Notes from the Studio · Material
Elazığ Vişne, Calacatta Viola
Wine-Toned Stones
Natural stones veined in burgundy, cherry and purple give a space character instantly — but that strong character can also overwhelm it if handled carelessly. Let us set out that balance through two of our favourites.
What these stones have in common is that they are not a neutral surface. A marble that is white and quiet can stay in the background; a wine-toned stone never becomes background where it is placed — it becomes the focus. So the right question is not “is it beautiful?” but “where, and how much?”
Two stones, two distinct characters
Elazığ Vişne is a Turkish travertine; a stone running from deep red to cherry, with pronounced veining. Being domestically produced is an advantage for both supply and cost, but batch variation can be considerable — two slabs sold under the same name can look quite different in the light. Because it is a travertine it has a porous structure; the pores can be filled or left open, and that choice changes the stone’s character markedly.
Calacatta Viola is an Italian marble, veined in purple and lilac over a white ground; the more dramatic member of the Calacatta family, the one that feels closest to a work of art. Its veining density varies greatly from slab to slab: of two slabs sold under the same name, one may be finely and sparsely veined while the other is almost entirely purple. With Calacatta Viola, therefore, the decision is made on the slab in front of you, not on the name.
Red travertine is the calmer member of this family: with its porous structure and matt texture it stays close to earth tones — a good middle course for anyone who wants colour without the theatricality of polished marble.
Selection: judge the slab, not the name
With strongly figured stones of this kind we never trust the name alone — we always ask for photographs of the actual slab and, where possible, see it in person. Stone sold under the same name may come from different quarries or different blocks; veining density and colour saturation vary from batch to batch.
Once a slab is chosen, there are three things to watch:
- Book-matching — two slabs opened like a mirror, or veining continuing from a worktop up a splashback. This requires the slabs to have been cut consecutively from the same block and enough of them set aside together. It is a decision that cannot be completed later.
- The cutting plan — which way the veining will run and which part of the slab will become the visible surface are determined before cutting. Once cut, there is no correcting it.
- Wastage — with heavily veined stone, more of the slab becomes unusable in achieving the intended appearance; more material than needed has to be set aside.
The finish changes the tone
The same slab becomes an entirely different stone according to its finish. A polished surface deepens the colour, sharpens the veining and reflects light — the most striking option, and the one that shows marks and etching most. A honed (matt) surface softens the tone, forgives everyday marks and is less slippery in wet areas. A tumbled or brushed finish brings the texture forward and pulls the colour back a notch.
If a coloured stone feels like too much, the first thing to try is not changing the stone but taking the shine off it.
A question of measure: one surface is enough
We generally apply these stones not across a whole space but to a single signature surface — an island worktop, the wall behind a console, a bathroom niche or one wall. Surrounding them with quiet, neutral surfaces lets the stone speak for itself; otherwise the space is remembered for chaos rather than for the stone.
- Where they work well — a single bathroom wall or basin niche, a kitchen island and its splashback, a console surface in an entrance hall, a fireplace face.
- Where they struggle — large floor areas (they tire the eye), small rooms with little daylight (they close the space in), and spaces already full of patterned wallpaper or coloured cabinetry.
- What should come next to them — matt timber, lime plaster, plain textiles, simple cabinet fronts. The aim is to leave the stone on its own.
- Choice of metal — burgundy and cherry tones are related to the warmth of brass and bronze; beside chrome and cool grey the stone looks more isolated and harder.
Light is more decisive with these stones
Coloured stone is far more sensitive to the colour temperature of light than a neutral stone. Warm light deepens and enriches burgundy; cool white light can make the same stone look purplish and hard. The sample therefore has to be seen not under showroom lighting but in the light of the space itself — in daylight and in the evening.
Placement matters too: a grazing light running across the surface brings the veining out, while a downlight directly overhead flattens the texture and casts shadow. We set out the role light plays in making colour read true in our lighting layers piece.
Maintenance and change over time
On maintenance the rule is the same as for natural stone generally: an impregnating sealer, a pH-neutral cleaner, and staying away from acidic products. There are two additional notes specific to coloured stone. The first is grout colour — a pale grout beside a dark stone is, over time, the detail that draws the eye most; the grout should be brought close to the ground tone of the stone. The second is patina — in kitchens and bathrooms particularly, the stone acquires a lived-in quality over the years; anyone who would see that as a fault will struggle to be happy with these stones.
We compared the general differences between travertine and marble, and which suits where, in the logic of natural stone. To see at which stage of the process material decisions of this kind are taken, see the Process & Budget Guide; our design approach is set out in our philosophy.
Kept in measure, these stones become the signature of a space.
Frequently Asked Questions
Is Elazığ Vişne a Turkish stone or imported?
Turkish — it is a travertine quarried in and around Elazığ. Being domestic is a practical advantage when it comes to viewing and selecting slabs and to supply.
Are these stones suitable for every space?
No; because of their strong character we recommend using them on a single surface — a signature point. Used across large areas they overwhelm a space, and in a small room with little daylight they narrow it further.
How do you choose between Elazığ Vişne and Calacatta Viola?
Start from the ground colour. Elazığ Vişne carries light veining over a dark ground; it gives a space warmth and weight. Calacatta Viola is purple-to-burgundy veining over a white ground; it reads brighter and more theatrical. In a dark bathroom the second usually works better, in a large, well-lit area the first.
Can they be used on a kitchen worktop?
They can, but both are natural stone; acidic liquids leave a dull etch mark on a polished surface. In a kitchen you should choose a honed finish, apply an impregnating sealer and not leave spills to sit. If your tolerance for maintenance is low, porcelain is a more realistic choice for a worktop.
Is book-matching possible with every stone?
No. Matching requires the slabs to have been cut consecutively from the same block, which means setting aside enough slabs together at the point of purchase. It cannot be completed later — which is why we take the decision at the very start.
Are these stones difficult to look after?
Not as difficult as people fear. Having an impregnating sealer applied, using a pH-neutral cleaner and staying away from acidic products is enough for most uses. With dark stones the thing to watch is the grout colour; a pale grout becomes, over time, the detail that draws the eye most.