Series 01 · flexible stone veneer
Flexible Stone Series
Stone, sliced thin enough to bend and bonded to a backing that takes adhesive like tile. Marble, travertine, shale, slate and the textured surfaces made the same way — one method, many faces.
Cross-cut travertine
Before the surfaces: every panel on this page comes off our own lines in Ningbo and Shengzhou, not from a trading office. The flexible stone manufacturer page carries the plant address, the machines, the tolerances and the audit scores.
The series exists because one sheet can wear more than one stone. Every product under it is built the same way: a thin layer of real stone aggregate bonded to a mineral backing, flexible enough to wrap a column and stiff enough to hang flat on a wall. What changes from one product to the next is the surface — which stone, how it is cut, how deep the relief goes.
That is why buyers rarely take just one. A single project often wants two of them: travertine where hands touch, slate on the weather side, marble in the room where the light is better. The thirty-seven below are the ones in production now.
In the series
Thirty-seven surfaces, each with its own page: sheet sizes, colour range, fixing detail and the questions installers actually ask.
TravertineCross-cut, pores filled, cream through to warm grey. The one specifications keep naming.
Ocean TravertineSofter banding than vein cut, paler, 4.5 mm. Sits beside real travertine without matching it.
Lime StonePale grey, fine grain, almost no pattern. Looks like plaster until you get close.
Ripple BoardReeded marble in white. The ripple runs vertical, so the shadow moves all day.
Delta Wing StoneA delta flute in grey. Sharp at 400 mm, plain at four metres.
Mini Line StoneThe narrowest rib we press. Fine shadow, no shine.
Cut StoneCombed cream stone. The comb marks are in the mould, so they repeat flat.
Wave Line StoneThe rib depth changes down the sheet. That is what keeps it from looking extruded.
Wide Line StoneWide reeding set on the diagonal. On a long wall it moves instead of grilling.
Square Line StoneSquare ribs, pale grey, 8 mm. Takes light at an angle.
Round Line StoneRound-topped ribs that go round a column without a trim.
Culture StoneGrey ledger stone on an 8 mm sheet. There are no wall ties because there are none to need.
Flow StoneCharcoal with a dragged surface. Dark enough to anchor a room, flat enough to wipe.
New Line StoneLight grey pinstripe. At two metres the lines blur into brushed stone.
Curve Line StoneArcs cut across the sheet. Bends with the arc instead of breaking it.
Aman Line StoneIvory horizontal banding, 1000 × 2650. The Aman hotel manner, at nine kilos.
SlateLight grey cleft slate at 3 or 4 mm. A tenth of the weight of the real thing.
GraniteWarm beige split granite. Speckle and split in one face, no 30 mm slab behind it.
Cliff StoneDeep enough to throw a shadow at noon, light enough for plasterboard.
Axed StoneCream, axe-cut, chisel marks running one way as they do on stone.
Lunar BoardCraters pressed into an 8 mm board. No repeat you can find by eye.
Rockcut StoneCharcoal at 9 or 12 mm. The deepest cut we press without a frame.
Peak RockGrey-brown, 12 mm, frost resistant. Fixes to a ventilated frame as happily as to render.
DeepRock StoneTorn cream face at 13 mm. Stacked stone depth, ten kilos a square metre.
Rongji StoneMid-grey scraped stone at 15 mm. Thick enough that the edge needs no return.
Massif StoneBlock courses that look load-bearing from three metres away.
Continues StoneThe layers carry on across a joint. That is the whole pattern.
Shale StoneWhite flake, split edges, 15 mm. Heaviest in the series and still one person’s carry.
Fair Faced ConcreteFormwork grain and tie holes with no pour and no shutter to strike.
MarbleWhite base, grey-green vein, matte. No slab to book-match.
Travertine Post-NFlat grooved travertine. The grooves take the shadow line themselves.
Travertine Post-CA convex rib, honed. For columns where a sharp edge would chip.
Travertine Post-100Large rib on a 600 mm width. Wraps a round column in four pieces.
Travertine Mosaic-CChunky travertine mosaic pressed into one sheet. No grout, no mesh backing.
Travertine Mosaic-NSquare mosaic in one piece, so the joints stop where the sheet does.
Travertine Mosaic-MGrey, set on the diagonal. Makes a small room read wider than it is.
Square MosaicSplit-face squares at 5 mm, sized for a bathroom wall.Where it goes, and where it does not
The material decides most of the questions below, not the surface you pick.
Use it
- Interior walls, ceilings and lift lobbies
- Columns and curved returns
- Shopfronts, reception faces, exhibition walls
- Ventilated facades, on the right substructure
- Refurbishment straight over sound tile or render
Do not
- Floors, worktops and anything taking a point load
- A shower or wet room without tanking behind it
- Book-matched patterns — the surface repeats
- Over a live crack, or a wall that is still moving
- As a structural skin or a substitute for insulation
How a sheet goes on
Polymer-modified adhesive, notched trowel, pressed from the centre outward. Most of the difficulty sits in the substrate rather than the panel, and if you have never handled the material, the first ninety seconds of the installation video are where the job is either right or wrong.
01 Check the wall
Sound, dry, flat. Sand back weak paint, knock off loose render, fill and level. Dust is the most common reason a panel sounds hollow a week later.
02 Plan the layout
The surface repeats from sheet to sheet. Work the layout out on paper before the first sheet goes up, especially on a long wall.
03 Cut, then fit
Straight cuts score and snap. Openings and corners take an angle grinder or a jigsaw with a carbide blade — on a board, never on the floor. The cutting guide has the blade and speed settings.
04 Finish the edge
Outside corners get sealant under masking tape, tape pulled while the sealant is still wet. That detail separates a corner that reads as stone from one that reads as trim.
Ordering
Single-style orders under 500 m² ship in a plywood crate, and the crate is charged separately; above that the sheets go on pallets. Samples are free and travel with the matching test reports, so the surface and the numbers arrive together. Send a wall drawing, a photo of the space or a colour reference and we reply within one working day with a quantity take-off and a delivered price. For how the number is built, see the price guide.
Questions we get on this series
Is flexible stone real stone?
The face is real stone aggregate bonded to a fibreglass-reinforced mineral backing. It is not printed film and not PVC. It is also not a solid block of quarried stone — it is a veneer, and that is the whole point of it.
Can it go in a shower?
Not on its own. The panel is breathable rather than waterproof, so tank the wall first and treat the panel as the finish, not the membrane.
How do you cut it?
Score and snap for straight runs with a utility knife and a straight edge. Openings, sockets and tight curves take an angle grinder or a jigsaw with a carbide blade. Cut on a sacrificial board; a chipped edge cannot be sanded out.
What does it cost?
Quoted per project by area, and it moves with style, quantity and destination. There is no public price list — any figure online that claims to be ours is not.
How do I get a sample?
Ask through the inquiry form with the surface you have in mind and the substrate you are fixing to. Samples ship worldwide, free, with the SGS reports for that face.
The other three series
Deep 3D relief, printed art tile and gilded surfaces sit on the same backing. If the surfaces above are close but not right, one of them usually is.