A bold European movement is challenging the culture of demolition in favour of intelligent reuse. The HouseEurope! initiative, launched on 1 February 2025, is rallying citizens across the EU to sign a petition calling for legislation that makes renovation and reuse the cornerstone of sustainable construction.

The campaign’s urgency is clear: by 2050, Europe could lose 1.5 billion m² of building space through demolition — more than the combined area of Paris and Berlin, and enough to house 50 million people. With the construction sector already responsible for 38% of CO₂ emissions and 36% of EU waste, HouseEurope! argues that every demolition destroys not just materials, but also embodied energy, cultural identity, and social value. Co-Initiators and Campaign Managers, Olaf Grawert and Alina Kolar, explain:  

“Every minute, a building in Europe is destroyed — not by natural disasters, but by financial speculation. And while a few profit, we all pay the price: with rising rents and rising temperatures. We’re running out of time! HouseEurope! is a call to action: sign and support now to stop the demolition drama and renovate, don’t speculate!”

At its core, the initiative calls for a legal ‘right to re-use’ and a fundamental shift in policy and practice. It proposes ultra-low VAT rates for renovation projects, tax exemptions on reused materials, and updated valuation standards that recognise the existing building stock’s embodied energy and potential, rather than just its risks.

“The whole value chain of the construction industry operates within a system that was designed to build fast, cheap, and easy,” say Grawert and Kolar. “In Europe, this traces back to the post-war period, when the continent lay in ruins, and we created laws, methods, and financial incentives to rebuild quickly. But times have changed: we now know that all resources and materials are limited.”

They argue that the same spirit of coordinated reform that rebuilt Europe must now be redirected toward preservation. “We must set the framework for our next goal: the renovation, adaptation, and transformation of the existing building stock. That requires new laws, methods, and incentives, and a shift of focus — from materials towards labour, from centralised production to decentralised, local work.”

The European Union’s Renovation Wave has already outlined a similar ambition, but progress remains slow: only 25% of Europe’s buildings have been renovated so far, and the current annual renovation rate sits at just 1%. “At that pace, it would take 75 years to renovate Europe — but according to our legally binding climate goals, we have only until 2050,” say the campaigners. “We must triple the renovation rate across Europe — and that means three times more work for everyone in the construction and renovation sector.”

HouseEurope! proposes clear incentives: reducing VAT on renovation to make it the default choice, and eliminating VAT on reused materials, since it has already been paid once. The goal is to make renovation the rule, not the exception — shifting Europe’s building culture from wasteful replacement to creative transformation.

“Reuse and renovation start long before the building site. It begins with making existing value visible: understanding what’s already there, documenting not only the risks but also the potentials, and designing differently with what we have,” say Grawert and Kolar.

Their message is gaining recognition. This year, HouseEurope! has been honoured by the OBEL Award in Brussels for its “spearheading role in raising awareness and mobilising public support for a paradigm shift in European construction and housing culture.”

As Europe faces the climate clock, the movement’s rallying cry is clear: renovate, don’t speculate. Perhaps this is a model that the UK should look to adopt too?

For more information visit: www.houseeurope.eu and click here to sign the petition

Carved from millions-year-old Belgian stone, the Sill Bench carries deep geological memory. Each chisel mark and fossil embedded in the surface tells a story that predates its maker, while every use adds a new layer to its evolving patina, transforming this seeming ‘lump’ of stone into a living record of time, touch and transformation.

Belgian designer Stijn Jean Vos explores the dialogue between humans and the natural world through the materials we shape and the traces we leave behind. Working exclusively with locally sourced, hard, natural materials, he challenges conventions around what’s considered valuable or contemporary. His approach blends craftsmanship and critique, questioning how tradition can evolve without losing its roots.

For the Sill Bench, Vos chose Petit Granit, a distinctive Belgian limestone still quarried today but now often overlooked. Once found in window sills, stair treads and countertops Petit Granit has gradually been replaced as a defining feature of Belgian homes by cheaper, less sustainable materials like concrete. 

It’s a piece that encourages reflection, not only on the material itself, but on memory, place, and the sensory experiences that shape our connection to the built environment. As Vos explains:

“As a child, I was constantly outside. I grew up in a small village where playing outdoors was simply a way of life. Stone sills were a quiet part of that world, places to sit, lean, and gather. Each sill was different: some polished, others bush-hammered or marked with relief. Every sill carried its own story.”

With the Sill Bench, he has found a way to continue that story, creating a quiet reminder of the beauty and longevity of natural stone, and a call to rethink how we build and what we value.

The construction industry is the owner of one of the many undesirable percentage-based factoids regarding the environment that have slowly slipped into our consciousness over the past decade or so. With DEFRA’s data showing the industry produces a whopping 62% of all UK waste, it goes without saying that a dramatic change is required. Thankfully, there are sections of the industry that agree.

This autumn, the eighth edition of Circular Economy Week returned to London, with more than seventy events celebrating the progress being made towards a low-carbon, circular economy. Delivered by ReLondon and supported by the Mayor of London, the Ellen MacArthur Foundation, Sustainable Ventures, and London & Partners, Circular Economy Week 2025 preceded this week’s COP30 climate summit and ran alongside Circular Cities Week – a global initiative connecting twelve cities around the world in their shared commitment to resource efficiency and waste reduction.

The event brought together policy leaders, zero-waste pioneers and sustainability experts to share insight into the UK’s expanding circular economy. Delegates heard how innovation is reshaping industry practice, from unlocking the value of ‘end-of-life’ materials to reuse schemes for the film and TV sector and new materials made from food waste. 

In Designing for Change: Modularity, Materials and Circular Futures, more than sixty professionals from across design, manufacturing, real estate, and government joined to discuss the transition away from linear building models. Moderator Kate Smith of CBRE emphasised that the familiar “build, use, strip out, waste” process no longer works and that reuse, reconfiguration and return must be considered from the very start.

Designer Paul Crofts, of Paul Crofts Design and Isomi, spoke about modularity as a tool for adaptability and longevity, explaining that a reception desk, for example, should be able to grow or shrink as a business evolves. “Designing for disassembly must become standard practice,” he said, “and we must value the innovation and ingenuity it takes to maintain quality through change.”

For Scott Campbell of Surface Matter, material selection sits at the heart of the circular transition. He noted that design choices often seen as purely aesthetic are in fact deeply strategic. “Choosing recycled, repairable and reusable surfaces transforms the entire lifecycle,” he said. Rosie Rainbow of Material Rescue added that successful reuse depends on collective engagement, comparing it to the way Sequoia trees survive through a vast network of interconnected roots that share knowledge and resources.

Closing the discussion, Dominic McAndrew of Design Collective argued that designers and specifiers are now custodians of value. “Embedding reuse into procurement shifts circular design from waste reduction to value protection,” he explained, “lowering lifecycle costs and future-proofing assets.”

The evening session Why Materials Matter: Unlocking Value Through End of Life, chaired by Sophie Thomas OBE with panelists Ross Dight of Tarkett, Scott Campbell of Surface Matter, and Molly MacAulay Overbury, delved into what happens to materials once they leave active use – a stage often overlooked in the circular conversation. Thomas opened by framing the issue: despite growing awareness, global recycling rates have fallen to just 6.9%, according to the 2025 Circularity Gap Report. The challenge, she explained, lies not in reduced recycling performance but in ever-increasing production.

Panelists discussed the growing urgency to address end-of-life value recovery across the built environment. Recent government initiatives such as Part Z, Producer Responsibility, the Right to Repair, and WEEE Directives were praised as encouraging steps, but collaboration between clients, developers, manufacturers, and contractors remains crucial. Practical measures, such as issuing a “letter of comfort” when a manufacturer cannot provide a warranty for reused goods, were discussed as ways to overcome existing barriers to reuse.

Campbell questioned the industry’s attachment to warranties, noting that most claims occur within the first year of use and that the perceived risk of reuse is often overstated. He also challenged the idea that storage poses a major obstacle to reuse, pointing out that the UK’s extensive logistics infrastructure already supports next-day delivery for countless goods. “If we can store and distribute new products so efficiently, we can do the same for reused materials,” he said.

The discussion concluded with a clear call for change: reuse must become a standard design consideration, not an afterthought. Collaboration between designers, clients, and manufacturers at the earliest stages of a project will be essential to make circularity the norm, ensuring that materials are seen not as disposable commodities but as assets with enduring value.

For over 27 years, The Stone Show & Hard Surfaces has stood as the leading event for surface design professionals in the UK. Now, the show is entering an exciting new chapter. In 2026, it will relaunch as The Stone & Surfaces Show — a vibrant, reimagined platform celebrating innovation, craftsmanship and the future of material design. 

Taking place from 12–14 May 2026 at ExCeL London, the revitalised event will be split into three dynamic zones — Natural Stone, Technology, and Surfaces — bringing together the entire materials and design community for three days of discovery, inspiration and collaboration. 

While the show remains devoted to the timeless elegance and sustainability of natural stone, its 2026 evolution introduces a broader spectrum of man-made materials — including porcelain, tile, CLT (cross-laminated timber), glass and vinyl — all tailored for modern commercial and residential applications. 

“Our 2026 rebrand represents a major investment in the show and the wider stone and surfaces community,” said Sam Patel, Director of The Stone & Surfaces Show. “We’re bringing new energy, new ideas and new opportunities to connect — championing innovation and celebrating the materials shaping the future of construction, design and architecture.” 

Visitors will experience live demonstrations of pioneering machinery, digital fabrication tools and advanced testing technologies, offering a hands-on look at how innovation is transforming the industry from quarry to construction site. Reflecting the pace of change across construction, design and architecture, The Stone & Surfaces Show will also feature an all-new programme of free-to-attend talks, live experiences and creative showcases. 

Event Highlights to come: 

• Main Stage – Expert-led discussions on design trends, sustainable materials, breakthrough technologies and landmark projects shaping the UK’s built environment. 
  
   
• Architects Theatre – Inspiring case studies from leading and emerging architects, and CPDs revealing innovative design approaches and material use. 
  
   
• Surfaces Cinema – A lively, interactive zone featuring film screenings, photography exhibitions and — of course — free popcorn! 
  
   
• Installations & Demonstrations – Engaging live showcases of new tools, materials, and technologies to ignite curiosity and innovation. 
  
   
• Sample Gallery – An immersive display space presenting the forefront of surface innovation — featuring exhibitor samples alongside an experimental showcase of conceptual materials, designed to spark new ideas and push the boundaries of architectural and design practice. 

To register for The Stone & Surfaces Show for free, visit https://forms.reg.buzz/ukcw-london-and-stone-show-2026/pr

For more information, contact the Stone & Surfaces Show press team at pr@stoneandsurfacesshow.com 

While there is plenty of warranted concern surrounding the decline in take-up of traditional craft skills here in the UK, the recent On The Tools Awards offer a moment of celebration for the industry. 

This year, Lincoln Cathedral stonemason Rachael Wragg has been named Traditional Craftsperson of the Year.

The event, attended by more than 450 industry professionals, recognised outstanding achievement across the UK’s trades. The awards celebrate excellence, craftsmanship, and the people whose skill and dedication keep the nation’s construction and restoration projects moving forward.

Rachael, part of the Cathedral’s in-house works department, was praised by the judges for demonstrating “all-round excellence, combining craftsmanship, communication, professionalism, and industry representation.” Known as @TheGingerMason on Instagram, Rachael has built a strong following by sharing insights into the life and work of a cathedral stonemason and offering behind-the-scenes insights of one of England’s most significant heritage sites.

Rachael described the award as “a huge honour and totally unexpected,” adding, “I’m so grateful to On The Tools for recognising traditional craft skills as part of the wider construction industry and giving craftspeople the space to share our work.”

Indeed, the judges also highlighted her ability to inspire pride and confidence in traditional skills, and while building may be the only cathedral on Historic England’s ‘At Risk’ register, the work that Rachael and her team are doing in conserving it - along with the content she produces for social media - is helping to draw attention to the importance of new people joining the industry, and bridging the steadily increasing skills gap. As Mike Graves, Associate Clerk of Works at Lincoln Cathedral underlines, his team is “committed to supporting heritage skills and training new generations of craftspeople to ensure that vital conservation work can continue.”

Here’s to its ongoing success, and congratulations to Rachael for her determined and engaging work.

You can find out more about the conservation work at Lincoln Cathedral by visiting www.lincolncathedral.com, and you can follow Rachael on Instagram at @TheGingerMason

Based in Wigan, Family-run Avamco Solid Surfaces Ltd has spent over 20 years uniting two disciplines that rarely meet in one company: engineering complex architectural stonework and crafting bespoke interior surfaces. From high-rise façades to kitchen worktops, the firm approaches every project with the same emphasis on precision, performance, and longevity.

Founded in 2003, Avamco has evolved from a specialist contractor into a multi-faceted operation, working with architects, main contractors, and private clients alike. This dual expertise allows the company to oversee projects holistically, ensuring that exterior and interior surfaces perform seamlessly within the building’s ecosystem.

An engineering mindset informs their solid surface and stone worktop division, with CNC machinery and skilled masons transforming Corian®, quartz, granite, and porcelain into bespoke surfaces for kitchens, bathrooms, and commercial interiors. Each material is treated to maximise durability and performance: seamless Corian® joints, hygienic quartz, character-rich granite, and heat and scratch-resistant porcelain. While the company also advises clients on material selection, maintenance, and lifecycle, and minimises waste by repurposing off-cuts and sourcing from ethical quarries.

On architectural and heritage projects, Avamco’s focus extends beyond the visible stone. Using 3D modelling and finite element analysis (FEA), the team designs bespoke support systems capable of accommodating thermal movement, wind load, and long-term environmental stress. For example, a recent Manchester high-rise required a custom stainless steel subframe precisely calibrated to maintain façade stability at height. Heritage projects often demand a forensic approach, and where centuries-old iron fixings may corrode and crack surrounding stone, Avamco’s solution is not just replacement, but careful removal of corrosive elements and installation of non-corrosive supports - safeguarding the structure while preserving historical integrity.

Spectra Stone is a fully integrated stone company, with full in-house control and access to some of the finest natural and semi-precious stone. They offer sourcing to engineering, finishing and fitting, and delivering interior and architectural stone solutions of distinction. By combining cutting-edge technology with master craftsmanship, Spectra Stone brings ambitious design visions to life without compromise - something commercial manager Paula Mazur knows only too well.

My day starts…

My day kicks off around 5:30 a.m. with a quick shower and a scroll through my phone to see what I missed overnight while it was on sleep mode. Once I’m done, I get dressed and head to the kitchen to sort out lunches for me and my partner, make some coffee, feed the dogs, and let them out. It’s a bit of a morning rush, but by 6:35 I’m out the door to catch the 6:45 train to Paddington.

The train ride - about 50 minutes -is my little pocket of “me time.” I eat the sandwich I made earlier, sip my coffee, and catch up on some TV shows on demand. I get to Paddington around 7:37 and jump on the 36 bus to my office near Victoria Station. That’s usually when I finally check my work phone and start replying to messages - easing my way into the workday.

Things are a little different in the summer months, though. I like to start my day earlier, around 4:45, and take the dogs for a walk along the river before work - it’s such a peaceful way to begin the day and makes the early start totally worth it.

I am usually found working… 

I am usually found working in the head office near Victoria Station, though I do get the chance to travel out to different sites. I really enjoy visiting the workshops - it’s always nice to see things in production and check on how everything’s coming together. The London site visits are usually quick pop-outs, but the overseas trips, while they might sound like a bit of a treat, can actually be quite exhausting with all the travel and long days on site.

My typical day involves…

My typical day involves a bit of everything, and no two days are ever the same. As part of the senior management team, I attend a few regular weekly meetings, but most of my time is spent juggling various aspects of the business - from payroll and bookkeeping to tender preparations and organising on-site work. Since our projects aren’t just based in London but spread internationally, there’s a fair bit of logistics involved as well. I also look after procurement, which means researching and sourcing natural stone for our projects is part of my daily routine. I never really take a proper lunch break - it’s a habit that started years ago when I worked in an area that wasn’t very “lunch friendly,” so I just stopped going out for lunch. Over time, that turned into my routine; I find I get so absorbed in what I’m doing that I prefer not to break my flow.

The thing that surprises me most about my job…

On the positive side, even after nearly 15 years in the business, I’m still discovering new types of stone that I didn’t know existed. The sheer variety of colours, textures, and patterns, and the fact that new stones are still being found, never stops amazing me. Mother Nature truly is the greatest artist, and her creative process is ongoing.

The negative side, however, is that sexism is still very present in the industry. Although things have improved a lot since I first started working in construction, it remains a male-dominated field. Not long ago, I overheard someone say, “Unfortunately, women get pregnant,” which honestly shocked me. The idea that women should be seen as “less than” because we bring life into the world - and may need a few months away from work - is deeply disappointing.

I also continue to see women being paid less for doing the same jobs as men, and the outdated notion of male superiority still lingers. Recently, I witnessed a particularly nasty verbal attack by a man toward a woman during a meeting. What was even more troubling was that none of the other men present stepped in or addressed it - it was left to me to call it out.

There’s only one way to change this: women must stand together, support one another, and refuse to ignore this kind of behaviour. Only then can we hope to see it eventually disappear from our industry for good.

When I was younger, I wanted to be…

When I was younger, I wanted to be a forensic investigator or a detective. I started reading Agatha Christie books as a child, and I was completely fascinated! I’d hide under my duvet with a flashlight so my parents wouldn’t notice I was still awake, completely lost in the mystery.

As I grew older, that ambition shifted slightly - I became drawn to journalism instead. I realised I could still do a bit of “detective work,” but with fewer crime scenes, less blood, and no dead bodies, which certainly appealed to me more.

Life, however, had a very different script in store for me - one I could never have imagined. Growing up in Poland in the late ’80s and early ’90s, I had absolutely no idea what marble was. Even if I’d seen it somewhere, I wouldn’t have recognised it! Back then, “stone” to me meant the dark, dull material that filled Polish cemeteries - which, as I later learned, was actually granite.

Something you might not know about me…

Something you may not know about me is that ever since I was a little girl, I didn’t play with dolls like other girls - I played with toy cars. When I was about seven or eight, I spent hours in the garage with my dad, fixing up our 1974 Ford Taunus. It was a deep red with a black leather roof -an absolute classic. I’ll never forget the thrilling moment when the car was finally roadworthy enough for a spin around the block, even though it was still missing crucial elements like the headlamps!

That love for cars has stayed with me ever since. My partner shares the passion, and now that we live in the countryside, we have two 4x4s that we take off-roading in Wales or on trips around local byways on Sundays. We also attend various car shows and meet-ups. Honestly, nothing makes me happier than a muddy car!

My most memorable moment at work…

My most memorable moment at work - gosh, there have been so many! I’ve been incredibly privileged to travel the world, visit stone quarries, stand atop mountains, and go deep underground. But one experience that has stayed with me was being part of the installation for Jenny Holzer’s exhibition at Blenheim Palace a few years ago. It was an enormous logistical challenge. We had to install massive Ancaster stone benches in the palace courtyard and Portoro marble ones inside. These pieces were so heavy that they couldn’t simply be wheeled in. To reach the main entrance, we had to navigate several steps - impossible while carrying such weight - so we relied on far-reach HiAbs and other equipment. The entire operation took hours, and I was there every step of the way. What made it truly special was being among the first to witness the preparations for the exhibition, long before anyone else could see or experience it. Finally, when all the benches were in place and being adjusted to their final positions, it was around 3 a.m. I wandered through the ground floor of the palace, and it felt like stepping into another world. Absolute silence. The grandeur of the rooms, the history in every corner - it was just me and the palace. No rush, no crowds, no distractions. I could pause, breathe, and take it all in. Moments like these are rare, and they remind me how extraordinary it is to experience such privilege through our work - to be part of creating something that others will admire, while quietly witnessing its magic firsthand.

If I could give one piece of advice to someone considering a career in the stone industry…

If I could give one piece of advice to anyone considering a career in the stone industry, it would be this: be prepared to work hard and grow a thick skin, but never get discouraged - the rewards along the way are incredible. The stone industry isn’t for everyone, so don’t force yourself to love it. If you try and it doesn’t resonate, that’s okay. But if you do discover a passion for it, the world truly becomes your oyster. Stone can take you anywhere in the world! There are so many different paths and opportunities in this industry, and no matter your background, there’s a place for you to thrive.

Stone Federation hosted its inaugural Parliamentary Reception on Tuesday 28 October, welcoming more than 30 MPs and their teams under the theme, Building Britain’s Sustainable Future’

The event enjoyed strong cross-party backing and focused on the vital role of natural stone in delivering a low-carbon, sustainable built environment. Discussions highlighted the importance of supporting the UK’s indigenous stone quarries in advancing the circular economy through local sourcing and responsible quarrying, as well as the positive impact this can have on helping the government meet its net-zero targets. Another key talking point was the growing skills shortage in construction, with a call for renewed investment in heritage crafts such as stonemasonry to preserve traditional expertise for future generations.

The reception provided Stone Federation members with the opportunity to engage directly with their MPs, with the aim of strengthening connections between the sector and policymakers. The Stone Federation commented, "It was so encouraging to see the widespread and genuine support that the cause of the UK stone industry has from MPs," underlining the significance of such face-to-face engagements. 

Building on the success of this first reception, Stone Federation will host a follow-up roundtable next year to develop tangible initiatives and measurable targets around sustainability, skills, and industry growth.

As discussed in our 30th Anniversary of Classico Marble article, the specialist stone fabrication and installation company spawned another key brand, Stone Automation, in 2022. To add even more layers to the onion, Stone Automation itself already represents five leading industry brands, some three years into trading. 

The portfolio of Donatoni, Wodiam, Tesimag, Leica Geosystems and Slabsmith is extensive. However, with a little help from the managing director of both brands, Salvatore Caruso, the reasoning and advantages of those layers become all too clear - and serve as a reminder as to how and why they’ve continued to flourish as a business.

As Salvatore explains, it was hands-on experience in the Classico workshop that lit the touch paper: “the formation of Stone Automation was a natural opportunity because we were a loyal Donatoni customer, and we understood the fabricator market and the support it needed.” While working with Donatoni CNC bridge saws, the team recognised that another, separate piece of tooling was also playing a vital role in the precision cutting of stone for their expansive project portfolio: blades. The brand responsible here was Wodiam, and while expanding another earlier brand of his own, Salvatore recognised an opportunity to join the dots:

 “We used Wodiam tooling at Classico Marble, and I had started to sell it through Italian Luxury Surfaces, another business I founded in 2015. Italian Luxury Surfaces was initially set up as a distribution business for natural stone sourced direct from Verona and Stone Italiana’s high-performance quartz, which my father had been using since the very early years of Classico Marble. This business gave us an insight into the fabricator market and a good understanding of the high-quality support and products they needed.”  When Stone Automation was formed as the vehicle for the Donatoni distributorship, it was logical to move Wodiam away from Italian Luxury Surfaces and then keep tooling and machinery all under the Stone Automation umbrella. 

Like Classico Marble, Wodiam is a family business with a focus on helping stone fabricators improve the efficiency and quality of their work. Wodiam’s blades, routers and polishing tools are all made at their factory in Germany, and the technical support Wodiam offers fabricators is industry-leading. There is clearly a synergy, which Salvatore notes, “Their team and ours spend time with fabricators and operators at their machines, showing them how to use Wodiam tools and how to get the best speeds on their machines, no matter which material they are processing.”

As a brand continually seeking new ways to enhance efficiency and client experience, it was a natural next step to start working with Slabsmith in the Classico Marble workshop. Slabsmith is a digital slab management software and system that can help a fabrication company streamline its inventory and overall slab management processes. With 10 years of experience with the product, it was only a matter of time before Stone Automation took on the brand, and Salvatore is keen to emphasise its value, “if you are a fabricator crafting book-matched surfaces for high-end projects, as a system, it is an absolute must. 

Tesimag joined Stone Automation in 2024 just ahead of MarmoMac, and the company specialises in the design and construction of wastewater treatment plants, filter presses and advanced pumping systems with ranges created for the stone fabrication industry. As fabricators themselves, Stone Automation knows that stone processing businesses need better water filtering and treatment solutions to avoid costly downtime on the machines, and to reduce the cost of using precious mains water. Which, once again, makes Tesimag a natural addition to the portfolio.

Leica Geosystems is the latest brand to join the fold, and Stone Automation proudly distributes its robotic digital templating tools to the stone fabrication sector. Its introduction has added yet more positive layers for the company, as Salvatore describes, “Leica has also brought us into the marine, glass and canvas sectors for their templating tools, so we have recruited a new team to support those markets. Digital templating is 100% the future for stone fabrication, and with Leica’s tools, it is so fast, efficient and precise that it speeds up the whole templating process and helps avoid costly remakes.” As those in the industry know only too well, often it is the fabricator that foots the bill when it comes to remakes due to poor templating, but Salvatore thinks the Leica tool is the ideal solution as “it’s so precise, quick to set up and easy to use; every fabricator should consider it!”

With a rich history and a huge breadth of machinery, robots, and production lines stemming from their initial relationship with Donatoni, the five brands at Stone Automation enable them to cover most functions within a fabrication business, while offering high-quality support to fabricators post-sale.

So, whether it’s slab scanning and inventory management to water recycling and filtration, customers can expect honest and knowledgeable advice from a team that has used the products themselves, worked within fabrication businesses, and offers ongoing after-sales support once they have made a purchase.