North Shields-based heritage contractor Classic Masonry has secured a £450,000 contract to carry out specialist masonry repairs as part of the restoration of the Grade II* listed Keelmen's Hospital in Newcastle.

Working for main contractor BRIMS Construction, the company will deliver the external brickwork and chimney repairs using a conservation-led approach that prioritises the retention of historic fabric. The works include repairing original masonry, stitching and stabilising deteriorated brickwork, salvaging and reusing materials from the site, and repointing with traditional hot lime mortars selected for their compatibility with the historic structure.

The appointment follows a series of significant heritage commissions for the company and reflects continuing investment in the repair of historic masonry across the UK.

Built in 1701 as an almshouse for the Tyne keelmen, Keelmen's Hospital is one of Newcastle's earliest surviving brick buildings and the last remaining structure directly associated with the city's historic keelmen community. After serving a variety of uses, including student accommodation, the building has stood vacant since 2009 and is currently included on Historic England's Heritage at Risk Register.

The wider £4.6 million regeneration scheme, led by Tyne + Wear Building Preservation Trust in partnership with Newcastle City Council, will transform the building into 20 affordable homes while preserving key historic features, including its clock tower and turret. Funding has been provided by The National Lottery Heritage Fund, Historic England and Newcastle City Council.

Classic Masonry has previously worked on a number of prominent conservation projects across the North East, including Fenwick Newcastle, St Mary's Cathedral, Morpeth Railway Station, Newcastle Civic Centre, Hylton Castle and the Union Chain Bridge.

Managing director Mike Moody said: "Keelmen's Hospital is an important part of Newcastle's heritage and we are proud to have been appointed. This is exactly the kind of historic, conservation-led work that sits at the heart of what we do.

"We would also like to thank BRIMS Construction for the opportunity to be involved in such a significant scheme. The work being delivered on site is a strong example of sensitive, high-quality restoration. Our specialist masonry package will be key to ensuring the building's historic fabric is carefully preserved for future generations."

Fresh from receiving a Royal Warrant from HM King Charles III – a milestone we recently reported on – conservation specialist DBR has secured another prestigious commission, this time to undertake heritage repairs to the historic Minka House at the Royal Botanic Gardens, Kew.

Commissioned by Kew's Capital Projects Team, the programme will preserve the traditional timber and thatched building, which was donated by the Japan Minka Reuse and Recycle Association as part of the Japan 2001 Festival. Originally home to the Yonezu family after their house was destroyed during the Second World War, the structure is now one of the UK's most significant examples of traditional Japanese domestic architecture.

The conservation project will combine specialist Japanese craftsmanship with sustainable repair techniques. Master Thatching Ltd will renew the thatched roof using traditional methods, while Sands & Randall will undertake repairs to the timber frame using Japanese joinery. DBR Conservation will restore the mud floor and internal plaster wall panels, with all replacement timber responsibly sourced from Japan in accordance with UK Forestry Commission requirements.

Working alongside Clews Architects, Firmingers and Hockley & Dawson Consulting Engineers, DBR will also adopt ecology-led construction methods to minimise environmental impact, including measures to protect local bat populations during the works.

DBR chairman Adrian Attwood said the project reflects the company's long-standing approach to conservation. "The Minka House represents a treasured example of traditional Japanese heritage, and our work will ensure its preservation through specialist craftsmanship and sustainable practices. This project demonstrates our commitment to balancing heritage conservation with ecological responsibility."

The works highlight the increasing emphasis on repairing and extending the life of historic buildings through traditional skills and carefully sourced natural materials. For DBR, whose portfolio spans palaces, cathedrals and nationally significant heritage assets, the Minka House represents another high-profile conservation project where craftsmanship and authenticity remain central to the building's long-term future.

The Isle of Purbeck has long been known for its quarrying credentials. Limestone has been extracted over many generations and has shaped much of southern England's architecture. It’s therefore rather fitting that TYPE has completed the transformation of two derelict quarrymen's cottages into a contemporary rural retreat. 

Rather than treating the existing buildings as outdated structures requiring replacement, the project embraces the cottages themselves as a quarry of materials, demonstrating how natural stone and reclaimed fabric can underpin a genuinely circular approach to domestic architecture.

The 85m² cottage occupies a small hamlet on Dorset's Jurassic Coast, within a landscape intrinsically linked to Purbeck limestone. Developed for clients who actively rejected pristine finishes in favour of weathered materials with visible histories, the brief centred on retaining as much of the existing building as possible while sourcing any additional materials through reclamation rather than new manufacture.

For TYPE, the project became an exercise in radical reuse that breaks from the take-make-dispose mindset of recent times. "There is a tendency in the industry to default to stripping and throwing out," says director Ogi Ristic. "Purbeck Cottage is intended to be a case study of what is possible when you resist that instinct. By beginning with what already existed – the stone, the joists, the floors, the fittings – and asking how each element could be retained, repaired or reused, the project has arrived at a quality of character that no new specification could replicate."

The original cottages had already undergone alterations before the current intervention, including the introduction of a double-height volume. Rather than attempting to reinstate an earlier layout, the architects used this existing intervention as the organising principle for the new home, creating an open-plan living space at its centre while positioning bedrooms at either end on the first floor. A restored butler's hatch reconnects the kitchen with the main living space, while a compact service core containing bathrooms, storage and utilities allows the principal rooms to remain open and flexible.

The greatest discoveries came during the strip-out. Beneath layers of carpet and concrete screed lay the original Purbeck stone floors, while removing later finishes revealed carefully dressed limestone walls built by local quarrymen more than a century ago. Rather than disguising evidence of previous alterations, TYPE chose to preserve them. Jackhammer scars remain visible in the stone floor, while areas of historic brick infill around fireplaces have been left exposed, creating a layered material palette that records successive chapters of the building's life.

That philosophy extended throughout the construction process. Every component removed from the building was assessed for reuse before replacement was considered. Floor joists that could no longer serve structurally were painstakingly denailed, resized and repurposed as framing within the new service core. Original floorboards found new life as ceiling linings, while both existing staircases were dismantled, adapted and reinstated using as much of the original timber as possible.

What’s more, new interventions are deliberately restrained. Hand-forged steel balustrades by local blacksmith John Churchill provide a contemporary counterpoint to the retained fabric without competing with it. Salvaged timber cladding carrying traces of its former red and green paint has been incorporated into doors, shelving and wall linings, while leftover offcuts were carefully worked back into the design to eliminate waste.

Natural stone continues to anchor the project beyond the retained structure. Stone sinks were carved from leftover fragments at a nearby Purbeck quarry, reinforcing the connection between the house and the geology that originally gave rise to the settlement itself. Indeed, where reclaimed materials could not be sourced from within the cottages, TYPE turned to reclamation yards, local suppliers and salvage dealers. Vintage brassware, sanitaryware, cast-iron radiators, lighting, ironmongery and a restored French stove all contribute to an interior where each element carries evidence of a previous life.

Environmental performance has also been improved through targeted interventions rather than wholesale replacement. Wood-fibre insulation was added within the roof, lime plaster replaced impermeable cement render to improve the thermal performance of the solid stone walls while allowing them to breathe, and an air-source heat pump, solar panels and high-performance timber windows modernise the building's services without altering its essential character.

Importantly, no extensions were added and the external envelope remains largely unchanged, avoiding the embodied carbon associated with demolition and new construction.

Purbeck Cottage illustrates how careful attention to the material already present within a building can generate architecture with both environmental integrity and remarkable richness. Here, the original limestone remains the constant thread, carrying the memory of the site's quarrying heritage while forming the foundation of a home designed for another century of occupation.

Images © Lorenzo Zandri

KBB distributor PWS has relaunched its UNITY made-to-measure furniture collection, introducing a new structure organised around five material-led décor categories, including an expanded range of stone-effect surfaces.

Based in County Durham, PWS supplies kitchens, bedrooms and components to independent retailers across the UK. The relaunch reflects growing demand for contemporary interior finishes, with the company restructuring its previous made-to-measure offer of 54 décors into five collections: ESSEN, LINEA, METARA, NURA and ROCCA.

Of particular interest is ROCCA, a collection of stone-inspired décors developed around the growing popularity of architectural and material-led interiors. The range includes concrete and cement-effect finishes such as Hayward Concrete, Trellick Concrete, Banham Concrete, Mocha Cemento and Fumo Cemento, offering designers a textured alternative to plain-colour furniture fronts.

The stone-effect surfaces have been designed to work alongside metallic, woodgrain and uni-colour décors across the wider UNITY collection, reflecting a broader trend towards layered material palettes in residential interiors. Available in both lay-on and handleless formats, the collection is intended for use across kitchens, bedrooms and living spaces.

Alongside ROCCA, the relaunch includes the NURA woodgrain collection, featuring reeded, linear and charred timber effects, and METARA, a series of metallic-effect décors inspired by brushed and oxidised metal finishes. The LINEA collection brings together matt and gloss uni-colours, while ESSEN forms the core range with a selection of everyday woodgrain and plain-colour finishes.

The move comes as manufacturers continue to expand the range of decorative surface materials available to furniture makers and interior designers. Advances in texture, print technology and surface treatments have enabled engineered boards and laminates to more closely replicate the appearance and tactile qualities of natural materials, including stone, timber and metal.

Laura Valliant, Product Development Manager at PWS, said the relaunch was intended to make the company's made-to-measure offer easier to specify while responding to changing design preferences. “By reorganising the range into clearly defined décor collections, we're making it easier for retailers and designers to specify coordinated modern interiors while giving them access to a broader mix of on-trend colours, textures and finishes,” she said.

The updated UNITY range continues to offer bespoke sizing, angled door solutions and drilling services, allowing retailers to create customised furniture schemes across a variety of residential applications.

While the relaunch spans a broad range of decorative finishes, the introduction of an expanded stone-effect collection reflects the continued influence of mineral-inspired surfaces within contemporary interior design, where concrete, cement and stone aesthetics remain a popular specification choice.

In the first of this two-part exchange, Studio Folk Architects directors Edward Powe and Patrick O'Keeffe reflected on their visit to the Lundhs quarries in Larvik, Norway, discussing how seeing stone extraction first-hand had challenged assumptions about material value, variation and specification. Their conversation explored why natural stone is increasingly becoming a default material within the practice and how a better understanding of quarrying could encourage more creative and sustainable design.

For the second instalment, the roles are reversed. Powe and O'Keeffe put their questions to Hege Elisabeth Lundh, Marketing and Business Development Manager at Lundhs, to gain a deeper understanding of the material itself and the realities of quarry operations. The discussion ranges from the distinctive optical qualities of Larvikite and the classification of stone blocks, to material traceability, biodiversity management and the ongoing challenge of finding productive uses for every part of the resource.

Together, the conversations offer a rare dialogue between architects and stone producers, revealing how greater understanding across the supply chain can help unlock new opportunities for natural stone in contemporary construction.

EP: Larvikite stone has a unique quality in that it reflects light only in certain directions. Could you explain a bit more about how what causes this, and what architects and designers should consider when specifying it?

HEL: Larvikite contains a lot of feldspar crystals. The feldspar mineral gives a very distinct appearance when you turn around the stone in the light.

Labradorescence is a unique optical effect caused when light is refracted and reflected by microscopic layers in certain feldspar minerals. As light strikes the stone, it creates a metallic, shifting flash, usually in vivid blue and green.  The effect is caused by thin, regular lamellae (microscopic layers) of varying chemical composition inside the stone. When light reflects from these layers, certain colors are intensified.

The colors appear to shift and move across the surface as the stone is turned in the light. Often called the Schiller effect, this phenomenon gives Larvikite its distinctive and recognizable appearance.

The direction of installation of tiles or panels will also be important when you work with Larvikite. Seen from one side, the crystals will be more visible; seen from the opposite side, the crystals will appear more subdued. The surface finish will also be vital for the final appearance. A high-gloss polished surface will highlight the crystals, and a more matte or structured surface will make them more subtle. 
 

POK: What format of stone does Lundhs export? Is this the case for all grades of material?
 

HEL: In our quarries, we extract raw blocks in different formats. Each block of stone will be classified as to size, quality and color. The different sizes and qualities will be used for different application areas. An A-grade large block will often be used for slabs/panels, while B-grade blocks will often be used for outdoor applications. 

Selecting the appropriate combination of color, quality, and size is crucial to ensure the stone is well-suited for its intended application, resulting in a beautiful and durable final product. Could you tell us a bit more about your classification process, and how you decide on the grade of each stone block?


When we extract the stone, several steps and processes are needed to decide the final quality. When the large “flakes” or “sheets” of stone are taken down, the first step of identifying the quality starts. Then the extracted stone will be cut into blocks according to the first evaluation. The second evaluation will be done when the blocks are formatted. Here the unique block number stating size, quality and color will be entered into our system, giving full traceability throughout the value chain. 
 

EP: What are some of the barriers and opportunities for quarries to make more use of off-cuts and leftover material?

HEL: Some years ago there were much more cut-offs and surplus material than we have today.  At this stage, we have developed several areas of use for different qualities and sizes of stone, like building blocks, coastal protection and also aggregates, in addition to the A and B-grade blocks. Even the stone dust from sawing will be used as a soil fertilizer. 
 

Still, we have not reached our ultimate goal to utilize 100% of the resource in all our quarries. This will require even more use of stone as a building material, for instance, instead of concrete – the “old” way of building. By developing new areas of use and promoting the possibilities towards the architect community, we see that we are making progress – but slowly. It is still hard to compete with the established materials like concrete. 

POK: We were interested to see areas of the quarries now protected to encourage ecology and biodiversity. Can you tell us more about this process?

HEL: When we operate our quarries, we must protect the environment and biodiversity, both during production and when operations cease in certain areas. Once an area is closed, it must be restored using local soil to preserve native biodiversity. Flowers and trees that naturally belong in the area should be able to continue to grow and thrive, and no non-native species should be introduced.

Water use and treatment during production is another major focus area. The dust generated by the wire cutting of larvikite is not hazardous in any way, as it does not contain silica. Even so, we must ensure that the water released back into the environment is also visually clean. This is achieved through sedimentation pools, where the dust settles and the clean water flows through. Samples are taken every week and submitted to the authorities to ensure that all requirements are met.

When areas are planned and later designated for quarry operations, strict rules are put in place to ensure that the habitats of endangered animals, flowers, and trees are not harmed in any way. Respect for nature and our surroundings will always be a priority for us. 
 

EP: One of the unique things about stone is that it can be traced back to a single source location, in a way that composite or processed materials cannot. Are you seeing any trends in relation to material traceability?

HEL: Absolutely! The traceability is something we see as important, both due to the need for documentation, but also related to the increased focus on ESG. 

 

As a provider of a non-renewable resource, we need to be transparent regarding the impact our operations have on the world and our surroundings. 

Natural stone plays a defining role in SEVEN at Southbank Place, a new residential building by Stanton Williams that completes a prominent section of the wider Shell Centre redevelopment on London's South Bank.

Positioned between the Grade II-listed Shell Centre tower and the Hungerford Bridge railway viaduct, the 24,560m² development delivers 92 apartments above retail, restaurant and concierge facilities. Developed by Braeburn Estates, a joint venture between Qatari Diar and Canary Wharf Group, the project forms one of nine buildings within the masterplan for the 5.25-acre Shell Centre site.

For Stanton Williams, stone became both a contextual response and a central architectural idea. The practice conceived the 15-storey building as a monolithic block of limestone emerging from the surrounding public realm, drawing inspiration from the material character of neighbouring landmarks including the Shell Centre and the Royal Festival Hall.

"SEVEN's architecture intentionally doesn't shout," says Paul Williams, director at Stanton Williams. "We wanted to design a building that harmonises with the Shell Centre, maintaining the same sculptural solid appearance, and, at the same time, creating a strong river-facing presence to Southbank Place."

The building's river frontage is carefully modelled to reinforce that concept. Deeply inset balconies are cut into the façade, creating a faceted surface that catches light and shadow throughout the day while preserving a sense of solidity. Chamfered balcony openings widen views towards the Thames, while the horizontal expression references the rhythm of the neighbouring Royal Festival Hall.

At ground level, the building sits on a double-height plinth clad in Portuguese limestone. Facing west towards Jubilee Gardens and the river, the stone base establishes a visual connection with the wider South Bank context while providing a durable and tactile material at street level. The height of the plinth responds both to the proportions of the Shell Centre tower and the scale of the adjacent railway arches.

Elsewhere, the building adopts a more restrained language. The eastern elevation overlooking Casson Square combines bronze-coloured metal panels and glazing, while the north and south façades are characterised by punched openings and deep reveals. Ribbon windows on the northern elevation maximise views across the city.

The use of natural stone was also informed by longevity. Designed as a permanent addition to one of London's most significant riverside locations, the building employs a material palette selected to weather gracefully over time and maintain its character at both urban and human scales.

This emphasis on durability aligns with the project's wider environmental strategy. A fabric-first approach delivers high levels of insulation and airtightness, supported by triple glazing and whole-house ventilation systems with heat recovery throughout the apartments. Additional measures include an intensive green roof, integrated bird boxes and water attenuation systems. Residential elements have been designed to meet Code for Sustainable Homes Level 4, while non-residential spaces target a BREEAM Very Good rating.

Internally, the development offers a mix of one, two and three-bedroom apartments, together with a collection of duplex penthouses occupying the upper floors. Many homes are dual aspect, maximising natural daylight and views while maintaining privacy within a dense urban setting.

The completed building marks the final phase of the Southbank Place masterplan and occupies a highly visible position within one of London's most culturally significant districts. Overlooking Jubilee Gardens and within walking distance of the Southbank Centre, National Theatre and Waterloo Station, it sits at the intersection of post-war modernism, contemporary development and public life.

For Stanton Williams, the challenge was to create a building capable of mediating between these conditions. Through its restrained form and extensive use of limestone, SEVEN at Southbank Place demonstrates how natural stone can contribute not only to architectural character but also to a sense of permanence and continuity within a rapidly changing urban landscape.

As interior trends continue to favour natural materials and quieter, more refined palettes, demand is growing for stones that offer visual character without overwhelming a space. Among them is Calacatta Vagli, a marble distinguished by its flowing grey veining and subtle gold tones set against a soft white background.

Available through stone specialist Cullifords, the material has become increasingly popular with homeowners and designers seeking a balance between statement-making natural stone and a more restrained aesthetic.

Founded in 1976, Cullifords has built a reputation as one of the UK's leading suppliers of natural stone, sourcing materials from quarries around the world for residential, commercial and hospitality projects. The company maintains extensive stock holdings at its Surrey headquarters, where architects, designers and clients can view full slabs and select material for individual projects.

According to director Oli Webb, Calacatta Vagli's appeal reflects a wider shift in interior preferences.

"Calacatta Vagli has always been a well-regarded marble, but we've definitely seen stronger interest in it recently as interiors move towards softer, more neutral colour palettes," he says.

"Clients still want natural movement and veining within their homes, but there's been a noticeable move away from very heavy or high-contrast stones towards materials that feel lighter and easier to live with. Calacatta Vagli sits comfortably within that direction because it has enough veining to create interest, but not enough to dominate a room."

Quarried in Italy, the marble is characterised by fluid grey veining interspersed with gentle taupe and gold accents. The patterning varies considerably between slabs, allowing designers to create highly individual installations while retaining a coherent overall appearance.  And that versatility has led to its use across a growing range of residential applications.

"Bathrooms remain the most popular in terms of application, particularly across vanity units, wall cladding and shower surrounds," says Webb. "However, we are seeing an increase in kitchen requests, particularly for islands, worktops and full-height splashbacks, where the veining can be appreciated on a larger scale."

He adds that the stone is increasingly being used beyond traditional wet areas. "Clients have also started introducing it into living spaces through fireplaces, coffee tables and bespoke furniture pieces and even staircases, which creates more continuity throughout the home."

For designers looking to create a cohesive material palette, the marble's understated character is a significant advantage. Like many natural stones, its appeal also lies in its inherent variation. No two slabs are identical, making each installation unique. "The variation between slabs gives each installation a personalised feel, which is something homeowners are increasingly drawn to," points out Webb.

When combined with timber, brushed metals and textured finishes, the marble can take on a warmer and more relaxed character, demonstrating the adaptability that has helped secure its place in contemporary interiors. As designers continue to seek materials that balance visual interest with longevity, Calacatta Vagli's understated elegance appears well positioned to remain a popular choice.

The view across Lake Whakatipu is truly something to behold. The vast expanse of glacial turquoise water is set against a snag-toothed-topped wall of almost sheer mountain face known as The Remarkables. For those lucky enough to ever visit, the thought that you should linger a little longer to take in the magnificent sight is never far away.

Fittingly, London-based architecture and design studio Nebbia Works has completed its first commission in New Zealand with the installation of a sculptural stone seating piece overlooking that very same view across Queenstown.

Known as Interlude, the work forms part of Paererewā, an ambitious national initiative that aims to create 1,000 public objects, seats and markers across Aotearoa New Zealand, designed to endure for the next millennium. 

Situated on a cliff-edge site within Jardine Park on the Kelvin Peninsula, the installation consists of five pieces of locally quarried South Island bluestone, a dense basalt selected for its longevity. The composition takes the form of a stone reinterpretation of the traditional tête-à-tête chair, with two elevated seats facing one another across a circular opening. The aperture frames views of Lake Whakatipu and The Remarkables mountain range, and depending on one's perspective, the outline of the piece even merges with the iconic silhouette beyond.

Indeed, the form and function add depth to the work, with Nebbia directors Madhav Kidao and Brando Posocco describing the project as "a place to inhabit, converse, rest and reflect" rather than a monument intended solely for observation (regardless of how stunning those views are).

But the project is laced with subtle contrasts, including the combination of digital fabrication techniques with traditional stonemasonry. Photogrammetry was used to create detailed three-dimensional models of the selected stone blocks, informing the design, cutting strategy and assembly of the five-piece structure. The fabrication was then carried out in collaboration with local stone specialists, with significant portions of the shaping completed by hand.

The resulting piece deliberately retains evidence of both natural geology and human intervention. Areas of raw basalt remain exposed alongside milled and honed surfaces, while split finishes provide a transition between the two conditions. As such, the contrasting treatments reveal the fabrication process while allowing the material's natural character to remain legible.

Designed with a projected lifespan of 1,000 years, the work anticipates change rather than resisting it. Weathering, wear from use and gradual softening of the carved surfaces are intended to become part of the piece's ongoing story.

Interlude is the fourth completed commission within the Paererewā programme, which is managed by STILL, a New Zealand-based organisation established to create long-term places of reflection in significant landscapes and communities. Approximately half of the planned installations are reserved for tangata whenua (people of the land), local authorities and sites of cultural importance.

The Queenstown site was developed through engagement with local community groups, neighbouring organisations and iwi, with the final design incorporating accessible seating and landscape improvements intended to support use by visitors of different ages and abilities.

The location itself carries significant cultural and historical associations. Lake Whakatipu is regarded as a place of deep importance within Māori tradition and has long served as a route for travel, settlement and food gathering. The Kelvin Peninsula is also associated with Hakitekura, remembered as the first person to swim the lake, while archaeological evidence records earlier Māori occupation across the area.

Nebbia was introduced to the commission through the British Council New Zealand and the Pacific, which supported the project alongside the Edgar family. The installation also serves as a memorial to New Zealand philanthropist Sir Eion Edgar, whose well-known greeting, "Another day in paradise", is commemorated on a bronze plaque adjacent to the work.

And whether seated alone or with a companion, it’s hard to argue with that sentiment when engaging with a work and landscape such as this.

All images © Mickey Ross

As we’ve been reporting, the introduction of silica-free quartz surface products reflects a wider shift across the engineered stone sector following increased awareness of silicosis linked to the fabrication of high-silica surfaces. While effective dust suppression and safe working practices remain critical, many manufacturers are developing lower-silica and silica-free alternatives as part of ongoing efforts to improve worker safety and reduce exposure to respirable crystalline silica.

Surface specialist CRL Stone has added a series of new marble-inspired finishes to its silica-free quartz collection, further expanding a portfolio that now includes more than 40 engineered quartz designs aimed at residential and commercial interiors.

Part of the wider CRL Group, CRL Stone has established itself as a major supplier of engineered surfaces to the UK market, serving fabricators, kitchen retailers, designers, architects and specifiers. Its product range spans quartz, ceramic and porcelain surfaces, with recent development focused on increasing the availability of low-silica and silica-free options in response to these changing industry requirements.

The latest additions form part of the company's broader CRL Quartz collection, which is presented in its recently released 2026 brochure. Rather than introducing an entirely novel direction, the new surfaces build on an established range that encompasses everything from minimalist whites and neutral tones to terrazzo-inspired designs, industrial greys and dramatic marble-effect patterns.

Among the new launches is Statuario Oro, a silica-free quartz surface featuring a creamy white background with flowing golden-brown veining. Designed to evoke the appearance of premium marble, the polished finish is intended for use across kitchens, bathrooms and commercial interiors.

Joining it is Arabescato Vagli, another silica-free design that takes its cue from traditional Italian marble. In contrast to the warmer tones of Statuario Oro, the surface combines a crisp white base with bold, dark veining, creating a more dramatic visual effect suited to large-format applications such as islands, worktops and feature surfaces.

The third new introduction, Verona Gold, offers a softer interpretation of marble-inspired quartz. Delicate gold veining runs across a warm white background, providing a subtle decorative option for kitchen worktops, splashbacks and bathroom installations.

The launches sit alongside established CRL Quartz designs including Calacatta, which pairs pronounced veining with a bright white polished surface, and Palermo, a marble-effect finish characterised by bold naturalistic patterning and a high-gloss appearance.

All of the new silica-free surfaces are available in 1600mm x 3200mm slab formats in both 20mm and 30mm thicknesses. Like the wider quartz collection, they are manufactured as non-porous surfaces designed to resist staining, scratching and heat, making them suitable for high-use domestic and commercial environments.

The broader CRL Quartz range is supported by a 25-year residential warranty and a 10-year commercial warranty. Alongside product imagery, the company's latest brochure also includes application guidance covering kitchens, bathrooms, wall surfaces and commercial interiors, as well as information on maintenance, certifications and backlit quartz applications.

Simon Boocock, Managing Director of CRL Stone, said the brochure had been developed as a practical resource for customers specifying engineered quartz surfaces.

"The new 2026 CRL Quartz brochure has been designed to give our customers a complete and practical reference point for the full collection," he said. "As demand continues to grow for surfaces that combine design impact, durability and practical performance, this brochure supports retailers, fabricators and specifiers with the inspiration and information they need to help customers choose the right surface for every project."

The new silica-free designs are available now through CRL Stone's nationwide distribution network.

Working across heritage, civic and cultural projects throughout Scotland, Collective Architecture has built a strong reputation for the conservation, repair and adaptation of significant historic buildings. As a Conservation Architect with the practice, Emma Fairhurst specialises in developing approaches that balance the protection of historic fabric with contemporary requirements, often working closely with traditional materials and repair techniques.

In this Surface Perspective interview, Fairhurst discusses the role of stone within conservation projects, the importance of material compatibility, lessons from working on some of Scotland's most significant heritage buildings, and why longevity remains one of natural stone's greatest strengths.

What does a typical day look like for you?

As a Conservation Architect, the work I do on a day-to-day basis is highly varied - the majority of it is studio based, with occasional site visits. Rather than being fixed to one or two projects as a Project Architect, I have a more wide-ranging role supporting the conservation approach on various projects across the studio. I’m currently working on multiple Category A listed projects, including the Robert Burns Ellisland Museum, the 1894 Building at the Royal Observatory and two 1960’s Brutalist tower blocks at Cables Wynd and Linksview. I am also developing conservation plans, supporting Historic Environment Scotland applications and undertaking condition assessments across a number of other conservation focused projects in the studio. In relation to stonework, I am currently preparing a detailed package of stonework surveys and proposed repair details for the Royal Observatory, Edinburgh. This is a complex and ornate building, built as a working Observatory but also as a monument to scientific endeavor for the City of Edinburgh. 

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

Depending on the project stage, materials can be a central part of my work. When working with existing buildings, an element of new-build is often needed to support the financial viability of the project and introduce modern functionality, while minimising impact on the existing fabric and layout. Materiality is therefore especially important at concept stage, where new materials must be chosen to integrate sensitively with the existing building from an aesthetic, planning, and cost perspective. The careful selection of stone is also fundamental when developing repair details for existing buildings, to ensure geological compatibility. An interesting example of this was our work at Calton Hill City Observatory where Cullalo sandstone was used for the new-build elements, with traditional tooling methods used to accentuate entrance points to the buildings. Cullalo was selected as the closest geological match for Craigleith sandstone, which was originally used to build the Observatory and was also specified for indent repairs. 

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

My original Architecture training at Newcastle University concluded in 2007, with professional qualifications completed in 2009. The training was relatively practical, compared to some other architecture schools, and for all projects we not only developed the conceptual design, but also had to consider materiality and draw technical details of how all the aspects were brought together. However, University largely taught me how to ‘think’, whereas being in practice taught me how to ‘do’. I was fortunate enough to work on a series of interesting existing building projects in my early career; barn conversions, chapel conversions, a Category A listed town hall and also a number of listed University buildings. This early learning and exposure to the complexities of working with existing buildings slowly developed into a specialism. Whilst working on Calton Hill City Observatory I became RIAS Conservation Accredited and a further five years of focused work on listed building projects has now led to me achieving Advanced Accreditation. I do not recall setting out on a path to specialise in Conservation, but the projects I have had the privilege to work on, alongside a natural affection for dilapidated buildings, have shaped where my career is today.  

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

The Calton Hill City Observatory project is possibly the one I am most proud of, but I feel all the projects I have worked on have been important to me and have shaped my learning and experience. Calton Hill was particularly special for a number of reasons; I worked on it over a seven year timespan; being up the hill is a really special place and the amazing views never disappointed; the clients were visionary and collaborative, the buildings are of exceptional significance and required extensive and complex repairs; I was part of adding contemporary buildings into the heart of the UNESCO World Heritage Site. It was a huge challenge, but incredibly rewarding to be a central part of. 

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

As the projects I work on tend to be of exceptional heritage significance, there is often the will, statutory requirement and the budget to repair the buildings properly, with the correct materials and using traditional repair techniques. However, budgets are always stretched, with material prices, international factors and resulting inflation all putting pressure on the ability to specify high quality materials. We ensure material specification is considered early in a project, such that costs are adequately allocated and market tested, so that cost plans are as accurate as possible. However, Value Engineering is an aspect of all projects, where advocating to retain high quality materials can be challenging.   

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

The main benefits of stone are its longevity, I have worked on projects where the facades date back over 350 years. Stone ages well and sits quietly in its setting, easily complementing other adjacent materials. It can equally be used in traditional or contemporary ways. Correct detailing is crucial to ensure the stone will continue to look good long after the opening ceremony, but is an interesting part of our challenge as architects to ensure this is carefully considered. 

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

Working with existing buildings is an inherently sustainable approach. Working with clients to find financially sustainable new uses for often dilapidated and disused buildings can help avoid a more energy and waste intensive demolition and new build. Throughout my career, I have developed a detailed understanding of how to marry the competing demands of protecting historic fabric whilst upgrading a building to operate to high environmental standards and be comfortable to inhabit. This needs to be a bespoke approach to every project and depends greatly on the significance of the building fabric, interiors and condition. I try to specify local, sustainably sourced, appropriately certified and environmental conscious materials wherever possible. At Collective, we also develop our own Management and Maintenance strategies for projects, so ensuring material longevity and maintainability are always fundamental considerations.