Venetian Plaster, Birmingham
The walls are the portfolio; we photograph them slowly and publish them selectively. The full set is available on request.
A headquarters boardroom, finished in Marmorino. The room where the company signs things, hosts its clients and takes its photographs: the one wall in the building that had to be right.
On a listed building, every stage carries weight: sample panels signed off by the design team, protection of historic fabric, sequencing agreed around other trades, and systems chosen because the building can live with them for the next century. This project is our standard, written in lime.
Four recent projects, with the brief, the approach and the outcome for each.
The client had ruled out tiles before we were called. Not on looks, but on everything that comes with them: the grid, the grout, and cleaning it for the next fifteen years.
Microcement taken across every surface in the room as one continuous piece, from behind the bath, around the basin wall and up past the mirror. Taps set straight into the plaster, with the stone basin returned against it.
A wet room that reads as one material. It wipes down with a cloth, and there is nothing in it that will need regrouting.
A curved archway and a range hood the size of a doorway, in a kitchen where the marble and joinery were already installed and signed off.
Both shapes were formed and finished by hand on site. Built up in coats and checked by eye from across the room until the curve held its shadow evenly the whole way round.
The plaster sits quietly behind the marble and brass, which is what a kitchen at this level needs it to do. No trim, no shadow gaps, no straight edge pretending to be a curve.
A structural column standing in the middle of a restaurant floor. The default answer is to box it in and hope nobody looks at it.
Finished in textured lime dragged vertically down its full height, one pass per face, so the texture runs unbroken from ceiling to floor. On a round column that means holding even pressure the whole way down.
The column now anchors the dining room. Guests sit against it every evening, and it is the surface photographed most often in the space.
Servery and banquette walls in a working bar, meeting a timber ceiling on one side and stainless steel on the other.
Marmorino applied and burnished to a soft sheen, with every junction cut in by hand. Sequenced so shelving and fixings went back over the finished surface after we were off site.
A surface that takes nightly splashes, knocks and wipe-downs without losing depth, in the part of the room every customer stands closest to.
A media wall the length of the room, wanted in dark marble. Slab would have meant joints across the face and a lead time measured in months.
Built the whole wall in plaster and veined it by hand in gold, following the fall of the surface so no two veins repeat. Polished in place, then cut around every socket and fixing.
One continuous surface with no seam anywhere on it, turning the corner and running behind the shelving. The LED strip above rakes across the polish and lights the veining from the side.
We take a limited number of commissions at a time so every wall gets the hours it needs. Send a drawing, a photograph or three sentences, and we will tell you honestly whether it is the right finish for the job.
A single feature wall is usually two to four days including drying time between coats. A full bathroom or kitchen runs a week or more. Commercial fit-outs are priced and programmed around the other trades on site.
Usually, yes. Send photographs and, if you have it, the product name. We will make samples against it before quoting so you can see the match before committing.
Yes. We are based in Birmingham and work UK-wide. For projects further afield we price travel and accommodation into the quotation so there are no additions later.