Flintwork (buildings)

Flint has been used as a building material in the UK for thousands of years, particularly in regions where it is naturally abundant, such as East Anglia, Kent, Sussex, and parts of the Midlands.

Prehistoric & Roman Use – Flint was first used in prehistoric structures, such as Neolithic long barrows and defensive walls. The Romans also incorporated flint into their buildings, often combining it with brick or stone for strength.

Medieval Period (11th–16th centuries) – Flint became widely used in medieval churches, castles, and walls, particularly in southern England. Knapped (squared) flint was often combined with limestone or sandstone for decorative effects, as seen in Norfolk and Suffolk churches. The technique of flushwork (flint set in contrast with smooth stone) became especially popular in East Anglia.

17th–19th centuries During this period, flint remained a common material for rural cottages, barns, and boundary walls. It was often combined with brick or timber frames to create aesthetically pleasing and durable structures.

Victorian Era & Beyond – The Victorians revived flint building in Gothic Revival architecture, using it for churches, civic buildings, and railway stations.

Today, flint remains a popular material in conservation projects and modern homes looking to maintain traditional aesthetics.

Flintwork is also used in the repair of historic buildings, especially churches. This often involves reusing old flints, or visiting a pit to select the required flints.

• Knapping
• Laying flints as found

Flintwork in the UK exhibits a variety of local styles and techniques, each adapted to regional materials and traditions.

• Galleting involves inserting small flint chips into mortar joints for both structural integrity and decoration, commonly seen in East Anglian churches.
• Flushwork, a distinctive East Anglian technique, sets finely knapped flint level with cut stone to create intricate patterns and contrasts.
• Field flint, often irregular and unshaped, is typically used in rural buildings where flint was gathered directly from the land.
• Shuttering is a method where flints are set within timber or metal molds and bound with mortar, often seen in Sussex and Hampshire.
• Flint quoins, where large flints or flint blocks form the corners of buildings, provide structural strength and aesthetic appeal.
• Squared and coursed flintwork features precisely cut flints laid in neat horizontal rows, creating a refined appearance, while the random style uses unshaped flints placed more freely for a natural effect. The chequered pattern, popular in Norfolk and Suffolk, alternates flint with limestone or brick, forming striking geometric designs.
• Chert, a flint-like material, was often used alongside traditional flint, particularly in the southwest.
• Puddingstone, a naturally cemented conglomerate of flint pebbles, was occasionally incorporated into walls for durability and decoration.
• Flint grottos, popular in the 18th century, used flint and other stones to create decorative, shell-like structures in gardens and estates.
• Pressure flaking, an ancient technique borrowed from tool-making, involves carefully chipping flint to produce sharp edges and smooth surfaces for finer masonry work.
• Cobbled flintwork, where rounded, water-worn flints are set in mortar, is a traditional feature in coastal areas and historic pathways. Together, these techniques showcase the versatility and enduring appeal of flint in British architecture.

There are currently two types of flintknapping in the UK:

• To make replicas of prehistoric objects such as axeheads and spearheads for use in museums, schools and archaeological research – perhaps about 5-6 people doing this professionally, and many more doing it in a non-professional capacity
• To shape flint for use in masonry and wall faces – perhaps about 10 people doing this professionally
• Producing Flint quoins which is highly skilled.
• Knapping Flints to shape

The fixing of flint is also a specialist skill in itself.

• Flintknapping is an extremely challenging craft as flint is a very restrictive and inconsistent material. The difficulty lies in the skill – such as understanding the material, the correct angle to hit it and the probable outcome, and requires technique, accuracy and hand-eye co-ordination – rather than in the physicality.
• Quality (rather than quantity) of the raw materials: There are very few sources of good quality flint in the UK – while there are a few quarries, none produce particularly good, reliable, consistent flint – although it is hoped that there will be a good quality source again in the next couple of years.
• Training issues: very little training in historic building crafts – most people go into the new-build sector.
• Shortage of skills: Heritage buildings, especially churches, need heritage skills but very few people have the necessary experience as training is focused on the new-build sector. Because of the shortage of skills flint laying has been de-skilled by the creation of flint blocks which are concrete blocks with flints pressed into them. The quality and the aesthetics are not the same as a wall built free hand. This has created a means where any brick layer can produce flint by laying blocks. This is not the way forward but a short cut because of the lack of skills. There is a current fashion to clad contemporary new builds with flint.
• Market issues: There have been developments with the demand for architectural flintwork on new properties recently, including properties that have used gauged flushwork and flint quoins.

• National Heritage Training Group
• Sussex Heritage Trust

There is no formal industry standard for training in flintwork. However, several organisations offer short courses:

• The Weald and Downland Living Museum provides hands-on training in traditional building techniques, including flintwork.
• Kingley Vale Lime and Flint specialises in conservation and restoration, offering workshops for those interested in working with flint and lime mortar.
• David Smith, “The Flint Man” also provides expert training, sharing knowledge gained from years of experience in the field.

• Mark Clifton
• Duncan Berry
• Lynn Mathias
• David Smith, Flintman
• John Lord
• Dan Dunne
• Ally Finken
• Mark Middleton, Berry-Middleton Ltd.

Companies employing two or more makers

• Flintman Company
• MCC Flints
• Mathias Restoration
• Berry Stonework 
• Flintwall Company

• David Smith, Building With Flint: A Practical Guide to the Use of Flint in Design and Architecture, 2024

Our thanks go to our 2025 reviewers:

• Duncan Berry, Berry Stonework and Kingley Vale lime and flint
• David Smith, The Flintman Company Limited

We consult with a wide range of practitioners and organisations to review and update the Red List. Some choose to remain anonymous but all feedback is taken into account.

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