A collection says what a stone looks like. A project says what it looks like in somebody’s house.
Residential
A private courtyard floored in honed white marble, cut so the veins run from the entrance to the water.
Forty-two square metres of Makrana white, laid in a single direction so the stone reads as one piece from the doorway. Book-matched at the centre and honed to a matte finish that does not glare in the Rajasthani afternoon.
Commercial
Four floors of lobby cladding in black granite and green marble, cut from a single block to hold the shade.
The brief was consistency across four levels, so the whole order was cut from one block and graded before dispatch. Every panel was dry-laid at the yard before it was crated.
Restoration
A CNC-carved altar screen in Pietra Grey, matched to a 19th-century original.
The original was scanned and the profiles rebuilt as toolpaths, then hand-finished where the machine reads as machine. The new stone is deliberately a shade cooler than the old, so the repair is honest about what it is.
Landscape
A hundred and eight sandstone steps down to the river, cut and laid to survive the monsoon.
Sandstone chosen for grip when wet, with a chiselled face and a brushed top on the landings. The treads were bedded on a full mortar joint and the nosings left slightly proud.
Residential
A monolithic kitchen island in Absolute Black granite, book-matched around the sink.
One slab, one island, no joint. The veining was laid out on the floor of the workshop first so the strongest line falls away from the working edge.
Hospitality
A carved sandstone portico, assembled from seventeen CNC-cut pieces and finished by hand.
Each arch stone was cut oversize, hand-carved to the drawing and dry-fitted at the yard. A project like this fails at the joints, so nothing left the works until the whole arc had stood up once.
