Every installation we can show you

This Woodford Green installation replaced eleven white casements across a chalet bungalow with flush sash windows. The finished exterior uses black frames and astragal squares, while the internal finish remains white.

The before and after photographs show the same front elevation. Flattening the sash within the frame and repeating the glazing-bar pattern across the dormer and bay gives the frontage a more consistent rhythm without changing the shape of the house.

The before photograph shows the original timber bay on this rendered Chigwell frontage, its paint weathered back to bare wood, with the small-pane glazing pattern still running right around the curve. The window on the floor above carried the same pattern.

The replacement holds the curve and repeats that bar pattern in white uPVC, across the bay and the upper window together. It is the harder version of this job. A flat run of casements would have been quicker to fit and would have taken the shape out of the front of the house.

Five photographs record this Chigwell casement installation from the front, side and wider garden-facing angles. The rosewood finish is repeated across the visible openings rather than used as an isolated accent.

Repeating one finish across every opening is what makes a multi-window job read as a single piece of work rather than a set of separate replacements. The front, side and garden angles show how the frames meet the cills and reveals.

This Chigwell pair shows the entrance before and after a black composite door was installed. The finished door keeps a white outer frame, with bright metal hardware and a glazed top panel set within the black slab.

Both photographs are of the same entrance, so the change in proportion, glazing and hardware can be read directly rather than inferred.

This Chigwell photograph records an anthracite uPVC sliding sash window installed within a red-brick elevation. The darker frame gives the opening definition while the vertically balanced format retains the familiar sash-window proportion.

Sliding sash suits this elevation because the opening is taller than it is wide. A side-hung casement of the same size would swing a large sash out over the path below it.

Photographed from roof level, this Chigwell installation shows an anthracite flat rooflight set onto its prepared kerb. The perimeter and roof covering remain visible, which makes the image more useful than a cropped product-only view.

A flat rooflight keeps the external profile restrained while bringing daylight into the room below. The final specification depends on the opening, kerb, roof fall and access confirmed during the survey.

This Chigwell roof-level photograph records a white hipped aluminium lantern installed above a flat roof. The full lantern, upstand and surrounding roof covering remain visible, so its scale and position can be judged in context.

The raised four-sided form differs clearly from a flat rooflight. Final dimensions, glazing and kerb requirements are confirmed against the individual roof during survey.

The before photograph shows white frames across every opening on the front of this Romford home: the wide ground-floor window, both upper windows, the narrow porch light and a white panelled entrance door.

In the finished view all of them are anthracite, and the entrance has changed with them. The house next door is still in white in both photographs, which is the clearest way to read exactly how much of the frontage was replaced.

Two angles record this Romford installation: a straight view of the finished bay and a side view showing the return. The white casement frames repeat the diamond lead pattern across the main panes and the side lights.

The two angles together show how the bay turns: the wider central panes carry the lead pattern, and the narrower returns pick it up at the angle without breaking the run.

This Romford entrance uses a black composite door within a white frame, with a narrow glazed sidelight on each side. The brick surround gives the entrance a balanced width and clear separation from the neighbouring doorway.

Set beneath the existing brick head, this Romford installation combines a white composite door with one full-height sidelight. The decorative glazing pattern is repeated in both sections so the door and side panel read as one entrance.

The photograph records the installed frame, threshold, hardware and brick opening together. Those junctions are part of the finished result and are kept in view rather than cropped away.

This Romford composite door sits between two white bay windows, with a white fanlight above and a cream door slab below. The restrained colour keeps the entrance distinct without competing with the existing bay geometry.

The full-height photograph shows the step, cill, fanlight and neighbouring windows. It is a compact opening, but the surrounding context is what explains why the proportion works.

Viewed from inside, this Romford installation shows two flat rooflights positioned above the same rear room. The paired layout spreads daylight across the ceiling while leaving a clear central section for downlights.

The rear glazing remains visible in the photograph, so the relationship between light from above and the garden-facing opening can be judged together. Kerb dimensions, roof fall and glass specification are confirmed during survey for each property.