of the reuse process. Through best-in-class pre-demolition, pre-redevelopment and material reclamation audits, the company captures highly detailed, component-level data, providing accurate insights into material condition, quantities, embodied carbon and waste potential. This granular approach allows project teams to identify opportunities for reuse early, enabling circular strategies to be embedded within design and procurement workflows rather than treated as an afterthought.

 

 

This data-led methodology delivers tangible results. Material Index reports a project reuse rate of 19%, significantly outperforming the current industry average of around 4%. By diverting materials from waste streams and reintegrating them into new construction and fit-out projects, clients benefit from reduced disposal costs, lower embodied carbon and a demonstrably lighter environmental footprint.

 

 

Beyond audits, Material Index has established one of the UK’s largest business-to-business marketplaces for reclaimed materials. Through its network of more than 300 trusted trade partners, spanning manufacturers, specialist contractors and reclamation businesses, the platform enables surplus materials to be exchanged, stored or sold with full traceability. Logistics coordination ensures that collections align with demolition and strip-out programmes, while environmental reporting provides transparent documentation of carbon and waste savings. The ever-evolving online resource is well worth a visit for anyone on the lookout for interior and construction materials, with stone, flooring products, lighting and furniture regularly updated and available at the click of a button.

 

 

The company has also developed a dedicated materials specification service, supporting designers, engineers and contractors in sourcing refurbished and reclaimed materials suitable for high-performance projects. This service is particularly relevant to stone and surface materials, where longevity, inherent durability and embodied carbon profiles make reuse an increasingly compelling proposition.

 

 

Another cornerstone of Material Index’s offering is its Materials Passports: secure, digital records of every material installed within a completed building. Drawing together information from BIM models, site audits, project documentation and supply chain data, the passports create a spatially searchable material directory that preserves knowledge long after project completion. In doing so, they transform materials into long-term assets, ensuring that when buildings are adapted, refurbished or dismantled, valuable resources can be efficiently recovered and reused.

 

 

For larger estates and portfolios, Material Index offers a portfolio management solution, enabling asset owners and contractors to track materials across multiple buildings, facilitate internal exchanges and manage storage and resale. This approach supports strategic planning at scale, reinforcing circularity as a core operational principle rather than a project-by-project exercise.

 

With sustainability targets tightening and regulatory pressure increasing, the role of intelligent material management is only set to grow. By combining digital innovation with practical, on-the-ground expertise, Material Index is helping to redefine how materials flow through the construction industry – turning waste into opportunity and circular ambition into measurable action.

 

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News: Championing Stone Apprenticeships

2026-02-17

 

 

Rather sadly, in contemporary culture, the term ‘Apprentice’ is more likely to conjure images of suited bafoonery and surly finger-pointing old men than young people learning an array of skills through hands-on training.  

 

As underlined by a host of events last week, UK Apprenticeship Week is a national annual campaign that celebrates the true value of apprenticeships. Bringing together employers, educators and industry bodies it offers a showcase of how structured training and hands-on learning help people develop skilled careers while supporting businesses to grow and address skills shortages across the UK.  

 

In an industry confronting a deepening skills shortage, the continuity of traditional craft knowledge has become as central to the future of stone conservation as the technical challenges of the work itself. DBR Limited, one of the UK’s foremost historic building conservation specialists, has placed apprenticeships and training at the core of its long-term strategy, recognising that tomorrow’s skilled masons, carvers and conservation technicians must be nurtured today. As part of its broader commitment to social value and craft succession, DBR champions hands-on training, on-site mentoring and structured vocational progression, including formal apprenticeships for every project exceeding a year in duration and a new three-year partnership with the Queen Elizabeth Scholarship Trust (QEST) to support annual craft scholarships. 

 

We spoke to DBR Executive Director Adrian Attwood during the event to find out more about the company’s approach and the significance of modern-day apprenticeships.

 

 

SS: Set the scene for us; what is the story behind the skills shortage we are seeing in the stone industry?

 

AA: Stonemasonry is an ancient craft and industry, yet it is potentially facing extinction. To become a true expert in the craft, a master stonemason requires up to ten years of experience. Yet across the entire United Kingdom, there are only four dedicated diploma Level 2 courses available. For a profession that’s essential to maintaining everything from parish churches to palaces, this training provision is woefully inadequate.

 

 

SS: Can you put into context what effects a continued skills shortage like this might have in the near-future?

 

AA: This skills crisis threatens Britain’s £16bn heritage sector at precisely the moment we have secured unprecedented financial backing. The government’s announcement of 50,000 new youth apprenticeship places represents genuine opportunity. It’s backed by £725m in funding and the removal of the 5% levy for under-25s, combined with £1.5bn in cultural sector investment and £230m for heritage protection. This is most welcome. Yet, money alone cannot repoint medieval walls, conserve ashlar masonry or restore ornamental stonework. These skills require human hands, trained over years through rigorous apprenticeships.

 

 

SS: You are coming at this from lived experience, so you must be feeling such effects firsthand?

 

AA: This is a slow-moving crisis. Over the past decade, we have seen a 40% decline in young people starting apprenticeships. At DBR, where we employ scores of skilled specialists working on everything from facade conservation, roof repair & replacement to historic interiors, attracting new talent grows more difficult each year. Our masonry workforce is ageing and soon many are retiring, and with nearly one million young people aged 16 to 24 not in work or learning, the disconnect is painful. Many talented young people have no local route into the profession.  

 

 

JB: So what are the barriers in cultivating a new, younger workforce of trained, and skilled people? And what can be done to help overcome them?

 

AA: The barrier is partly cultural. Our education system maintains a bias towards academic routes, leaving vocational careers in stonemasonry, leadwork and decorative plasterwork significantly undervalued. Teachers and careers advisors simply do not have heritage trades on their radar.  

 

The stone industry must step up now. At DBR, we have invested in our own craft skills centre in the South Downs and offer school taster days. But individual businesses acting alone cannot solve this industry-wide problem. The stone sector needs coordinated action: training providers must expand diploma courses, public sector frameworks must provide a healthy pipeline of work, and traditional masonry crafts must receive equal priority in the apprenticeship framework.  

 

Unless we act as a collective, we risk losing centuries of irreplaceable masonry knowledge. The government has provided increased funding. We now need the heritage industry to invest in the next generation, ensuring the skills that built Britain’s architectural legacy survive into future generations, to protect it.  

 

 

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Case Study: Wishing Well, Fieldwork Architects

2026-02-16

 

Perched along Jersey’s exposed western coastline, Wishing Well is a three-bedroom house shaped by the raw character of its setting and a deeply material-driven design approach. Designed by London-based Fieldwork Architects, the project transforms a dilapidated dormer bungalow into a contemporary coastal home anchored by locally quarried granite and stabilised rammed earth, materials selected both for their environmental resilience and their strong connection to place.

 

 

Designed for a client returning to the island after several years in London, the house deliberately departs from Jersey’s conventional domestic language. Instead, it embraces an elemental architectural expression, grounded in the textures, tones and geology of its surroundings. “We wanted the house to feel rooted in its environment,” says James Owen, director at Fieldwork Architects. “The arrangement connects closely with the land and sea, framing views and using natural materials throughout to create a sense of protection and belonging.”

 

 

The site occupies a dramatic position overlooking St Ouen’s Bay, where Atlantic swells meet long expanses of sandy beach, backed by the rising hills of Jersey’s National Park. Strict planning regulations required the architects to retain part of the original bungalow structure, submitting the proposal as an extension rather than a new build. This constraint became a defining conceptual driver. The new house was conceived around the footprint of the former building, its rectangular plan traced by a two-storey stabilised rammed earth wall that encases the remnants of the original structure.

 

 

The rammed earth core establishes both architectural character and environmental performance. Handcrafted and highly tactile, the walls draw directly on the island’s geology while offering significant thermal mass, moderating internal temperatures through Jersey’s variable coastal climate. “Wishing Well sits on Jersey’s most exposed coastline and gave us the opportunity to balance contemporary design with the rugged surroundings,” says Tim Gibbons, director at Fieldwork. “Working closely with the client, we were able to create a home that celebrates both the landscape and local craftsmanship.”

 

 

At ground level, the rammed earth is wrapped in an additional layer of locally quarried Jersey granite, forming a robust perimeter that shields the interior from prevailing winds and driving rain. A sheltered colonnade runs along two elevations, creating a covered terrace that mediates between inside and out while maintaining uninterrupted views across the landscape. The granite itself plays a dual role: structural, protective and expressive, its natural pink hues echoing the tones of the surrounding cliffs and coastal light.

 

 

In a further refinement of material integration, granite dust produced during stone processing was incorporated into the rammed earth aggregate, creating a bespoke stabilised earth mix developed specifically for the project. This process, undertaken in collaboration with Rammed Earth Structures and structural engineers Elliott Wood, involved extensive testing to achieve the desired texture, colour and performance. The result subtly embeds the stone into the fabric of the building, reinforcing the material continuity between structure and surface.

 

 

Internally, a section of the rammed earth core is left exposed, revealing the layered construction while establishing a sculptural focal point within the home. The layout is deliberately inverted, with private bedrooms positioned at ground level, cocooned within the thick granite walls, and living spaces elevated above. The primary suite faces the sea, its sheltered character softened by arched openings and a vaulted ceiling that appears carved from the building’s mass.

 

 

Entry is via a generous utility space, known as the “boardroom”, designed for life by the coast, complete with shower facilities, surfboard storage and direct access to the outdoors. A central stair forms the organisational spine of the house, rising alongside the exposed rammed earth wall and drawing daylight deep into the plan. Carefully positioned openings maintain constant visual connections with land and sea, shaping the experience of movement through the building.

 

At first-floor level, the atmosphere shifts markedly. Beneath a large rooflight, the main living spaces open into a bright, expansive environment, with panoramic views framed by extensive glazing and east- and west-facing terraces. A timber-clad dining pavilion, introduced later in the design process, provides spatial balance while offering shading and a softer counterpoint to the mineral mass of the granite and earth walls.

 

 

Material continuity between floors is reinforced through the use of cream-coloured limestone, employed for external window reveals before reappearing internally as a continuous band rising up the stair and flowing around the floor opening. It also forms the kitchen worktops and frames bespoke timber cabinetry designed by Fieldwork. The stone’s finish shifts according to use: flamed underfoot to reveal fossil textures, and polished smooth for working surfaces.

 

For the client, Amber Warner, the material choices were fundamental to shaping atmosphere and experience. “It was very important to frame as much of the view as possible from all parts of the house,” she says. “I wanted spaces that felt cosy during the dramatic winters but cool and open in summer. The granite reflects the pink tones of the sunsets, while the earthy textures inside mirror the sand and landscape outside.”

 

 

The project exemplifies Fieldwork’s collaborative design process, developed alongside Singh Studio and shaped through close engagement with engineers and specialist contractors. By integrating structural logic, material research and craft expertise, the team delivered a building in which architecture, surface and setting are inseparable.

 

Through its disciplined use of granite, rammed earth and limestone, Wishing Well presents a compelling case study in contemporary coastal architecture — a house rooted in its geology, climate and culture, and shaped as much by material performance as by spatial ambition.

 

All images courtesy of French + Tye

 

 

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News: Slate Roof Specification Made Simple

2026-02-13

 

BMI Redland has released an on-demand webinar to help specifiers make informed choices when selecting slate roofing, as natural stone and engineered alternatives continue to shape contemporary roof design. Titled Natural Slate and Slate Alternatives: A Specifier’s Guide, the session is presented by Mat Woodyatt, Product Manager at BMI Redland, and is aimed at architects, contractors and others responsible for long-term material decisions.

 

Natural slate remains one of the UK’s most enduring roofing materials, valued for its geological character, subtle colour variation and proven longevity. But the webinar makes clear that successful specification involves more than choosing a traditional product. Sourcing, standards compliance, workmanship and system design all play a critical role in how a slate roof performs and ages. Woodyatt explores how these factors influence appearance, durability and whole-life cost, positioning slate as a material system rather than a single material choice.

 

 

Alongside natural slate, the webinar examines the growing range of slate alternatives, increasingly specified to address issues of availability, cost certainty and sustainability. Rather than framing engineered products as simple substitutes, the session presents them as part of a broader material palette that can deliver a slate aesthetic while responding to contemporary technical and environmental requirements.

 

Key topics include design suitability, structural implications, fixing and detailing, and compliance with British Standards. Sustainability forms a clear thread, with discussion around responsible sourcing, embodied carbon and how alternative slates can help reduce pressure on finite geological resources. The webinar also introduces BMI Redland’s 10-point checklist, designed to help specifiers align product choice, detailing and installation standards from the outset.

 

 

“There’s a growing demand for the traditional slate aesthetic, not only in heritage refurbishment but also across new-build developments,” Woodyatt notes. “This webinar provides practical insight into achieving that look, whether through natural or engineered materials.”

 

BMI Redland forms part of BMI UK & Ireland, the only roofing systems provider in the region offering both flat and pitched roofing, bringing together the heritage of Redland and Icopal. Backed by around 180 years of industry experience, BMI positions roofing as more than a protective layer, seeing it as an integral part of buildings that can support living spaces, green roofs and renewable energy systems. Through the BMI Academy in Gloucestershire, the company also delivers training to architects and contractors, reinforcing the link between material choice, workmanship and long-term performance.

 

The webinar is available to watch on demand via BMI Redland’s website.

 

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Case Study: Clayrise, Templeton Ford

2026-02-12

 

Set on the neighbouring plot of architect Andre Templeton Ford’s childhood home, Clay Rise is a highly personal and site-specific project, shaped by the materials and traditions of its rural context. The local vernacular of clay-tiled cottages, handmade brickwork and a long-established culture of craft informed both the form of the building and the choice of materials. “We sought to produce a home that is entirely of its place, through a deep understanding of its context and local craft traditions,” says Ford. “It allowed us to explore ideas that we’ve been collecting for many years.”

 

 

The project marks the debut of London-based architecture and interior design practice Templeton Ford, which was founded in 2025 by architect Andre Templeton Ford and stylist Jessica Templeton Ford. Their combined experience across decades in award-winning architectural practices,  design, art, and creative direction shines through the project, which has been shortlisted for the 2025 Manser Medal.

 

Located in the village of West Hoathly, West Sussex the three-bedroom home balances heritage and contemporary expression, blending the solid mass of traditional Sussex brick buildings with a sweeping, curved roofline that softens the building’s profile. Layered roof forms roll down from the ridge to frame windows across all three storeys, opening long views over neighbouring fields and towards the South Downs beyond.

 

 

Materiality is inseparable from the architecture. Clay Rise is constructed using a prefabricated, panelised timber frame system, selected for its precision, speed of erection and environmental credentials. The structure was assembled on site in just two weeks, allowing the design team to focus attention on detailing and finishes. Externally, the building is wrapped in locally sourced brick made from the same clay originally found in the soil beneath the site, reinforcing the project’s connection to place. A continuous datum line marks the junction between brickwork and red clay roof tiles, while additional brickwork is used at the rear, where the house is embedded 1.5 metres into the hillside.

 

By lowering the building into the site, Templeton Ford created a split-level arrangement of internal floors and a natural grassy slope to the rear garden. This strategy not only integrates the house into its landscape, but also enables the dramatic curved roof form that defines the project’s architectural identity.

 

 

Originally conceived as a multigenerational family home, the split-level plan allows the building to function as two independent dwellings: a self-contained two-bedroom apartment at ground level and the main living spaces above, including the kitchen, living area and principal bedroom suite. This adaptability supports evolving patterns of occupation, while maintaining clear spatial organisation.

 

 

Internally, the architecture is shaped by light, flow and tactility. Curves introduced by the roof geometry are echoed throughout the interiors, lending softness and continuity. A curved, CNC-cut staircase finished in lime plaster draws visitors upwards to the main living spaces, while lime-plastered walls, exposed timber elements and stone floors establish a restrained and tactile material palette. Deep sapele timber window reveals frame views of the surrounding countryside, reinforcing the close relationship between inside and out.

 

The interiors are further enriched by carefully curated furnishings and fixtures, guided by Jessica Templeton Ford’s background in antiques and decorative arts. Bespoke joinery sits alongside sourced pieces, creating a layered domestic environment that balances craftsmanship with lived-in comfort.

 

 

Environmental performance was integral to both form and detailing. The house is oriented to optimise solar gain and shading, with a deep south-facing window admitting low winter sun while limiting summer overheating. Operable east-west openings encourage cross-ventilation, while a central stair atrium acts as a thermal chimney, drawing warm air upwards to regulate internal temperatures. An air source heat pump, high levels of insulation and double glazing further support the building’s low-energy strategy, while reclaimed kitchen and utility fittings, along with on-site reuse of timber off-cuts, reduced material waste.

 

Designed to adapt to changing needs over time, Clay Rise incorporates services and layouts that allow spaces to be reconfigured with minimal intervention. The principal bedroom can be subdivided to form an additional room, while the ground-floor apartment can function independently for extended family, guests, carers or home working.

 

At once modest and expressive, Clay Rise presents a contemporary interpretation of local vernacular, grounded in material honesty and careful making. Through its close engagement with brick, timber, plaster and surface finishes, Templeton Ford has created a home that belongs unmistakably to its setting, while offering flexibility and durability for long-term living.

 

 

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News: Stone Automation Adds Taglio slab scanning technology

2026-02-11

 

Stone Automation Ltd has become the UK and Ireland distributor for Taglio Group’s Slabvision slab scanning systems, bringing high-precision digital imaging technology to stone fabricators working with increasingly complex natural materials.

 

The agreement, which takes effect immediately, adds Taglio’s vertical SV 4022 and horizontal SV i21 scanners to Stone Automation’s portfolio, strengthening its offer to fabrication businesses seeking greater control, accuracy and efficiency in slab processing. Designed for use across stone, glass and engineered materials, the Slabvision systems combine high-resolution imaging with proprietary lighting and dedicated software to deliver detailed digital representations of slabs prior to cutting and fabrication.

 

 

Founded more than 40 years ago, Taglio Group specialises in industrial technologies for accurate cutting, modelling and sculpting. Its Slabvision scanners use a 128-megapixel camera system alongside bespoke LED lighting to capture surface detail across a wide tonal range, revealing pattern, veining and texture in both pale and dark materials. The SV 4022 is a compact, stand-alone vertical scanner aimed at workshops with limited space, while the SV i21 is designed for horizontal scanning within automated production lines.

 

Stone Automation founder Salvatore Caruso says the partnership responds directly to changing demands within the stone and surfaces market. “In the last few years, the design world has shifted significantly toward natural stone and natural patterning. For fabricators, this presents a challenge: if you can’t provide an accurate digital preview of the material before processing, you’re risking a disaster,” he says.

 

 

“Professional design studios now expect full approval on veined slab layouts before work begins, and Taglio scanners are a total game-changer in meeting those demands. They help quality fabrication businesses differentiate themselves from entry-level operators, while reducing waste and costly errors.”

 

Caruso adds that his connection with Taglio goes back several decades. “I first came across Taglio 30 years ago while training on stone processing machinery, and I’ve always enjoyed working with them and their technology. We are delighted to become the official distributor for the UK and Ireland. The precision and resolution achieved with their Slabvision scanners are exceptional, and they align perfectly with our aim of helping customers improve efficiency and consistency.”

 

The addition of Taglio builds on Stone Automation’s wider strategy of positioning itself as a technical partner for fabrication businesses across stone, glass, ceramics and engineered materials. Alongside machinery and tooling, the company increasingly focuses on digital solutions and automation to support modern manufacturing workflows.

 

Since its formation, Stone Automation has developed a customer base across England, Wales, Scotland and Ireland, providing machinery, technical advice and aftersales support. The company says this established network allows it to introduce advanced technologies such as the Slabvision systems effectively across diverse fabrication environments, from small workshops to large-scale production facilities.

 

By adding high-resolution slab scanning to its portfolio, Stone Automation aims to help fabricators respond to the growing emphasis on material accuracy, visual control and design collaboration, as stone and surface materials continue to play a central role in architectural and interior projects.

 

 

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Case Study: House Of Porphyry, Mosley Thorold

2026-02-10

 

London-based architectural practice Mosley Thorold has transformed a Victorian villa in Highgate into a materially rich family home, placing stone at the heart of the design. 

 

Titled House of Porphyry, the project’s name reflects the prominent use of porphyry stone, which appears in two fireplaces and the principal bathroom, where large blocks form a dramatic feature wall paired with a cast-concrete basin and bespoke brass mirrors. “We wanted materials that felt robust and enduring, that would ground the interiors and bring a sense of calm and longevity to the spaces,” says Henry Thorold, founding director at Mosley Thorold. “The porphyry gives the rooms a depth and richness that evolves with light and use.”

 

 

Formed by Nathaniel Mosley and Henry Thorold in 2017, the practice is known for its material-led approach, using surfaces and finishes as a central driver of spatial and sensory experience. Across their projects, they combine careful attention to craft, texture and durability with a focus on how buildings are used and experienced over time. 

 

 

The house had previously been remodelled in the 1990s as a flamboyant party home, leaving a series of awkward circulation routes and fragmented spaces. A poorly detailed mezzanine walkway cut through the double-height volumes and disrupted visual connections to the rear garden, making the plan disjointed and impractical for everyday living. “Through a series of careful interventions – sometimes stripping away unnecessary accretions, other times judiciously adding key features – we transformed the circulation and flow of the house,” Thorold says. “Our aim was to restore something of the original spirit of the building, while updating it to create greater visual connection and sociability.”

 

 

At the centre of the transformation is a reconfigured staircase. The original spiral stair, which obstructed both movement and light, was removed and replaced with a new stair that forms the architectural and spatial heart of the home. Drawing daylight deep into the plan, it establishes a clear vertical connection across three levels and links a sequence of interconnecting spaces, including the kitchen and dining area at the core, a living room opening onto the garden, and upper floors reorganised for clarity, balance and privacy.

 

 

In addition to the use of porphyry stone, the material palette is carefully balanced. Dark oak boards, oak doors and bespoke joinery provide rhythm and cohesion, while a curved plaster balustrade and sculptural solid timber handrail soften the stair core. Patinated bronze ironmongery introduces subtle tactility, selected to age gracefully with everyday use. Together, these elements form a layered and restrained palette, designed to withstand the demands of family life while rewarding close engagement.

 

 

At ground floor level, the kitchen and dining area now function as the nucleus of the home. Previously isolated by awkward partitions and the former staircase, the space has been opened up for fluid movement and improved daylight. It acts as a daily gathering point, while the living room establishes a strong connection to the garden beyond. 

 

These spaces strike a balance between openness and intimacy, reflecting a shift away from spectacle towards comfort, practicality and a refined atmosphere.

 

All images © Ollie Tomlinson

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News: Alabaster in Motion

2026-02-09

 

Sculptor Ricardo Mondragon is developing a sculpture that brings together science, material heritage and contemporary form. Working with English alabaster, he is using the stone’s physical and optical qualities as an active part of the work’s meaning, shaping a piece that explores movement, vibration and pattern.

 

 

“My interest in English alabaster is rooted in both its material properties and its historical context,” Mondragon says. That dual focus underpins the project, which takes its conceptual lead from 17th-century scientist Robert Hooke and his experiments into wave behaviour. “This work focuses on undulation and vibration, taking as a conceptual reference Robert Hooke’s seventeenth-century observations of wave behaviour,” he explains. “These studies demonstrated how vibration can organise matter into ordered geometric patterns, an idea that directly informs the form of the sculpture.”

 

 

The piece is still in progress, with Mondragon refining its contours through a close, hands-on relationship with the stone at London Stone Carvers. As the form emerges, the surface appears to ripple and pulse, its carved undulations catching and diffusing light. Alabaster is central to that effect: its relative softness allows for finely modulated carving, while its translucency introduces depth and a subtle internal glow.

 

Mondragon is also conscious of the long lineage he is engaging with. “English alabaster has a long-established history of use, particularly from the Middle Ages onward,” he notes. “Its translucency and relative softness made it especially suitable for finely carved ecclesiastical and architectural sculpture.” By choosing alabaster today, he places his work in dialogue with that tradition while approaching it through a contemporary, abstract framework.

 

 

There is a further layer of material specificity in the choice of stone. “Alabaster from sites such as Fauld is now comparatively rare, as extraction has significantly declined, adding a further layer of material specificity without overstating issues of availability,” Mondragon says.

 

For him, the sculpture is a meeting point between disciplines and timescales. The piece shows how a historic English material can still be used to speak fluently in a contemporary sculptural language, where light, movement and matter quietly converge.

 

 

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Ricardo Mondragon Shapes Alabaster into Waves Forms
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