What people ask us

Yes. Many of our coffee tables are a sculpted metal base under a glass or stone top, and the base is drawn around the top: where it is supported, how it is located so it cannot slide, and how its edge meets the metal. Tell us the top you have in mind, or send its sample, and the base is designed to suit its weight and thickness.

It will show them, and they wipe off. Mirror-polished brass is lacquered so it stays bright, and the lacquer takes everyday cups and fingerprints; a hot pan or a dragged ornament will mark it. If the table will be used hard, a brushed or textured finish hides marks far better, and a cast or relief top hides them almost entirely.

Usually, but not by simply scaling it. A table that looks right at one size can look heavy or spindly at another, so the proportions, the metal thickness and the support are redrawn for the new size. We send that drawing for approval before anything is made.

Yes, if the wall can carry it. A floating console is held on a concealed bracket or frame fixed into the structure, so we need to know what the wall is made of and what will sit on the console. On a plasterboard wall it needs a frame behind the board, planned before the wall is finished.

Yes. The carcass is usually made in timber or board for its stability, and the fronts, top, plinth and handles are made in metal; fully metal cabinets are possible but heavier and noisier in use. Fluted, finned and hand-beaten fronts are made as panels and fixed so they can be removed for service.

A brushed, satin or hand-beaten finish, which hide fingerprints and fine scratches. Mirror polish looks spectacular and shows every touch. PVD-coloured stainless steel is the hardest-wearing of the coloured finishes, which is why it is often chosen for hotel consoles.

The room does. We size the table from the room and the chairs: the space each person needs, the clearance to walls and doors, and where the base sits so that knees and chair legs do not meet it. Send the room plan and the number of seats you want, and the drawing shows the table in the room.

Yes, when it is designed for it. A stone top is heavy and stiff, and it needs support close enough to its edges that it cannot crack under someone leaning on an overhang. The base is drawn once the top's size, thickness and stone are known, not before.

That depends on the base and the access to the room. Large bases are often made to bolt together, so they can pass through doors and lifts and be assembled in place with the joints hidden. We check the route from the street to the room before the base is designed.

Yes. Nesting tables are drawn together so each slides under the next with an even gap, and matching pairs for either side of a bed are made in one batch so the finish is the same on both. Sets in different heights but one design are just as common.

Solid cast pieces are heavy for their size, which is part of their character and makes them stable. Where a piece has to be moved often, it can be cast hollow or made from sheet and formed, which keeps the look at a fraction of the weight.

A metal stool can have an upholstered or timber seat set into the frame, and the height is set from the counter or table it is used at. A bare metal seat is fine for perching; for a bar or dining stool used for an evening, we recommend a seat pad.

Yes, and that is the usual way. The joiner builds the desk's body and storage; we make and fix the metal skin, top edges and kick plate so that the joints line up and the corners are crisp. It works best when both are drawn together from the start.

The top is where the choice matters. Stainless steel shrugs off spills and cleaning; lacquered brass resists them but shows wear where glasses slide; bare brass and copper will spot and tone, which some bars want. The front of the counter can be any metal, because it is not wiped all night.

Yes. Light under the top edge, behind a perforated or fluted front, or in the toe kick is common. The fittings, drivers and access are planned with the counter so that a light can be changed without taking the cladding off.

It depends on the span, the shelf section and how it is fixed. Books and stone objects need a stiffer shelf or a shorter span than glassware. Tell us what will sit on the shelves and we size them for it, so they stay straight for years rather than sagging in the middle.

Yes. Floating shelves are carried on concealed rods or plates set into the wall, which needs a solid wall or a frame behind the board. Freestanding units avoid wall fixing altogether but should still be tied back at the top so they cannot tip.

If it is designed to be. Units on levelling feet with adjustable shelves and bolted joints can be moved, re-arranged or taken to another store; welded units are stiffer and simpler but stay as they are. We ask at the start how often the display will change.

We make the metal frame, and it is drawn for the upholstery it will carry: the seat and back fixings, the gaps the fabric needs and the points where the upholsterer will work. Many clients use their own upholsterer, and we work to their needs.

Yes, when it is designed for that use. Restaurant chairs are leaned back on, dragged and stacked, so the joints, tube sizes and feet are chosen for that rather than for a home dining room. Say where the chairs will be used, and how many, before they are drawn.

Yes, and for any order of more than a few chairs we recommend it. A prototype is sat on, adjusted and approved; the production run is then made to it, so every chair matches the one that was agreed.

Brass and bronze last well in a wet room, and they change colour unless they are lacquered or plated. Stainless steel in a marine grade holds its look. Black frames are usually coated steel or brass, and the coating is what has to survive the water and the cleaning products, so it is chosen for that.

Yes. It is measured on site after the tray and tiles are in, because walls and floors are rarely exactly square, and the frame is made to the real opening. Measuring before tiling means fitting later with sealant and packing.

The frame is designed around the glass, and we coordinate the toughened glass to suit it: clear, frosted, fluted or patterned. Glass for showers must be safety glass, made to size after the frame is measured.

Bare brass will darken and spot where water sits, which some people love. Lacquered or plated brass keeps its colour if it is cleaned with mild soap rather than abrasive cleaners. We show the finish on a sample, wet and dry, before the basin is made.

Yes. The tap holes, waste position and overflow are drawn to the taps and fittings you have chosen, so tell us the models early. Wall-mounted taps need their position fixed before the wall is finished.

Yes. A metal frame or pedestal can hold drawers, shelves or a cabinet, with the plumbing routed so it does not steal the space. Timber or stone can be combined with the metal where that suits the room better.

Usually, if the glass is in good condition. We measure the mirror and make the frame to fit around it. Old mirrors with damaged silvering at the edges are often better replaced with new glass cut to the frame.

Heavier than a timber one of the same size, so it is hung on a concealed cleat or brackets fixed into the wall, never on a wire. We need to know the wall it is going on, and for very large mirrors the fixing is planned before the wall is finished.

Yes. Shaped frames are drawn for each size so the rays or curves stay in proportion, and the mirror glass is cut to the shape. The drawing is approved before cutting, because a shaped mirror cannot be adjusted afterwards.

On a concealed fixing behind the piece: a cleat, studs or a frame, chosen for the weight of the panel and the wall it goes on. Layered pieces are set off the wall so their shadows become part of the work. The fixing is planned with the design, not added at the end.

Yes, with metals and finishes chosen for the weather. Bronze, brass and copper weather into a darker surface outdoors; stainless steel holds its look; mild steel needs a protective finish on every edge. Lacquered or polished finishes are better kept indoors.

Yes, most of our wall art is made for a particular wall. We start from your idea, a reference or a theme, draw it to scale on the wall, and agree the metal and finish on a sample before making it.

Yes. Bronze and stainless steel are the classic outdoor sculpture metals; brass and copper also weather well and change colour over time. The base and its fixing to the ground are part of the design, so the sculpture stands safely in wind and does not invite climbing where it should not.

Large pieces are made in parts that join invisibly on site, or delivered whole with lifting points designed in. We check the route, the access and the floor or ground it will stand on, and install it ourselves.

Yes. You approve a drawing or model first, then the form before the final finish is applied. The finish itself is agreed on a sample, because patina and polish are judged far better in the hand than in a photograph.

From the building's structure, not from the false ceiling. Each element hangs on a wire or rod fixed above, and the fixings are planned with the structural engineer or the building owner, especially in an atrium where the drop is high.

Yes, if access is planned. Pieces in an atrium are cleaned from a lift or tower, so we prefer finishes that stay presentable with little cleaning, like lacquered brass or patina. Very high installations are designed so individual elements can be lowered for care.

On a drawing and a 3D model of the space, viewed from where people stand and walk. The heights and spacing are set out on site from that model, and adjusted while hanging so the composition reads as intended from the main viewpoints.

Yes. Letters can be halo-lit from behind, lit from inside through a cut face, or washed by a separate light. The power supply and where the driver sits need planning before the wall is finished.

Bare brass will tone to a darker, warm brown outdoors over months. If the bright gold look is wanted, the letters are lacquered or made in PVD-coloured stainless steel, which keeps its colour much longer outside.

Yes. Send the vector artwork if you have it; a clear image is a start if you do not. We prepare a drawing showing the letter depth, the stroke widths that can be made in metal and the fixing, and you approve it before anything is cut.

By the frame behind them. Panels are hung on a sub-frame that is set out and levelled first, and each panel is made to a drawing that gives the joint its exact width. The evenness of the joints is decided long before the first panel goes on the wall.

Yes. Behind a bed, along a corridor or around a door, metal panels work as well as in a lobby. In smaller rooms a brushed or antique finish usually sits more calmly than mirror polish.

They are drawn into the panel layout before cutting, so openings fall on joints or centres and look intended. Send the electrical and services drawings with the wall elevations, or we measure them on site.

Most strips are set as the stone or timber is laid, so they sit flush and the two materials close against them. Some can be routed in afterwards. The installer and we agree the sequence before work on the floor begins.

Brass in a floor is polished by feet where people walk and tones down at the edges, which gives the line a natural look. If an even bright line is wanted, PVD-coloured stainless steel keeps its colour under foot traffic.

Yes. Strips can be bent to a curve or cut from sheet to a curved line, and both are made from a drawing or a template taken on site, so the strip and the stone meet exactly.

A little, like any relief surface. Shallow patterns are dusted with a soft brush or cloth; deeper ones are easier to keep if they are placed out of reach of hands and away from kitchens. We suggest the depth with the room's use in mind.

Yes. Perforated, cut or open patterns can be lit from behind, and solid tiles can be washed with light from above or below to bring out their relief. The light source and access are planned with the wall.

It can be designed for your wall. Hexagons, geometric tiles, studs and hand-beaten textures are all made to your dimensions, and the layout is drawn so the pattern ends neatly at edges, corners and openings.

Lift doors can usually be clad with a thin metal skin, but the weight added and the way it is fixed must be approved by the lift maintenance company. We coordinate with them before anything is made, so the lift's safety and warranty are not affected.

A brushed or textured finish, in stainless steel or PVD-coloured stainless steel, which hide fingerprints and light scuffs. Polished brass and bronze look rich but need regular care in a lobby where hands and luggage touch them all day.

Yes. The openings for the indicator, call buttons and any signage are drawn into the cladding, made to the lift supplier's fittings, so they sit flush and aligned.

Yes. It can stand freely on a base, fix between floor and ceiling, or slide on a track. A freestanding screen needs a weighted or fixed base so it cannot tip; a fixed one is the steadiest.

Yes. A logo, a motif or a traditional jaali can be drawn for cutting. We check that the pattern holds together in the chosen metal and thickness, and show it at full size before the production run.

Yes, in a metal and finish chosen for the weather. Many exterior jaalis are in coated mild steel, aluminium or weathering metals like brass and copper. The frame and fixings are made to cope with wind and rain.

Slim, because metal is strong, but the size of the glass, the height and any doors decide it. We draw the partition with sections chosen for its size, so it is as fine as it can be while staying rigid and safe.

Partly. Single glass in a slim frame lets some sound through; laminated or double glazing with seals at the edges does much better. If privacy of conversation matters, as in an office or a meeting room, tell us at the start.

Yes. Sliding, swing and pivot doors can all be built into the partition in the same frame and finish, with hardware chosen for how often it will be used.

On brackets and a sub-frame fixed to the structure, designed to carry the screen's weight and the wind on it, with movement allowed for heat. We need the building's structural details, and fixings into the structure are agreed with the architect or engineer.

Yes, outdoors these metals age: brass and copper darken to brown, and copper eventually greens in time. That ageing is usually the reason they are chosen. If a fixed colour is wanted, coated or PVD-coloured finishes keep their look far longer.

Yes, that is often its whole purpose. The size and density of the perforation decide how much light and view pass through, and a full-size sample held in place shows the effect before production.

A metal-clad door is built on a strong core and frame, and its security comes from that core, the locks and the hinges or pivot. We fit the locking hardware you choose and make the door to suit it.

A patina continues to develop where rain and sun reach it, which many entrance doors are chosen for. Under a porch it changes slowly; fully exposed it changes faster. If a fixed look is wanted, the patina can be sealed, and that seal is renewed from time to time.

Yes, and we recommend it. A sculpted handle made for the door, in the same metal and finish, makes the entrance read as one piece. It is drawn with the door and sized for the hand and the height it will be used at.

Yes, if it is designed for it, with seals, a threshold and glass suited to the weather. Interior glazed doors are simpler and slimmer. Tell us where the door goes so the frame and glass are chosen correctly.

Yes. The opening is measured on site, and for an arch a template is taken, because existing arches are rarely perfectly regular. The door is then made to the real opening.

They do when the hardware is chosen for the door's weight and size, and the floor and head are level. We specify the track and hinges with the door and set them carefully on site.

Yes. Even if the motor comes later, the gate can be made with the stiffness, the mounting points and the cable route a motor needs. That is much easier than adapting a finished gate.

By the design of the frame and the hinges or track. A swing gate needs a rigid frame and hinges sized for its weight; a sliding gate runs on a track or a cantilever. Sagging comes from a frame too light for its size, so the frame is designed first.

On mild steel, a proper protective coating on every surface and edge. Brass and copper cladding weather naturally and darken, which suits some homes. We recommend the finish with the gate's exposure in mind and explain the care it needs.

Yes, with a solid or close pattern. A more open pattern gives partial privacy with more light and air. A sample panel held at the boundary shows how much the screen hides from the street.

Screens act like sails in the wind, so their posts and fixings are designed for it. Open patterns let wind through and carry less load; solid panels need stronger posts. We size the structure for the site.

Often, if the wall is sound and the fixings can be made into it. We inspect the wall and design the fixing to suit it; a weak wall may need posts of their own.

Yes. Baffle and slat ceilings are designed with the lighting, sprinklers, speakers and air vents in mind, so the fittings sit between or within the baffles in a regular rhythm. Send the services drawings early and the layout is coordinated with them.

It can. Baffles break up sound reflection, and with acoustic backing above or perforated baffles, they absorb noise in busy restaurants and offices. Say if acoustics matter and we include it in the design.

Yes. Varying depths, waves and curves are all possible. Each baffle is made to a drawing with its own profile, and the ceiling is set out on site from the same drawing.

Yes. Coves, domes and coffers are often lit indirectly, with the light hidden in the profile. The fittings and drivers are planned with access so that maintenance does not mean taking the ceiling apart.

Trims are usually fitted with the ceiling, so the board meets them cleanly. Where they frame lights or edges, we coordinate with the ceiling installer on the order of work.

Less than many people think: ceiling panels are made in lighter sheet and hung from a suspension designed for them. Heavier elements, like domes or deep coffers, are hung from the structure above.

Usually yes. We measure the existing opening and the wall, and make the surround to fit, with the fixings and the gap to the heat planned. The fire's own safety requirements always come first.

Parts close to the fire will warm up. That is why the parts the fire touches are made in heavy steel, and decorative brass or bronze is kept beside the heat, not in it. We design the surround with the type of fire in mind: wood, gas or electric.

Yes. Fire trays, fenders, grates and tool sets can be made in the same metal and finish so the fireplace reads as one design.

They are designed to meet the safety rules for height, the size of gaps and the loads people place on them, as set by your architect or the building rules for your project. Laser-cut and scroll patterns are drawn so that no gap is wide enough for a child to pass through.

Yes, in a metal and finish chosen for sun and water: stainless steel, coated mild steel, or brass and bronze where weathering is wanted. Near pools, the chosen metal must resist chlorine as well as rain.

Yes. A metal core rail can be wrapped in leather or capped with timber for a warmer touch, and the brackets and ends are made in the balustrade's metal so it all reads as one.

Often yes, but it depends on the structure the stair fixes to and how it gets in. We survey the space and the access, and large stairs are made in sections that are joined on site.

We prepare the fabrication drawings, and the structure is checked by the structural engineer appointed for the project, for the loads the stair will carry. A spiral or floating stair especially needs that check before fabrication.

Metal treads can be finished in texture for grip; many feature stairs use timber or stone treads on a metal structure. The choice depends on the look, the sound and how the stair is used.

Yes. Handles, pulls and hardware are made in the metal and finish of the door or furniture, and sized for it. A long pull on a tall door, or a small knob on a cabinet, is drawn for its place and its hand.

Yes. We make the handle and its fixing to fit the lock or latch you choose, so tell us the lock model early. For pulls on glass doors, the glass holes are drilled to the handle's drawing.

Where the hand holds it, the finish wears to a brighter, polished metal, while the rest keeps its darker tone. That is what makes a well-used bronze handle look loved. A lacquered finish slows this down.

In full sun, metal heats up, so planters are made with a liner or an insulated inner pot, and drainage, so roots stay cool and water does not sit. We design planters for the place they stand.

The pump, water supply and electrical point are planned with the feature, with access for cleaning and service. Metals and finishes are chosen to cope with constant water; we explain the care they need.

Yes. Planters are made to measure in length, width and height, with weight checked for the terrace or roof they stand on. Large planters full of soil and water are very heavy, so we check the load first.