A growing record of work Forrestal has just completed — real homes across Sussex, Surrey and Hampshire, real timber from named species, real photos from site. Filter by service or town.
The kind of wide-plank floor we’d lay in a Chichester home — rustic-grade oak in a weathered grey-brown tone, run in long boards across a freshly plastered room and finished in a low-sheen oil that lets the heavy graining and saw-texture show.
The kind of herringbone we’d set out in a Chichester home — pale oak blocks newly laid through a light-filled room beside the stairs, the raw timber down and squared up but not yet sanded and oiled, ready for its final finish.
Where a herringbone floor takes shape — pale oak blocks set out across a bare subfloor and worked down the hall a row at a time toward the light. The kind of careful parquet install we’d run through a Chichester home before sanding and oiling.
The sort of staircase we’d clad in a Chichester home — pale natural oak treads and risers in a soft knot-grade timber, set against a black steel stringer and rail, the warm wood and dark metal making a clean modern contrast.
The kind of parquet refurb we’d bring to a Haslemere home — original oak herringbone taken back to bare timber and brought up in a pale limed tone with a soft matt sheen. The sort of work that puts years back on a tired block floor.
An install in progress around Haslemere — wide oak boards in a grey-brown limed tone going down across a freshly plastered room, with bare subfloor still showing where the run continues. The kind of plank floor we’d lay before the final oiling.
The kind of restoration we’d carry out in a Haslemere period home — original pitch-pine boards taken back and brought up to a warm reddish-amber, gaps eased where decades of footfall have opened them and the timber sealed with a rich gloss finish.
The sort of install we’d specify for a Haslemere home — natural pale oak laid as wide boards through a hall and up to the stair return, light knotting left honest and finished in a low-sheen oil. A clean, hard-wearing floor for a busy entrance.
The kind of herringbone we’d set into a Petersfield cloakroom — grey-toned oak blocks laid in a tight herringbone against dark botanical walls, the cool grey picking up the low skirting light and giving way to a paler natural oak at the threshold.
How we’d floor a new-build room near Petersfield — pale natural oak laid in a generous herringbone running back from black Crittall-style doors, the soft blond tone and matt finish keeping the light and airy feel against deep grey-blue walls.
The kind of staircase we’d finish in a Petersfield home — pale blonde treads and risers in a clean maple tone with a fine even grain, paired with a glass balustrade and white walls and sealed to a soft satin for a light, contemporary stair.
The sort of restoration we’d bring to a Petersfield home — original pine boards run through a hallway and brought back to a warm honey colour, the grain and old knots left on show under a glossy satin finish that catches the light across the floor.
The kind of wide-plank floor we’d lay in a Midhurst home — weathered grey-brown boards run long across a freshly plastered room, the heavy saw-texture and graining left on show under a low-sheen finish that keeps the whole floor soft and matt.
The kind of board floor we’d lay in a Midhurst home — warm honey-toned oak with plenty of knot and grain character, run in long boards across the room against crisp white walls and finished in a soft satin that lifts the natural colour.
The kind of staircase we’d finish in a Midhurst home — solid oak treads and risers stained a warm mid-brown with the grain showing clearly through, set against a darker handrail and string and sealed to a hard-wearing satin sheen.
Where a restoration starts — tired original boards running through a hall and round the stairs, still carrying their old dark finish and ready to be sanded back. The kind of period floor we’d take right back to bare timber in a Midhurst home before bringing the colour and sheen back.
The kind of wide-plank floor we’d lay in an Arundel home — rustic-grade oak in a weathered grey-brown tone, run in long boards across a freshly plastered room and finished in a low-sheen oil that lets the heavy graining and saw-texture show.
Where a restoration starts — tired original strip boards stripped of carpet and old finish and sanded back ready for repair and re-oiling. The kind of period floor we’d take right back to bare timber in an Arundel home before bringing the colour and sheen back.
The sort of restoration we take on around Arundel — original pitch-pine taken back to bare board and finished to a deep amber sheen, sweeping into the bay window, using the reversible, conservation-friendly approach we’d bring to a listed home.
Rich walnut-toned oak laid as wide boards through a hall and stair return — deep brown with plenty of knot and grain character, finished in a low-sheen hardwax oil. The warm, dark floor we’d run through an Arundel period home.
The kind of wide-plank floor we’d lay in a Petworth home — honey-toned natural oak in long boards run the length of a dining room, character grade with knots and open graining left honest under a low-sheen oil that catches the light across the timber.
The kind of plank floor we’d lay in a Petworth home — light honey oak run in clean boards around a central wood-burner, gentle knot and grain showing through a soft satin finish that keeps the room bright and warm underfoot.
The kind of staircase we’d build in a Petworth home — pale natural oak treads rising clean against a glass and timber balustrade, the open grain kept light under a matt finish so the stair reads soft and modern through the hall.
The kind of aged floor we’d lay in a Petworth home — wide boards in a weathered grey-brown tone with heavy saw and wire-brush texture, the deep graining left raw under a low-sheen oil so every plank reads worn and full of character.
Where a restoration starts — tired original pine boards in a period room, blackened with old finish, dirt and paint and crying out for attention. The kind of floor we’d take right back to bare timber in an Emsworth home before bringing the colour and sheen back.
The kind of staircase we’d restore in an Emsworth home — warm mid-brown oak treads with a bullnose bottom step set against a dark-stained handrail and newels, running down onto a finished oak board floor in the same warm honey tone.
The kind of block floor we’d lay in an Emsworth home — light honey-toned oak set in a herringbone pattern with a neat single-block border, finished to a soft satin and warmed by the light in a panelled period room.
The sort of install we’d run through an Emsworth home — pale whitewashed wide oak planks in a soft white-grey tone, the grain and knots still reading through, laid down a hallway around an exposed timber-frame post in a period building.
Where a restoration sits mid-job — weathered grey-brown wide oak boards with heavy saw-texture, taken back and laid through a bare room before the final oil goes on. The kind of rustic floor we’d bring up slowly in a Chichester Harbour home.
How an install comes together around the harbour — honey-toned oak herringbone parquet laid block by block up to a fresh skirting, the bare subfloor alongside still waiting its turn. The kind of parquet we’d lay in a Chichester Harbour home.
The kind of waterside install we’d specify around the harbour — golden-honey wide-plank oak run through a hall and on into the rooms beyond, knotty grade with plenty of grain character and finished in a soft satin oil.
Where a restoration nears the finish — pale oak strip boards sanded right back to bare, even timber, light and raw and ready for the oil. The kind of floor we’d take back and re-finish in a Chichester Harbour home.
Where a herringbone floor takes shape — pale oak blocks laid point by point across a bare concrete subfloor, loose stock stacked ready to run. The kind of parquet we’d set out and install through a bright Pulborough & Storrington room before sanding and oiling to finish.
The kind of floor we’d lay in a Pulborough & Storrington home — pale blond maple in fine strips run flat and up over a set of broad steps, the creamy tone kept clean and bright under a soft satin finish that ties the levels together.
The kind of floor we’d lay in a Pulborough & Storrington home — wide boards in a weathered grey-brown tone with plenty of knot and open grain, finished in a low-sheen oil that keeps the smoked, characterful look honest across an empty period room.
The kind of staircase we’d build in a Pulborough & Storrington home — pale blond maple treads in fine strips stepping up to a matching floor, the creamy tone kept light and clean under a soft satin finish that carries through into the living space.
The kind of board restoration we’d do in a Steyning home — original wide pine taken back and brought up to a warm honey tone, knots and old nail holes left to read as honest age and sealed in a soft satin finish. The period floor we’d restore in a window-lit reception room.
The kind of herringbone we’d set out in a Steyning home — honey-toned oak blocks framed by a flush plank border, the grain and knots left honest and finished in a low-sheen oil. Laid here to catch the daylight from a run of garden doors.
The kind of wide-plank floor we’d lay in a Steyning home — character oak in a smoky grey-brown, run in long boards through a room and out across the threshold with knots and grain left honest, finished matt while the walls were still being made good.
The kind of staircase we’d clad in a Steyning home — treads and risers in warm mid-brown oak with the grain showing strong, finished in a hard-wearing satin. The solid, traditional stair we’d run through a period house to tie the levels together.
The kind of parquet we’d lay in a Lindfield & Cuckfield home — oak blocks set herringbone-true in mixed mid-brown tones, run across a panelled reception room and finished in a satin oil that pulls warmth from the grain and lifts the room against the dark walls.
The kind of hall floor we’d lay in a Lindfield & Cuckfield home — honey-toned oak boards run the length of the entrance and framed with a fine dark border inlay around the mat well, finished in a soft satin that catches the light from the glazed front door.
Where a restoration starts — original wide pine boards part-sanded, the fresh honey-amber timber sitting beside the old dark finish still to come off. The kind of period floor we’d take back to bare wood in a Lindfield & Cuckfield home before re-oiling it whole.
The kind of floor we’d lay in a Lindfield & Cuckfield home — wide rustic-grade oak boards in a mid-brown tone with knots and grain left honest, run the length of a kitchen-diner and finished in a low-sheen oil that wears well in a busy room.
The kind of hall floor we’d lay in a Liphook home — golden-honey oak boards run the length of the entrance toward the stairs, smooth grain with the odd knot left in, finished in a soft satin oil that warms the whole passage.
Where a restoration starts — original oak herringbone parquet, grimy and patchy under a tired old finish and decades of dust. The kind of period floor we’d lift, clean and take back in a Liphook home before bringing the colour and a fresh satin sheen back to the blocks.
Where a restoration starts — original softwood boards stripped of carpet and left blackened and paint-flecked, ready for repair and sanding. The kind of tired period floor we’d take right back to bare timber in a Liphook home before bringing the colour and sheen back.
The kind of floor we’d lay in a Liphook home — honey-gold oak boards run through a hall and stair return, framed with a fine dark border inlay and finished in a soft satin oil that ties the entrance and the foot of the stairs together.
The kind of herringbone we’d lay in a Rowlands Castle home — pale blonde oak blocks run point-to-point across an open-plan living space, the light graining left honest and finished in a low-sheen oil. Laid here through a freshly plastered room before the walls were dressed.
The kind of wide-board floor we’d restore in a Rowlands Castle home — rustic oak in a weathered grey-brown tone, the heavy saw-texture and open graining left to read honestly and brought back with a low-sheen oil that sinks into the timber rather than sitting on top.
The kind of wide-plank floor we’d lay in a Rowlands Castle cottage near Finchdean — character-grade oak in a soft grey-brown, run in long boards through a window-lit room with knots and figure left honest, finished in a low-sheen oil while the walls were still being made good.
The kind of staircase we’d clad in a Rowlands Castle home — treads and risers faced in pale, close-grained timber to lift a hallway, set against a frameless glass balustrade and finished clean and matt. The light, modern stair we’d run off a tiled entrance.
The kind of wide-board floor we’d lay in a Bosham kitchen-diner — rustic-grade oak in a warm honey tone, run in long boards from the doorway through to the range and finished in a low-sheen oil that lets the knots and graining show.
How we’d floor a smart Bosham cloakroom — rich walnut-toned boards in a deep warm brown, laid tight under a pedestal basin and wall-hung WC and finished in a soft satin that brings out the grain against the dark walls.
The kind of restoration we’d take on in a panelled Bosham room — original oak herringbone parquet cleaned up and re-finished, the blocks reading in mixed mid-brown tones under a satin sheen that picks up the light from the hearth.
The kind of statement stair we’d build into a contemporary Bosham home — a curving flight in warm walnut-toned timber set against a glass balustrade, carried onto a matching walnut plank floor across the landing above.
The kind of wide-plank floor we’d lay in a Goodwood home — oak in a weathered grey-brown limed tone, run in long boards up to the patio doors and finished in a low-sheen oil that keeps the open grain honest and easy to live with.
How we’d floor a sitting room around Goodwood — warm honey-toned oak laid as wide boards with knots and figure left honest, finished in a soft satin oil. The kind of rustic-grade plank floor that warms a room straight away.
The kind of parquet we’d lay in a Goodwood home — natural honey-toned oak run in a classic herringbone through a bright garden room, finished in a low-sheen satin. A warm, characterful floor that suits a light, modern living space.
Where a parquet restoration starts — original oak block in a herringbone pattern, tired and patchy with a century of old finish breaking up. The kind of period floor we’d take back and bring the colour and sheen back to in a Goodwood home.
Wide oak plank boards in a warm golden-brown, run the length of a bright period room with a bay window and garden doors — knot and grain on show under a soft satin finish. The kind of solid wood floor we’d lay in a Chichester home.
Rich dark walnut-toned wide planks running the full length of an open-plan kitchen-diner — deep chocolate-brown with straight, even grain and a low satin sheen against the white island. The kind of warm, modern floor we’d lay in a Midhurst home.
Where an engineered install begins — a freshly plastered extension prepped to a clean, level subfloor with the first oak boards on site and tools laid out, ready to lay over. The kind of careful groundwork we’d put in before fitting an engineered floor in Chichester.
Warm mid-brown oak herringbone framed by a plain border and run up to a stepped threshold with a hand-finished nosing — even grain and a soft satin sheen tying the level change together neatly. The kind of detailed engineered floor we’d fit in Emsworth.
Pale natural oak set as a clean herringbone, the light blocks catching the sun across a freshly laid floor with knots and gentle grain on show. The kind of bright, fresh parquet we’d lay in a Chichester home and finish in a clear low-sheen oil.
Limed oak in a pale greige tone, laid as a wide herringbone sweeping past a stone fireplace and finished in a soft matt that keeps the cool, chalky colour even. The kind of light, modern parquet we’d lay in an Arundel home.
Greige grey-brown oak laid as a herringbone through a hall, meeting wide plank boards in the next room and running to a staircase still being worked on. The kind of warm-grey parquet and matched stair detail we’d fit in a Midhurst home.
Pale natural-oak herringbone laid right through a large open-plan room while the build was still going on around it — light, even boards in a tight herringbone run, set out across the whole floor ready for its first finish. The kind of parquet install we’d take on in Haslemere.
A pale whitewashed oak herringbone freshly laid across a barn-style room still under renovation, with exposed dark trusses overhead and arched alcoves to the side — light and clean against the bare plaster. The kind of bright herringbone floor we’d put down in Chichester.
A pale blonde maple-toned landing flowing down a matching flight of stairs beside a glass balustrade — fine, even grain in a light tone finished to a soft satin, keeping the hallway bright and airy. The kind of light timber stair and landing we’d lay in Steyning.
A geometric oak parquet brought back to life — pale honey blocks set in a basket-weave pattern with fine darker inlay lines, sanded level and re-finished in a soft satin that catches the raking light. The kind of decorative floor we’d restore in a Midhurst home.
Engineered oak herringbone in a soft greige-brown tone, run up to a glazed garden door and finished matt so the grain stays quiet underfoot. The kind of refreshed parquet we’d sand and re-oil to read as one clean install in a Chichester Harbour home.
Warm golden strand bamboo run as long planks across a commercial retail floor, carried up over a low step to a raised display area behind glass — a hard-wearing, fine-lined timber finished to a clean gloss. The kind of durable shop floor we’d lay in the Petersfield area.
Natural oak laid in a classic herringbone pattern across an open-plan kitchen and dining space — a light honey tone with gentle grain, finished in a low-sheen oil that keeps it bright and easy to live on. The kind of warm, sociable floor we’d lay in Chichester.
Pale grey-brown oak herringbone laid around a black granite hearth — a soft whitewashed tone with quiet grain, finished matt so it stays calm and contemporary against the dark fire surround. The kind of light herringbone floor we’d run through a Haslemere home.
Rich walnut-toned oak laid as wide boards through a garden room opening to the patio — a deep warm brown with clear grain, finished to a soft satin sheen that catches the light from the glazing. The kind of dark, characterful floor we’d lay in Midhurst.
Golden-amber strand bamboo run as narrow boards through a retail showroom, stepping up into a raised display area beside a glass balustrade - tight vertical grain finished to a hard-wearing satin sheen. The kind of durable commercial floor we’d lay and finish near Petersfield.
Pale grey-brown oak herringbone with a plain-block border, swept neatly around a fireplace and granite hearth - soft, washed tone with quiet grain, finished in a low-sheen oil for minimal glare. The kind of refined parquet floor we’d lay in a Haslemere setting.
Pale whitewashed oak herringbone running through a bright open-plan room out to bifold garden doors - soft grey-toned timber with subtle grain, finished in a flat matt oil that keeps it light and low-glare. The kind of airy parquet floor we’d lay in a Midhurst space.
Wide oak planks in a warm mid-brown tone, lightly distressed and finished in a low-sheen oil that suits a relaxed country room — run up to a woodburner set on its stone hearth. The kind of hard-wearing, characterful floor we’d lay through a venue in the Midhurst area.
Warm mid-brown oak herringbone run across a grand panelled hall, sweeping round towards a timber staircase and balustrade — close-laid blocks in a soft low-sheen finish that reads quietly grand. The kind of herringbone floor we’d lay for a heritage venue in West Sussex.
Wide oak planks in a warm honey-brown tone, full of knot and grain character and finished in a low-sheen oil, run through a bright country kitchen-diner under the sash windows. The kind of relaxed, hard-wearing floor we’d lay for a venue in the Petworth area.
Pale oak herringbone laid across a bright garden room wrapped in bifold doors — clean blonde blocks with gentle grain, finished to a low sheen that handles plenty of foot traffic. The kind of welcoming floor we’d lay through a hospitality space in the Goodwood and Chichester area.
Wide rustic oak planks in a warm honey tone, run across a country room with a stone fireplace and tall windows — heavy graining and knot character lit by raking sun under a soft oiled finish. The kind of characterful floor we’d lay in a country-house setting in the Haslemere and Cowdray catchment.
A herringbone install in progress — mid-brown oak blocks going down across the floor with the subfloor, a loose board and bare plaster still showing before skirting and finishing. The kind of careful parquet lay we’d phase through a hospitality space in the Petersfield and South Downs area.
Small-block oak herringbone in a warm natural tone, laid through a light-filled garden room with bifold doors onto the patio — tidy parquet with an even, low-sheen finish. The kind of period-sympathetic floor we’d restore or lay in a listed building in Petworth.
Oak laid as a tight herringbone in a warm grey-brown tone, the blocks running into a furnished living room and finished in a low-sheen matt oil that keeps the grain quiet and even. The kind of restrained period-friendly floor we’d lay in a listed home in Hinton Ampner.
Pale honey strip boards carried up and over a low split-level with shallow stepped landings — a clean, light grain finished in a glossy lacquer that bounces the daylight from the patio doors. The kind of bright, hard-wearing floor we’d fit through a Steyning home.
Original panel-mosaic parquet stripped back and sanded to bare timber — the basket-weave tiles with their diagonal inserts laid open and dust-dry, ready for repair and finishing. The kind of period mosaic floor we’d take right back before bringing the colour and sheen home in Midhurst.
Original pine boards taken to a deep walnut-brown stain and brought up to a rich glossy sheen — plenty of knot and grain showing through against the crisp white skirting of a period bay room. The kind of warm, dark period floor we’d restore in a Chichester home.
Original wide pine boards in a warm honey-amber tone, worn smooth over the years and finished in a soft low-sheen oil that keeps every bit of the patina. Set against a sash window and cast-iron radiator — the kind of period floor we’d bring back in Lindfield.
Pale grey-brown oak herringbone laid up to a black wood-burner and slate hearth in a freshly plastered room - washed, even tone finished in a low-sheen oil that sits well over warmth underfoot. The kind of parquet we’d lay over underfloor heating in Chichester.
The kind of herringbone we’d lay over underfloor heating in an Emsworth home — natural light oak blocks run point-to-point across a freshly plastered open room, finished in a low-sheen oil that keeps the tone pale and even and lets the heat rise without fuss.
The kind of UFH-served herringbone we’d run up to a glazed garden wall in the Petersfield area — pale natural oak blocks meeting a stone-look tile threshold, finished in a low-sheen oil so the blonde grain stays light and bright under all that doorside daylight.
Warm honey-amber parquet blocks laid in a tight herringbone against a textured wall - clear, even grain in a mellow golden tone, finished in a soft satin oil that catches the light. The kind of reclaimed-timber parquet we’d re-lay and revive in Chichester.
Reclaimed parquet blocks part-way through laying - weathered timber in mixed pink, grey and brown tones set out in herringbone across a bare concrete subfloor, not yet sanded or finished. The kind of salvaged floor we’d lift, sort and re-lay before bringing it back to life in Steyning.
Mid-brown oak herringbone with a plain-block border, swept around a curved wall by a staircase still mid-restoration above - straight, even grain finished in a low-sheen oil. The kind of period parquet and stair we’d take back and refinish together in Midhurst.
Pale natural oak herringbone framed with a plain-block border around a corner pier - light blond timber with gentle grain, finished in a soft matt oil that keeps the tone bright. The kind of reclaimed-oak parquet we’d re-lay and finish in a Lindfield home.
The kind of pale wide-plank floor we’d lay in a Chichester home — limed oak boards in a cool whitewashed grey-blonde tone, run as wide planks with a neat stepped border by the French doors and finished in a matt oil that keeps the look soft and chalky.
The kind of warm wide-plank floor we’d lay in the Petersfield area — mid-brown oak boards with plenty of knot and grain character, run in long lengths toward the garden doors and finished in a higher-sheen lacquer that gives the timber a rich, mellow glow.
The kind of pale wide-plank floor we’d lay in an Arundel home — natural blonde oak boards run in long lengths across a bright landing and sweeping round a curved staircase, finished in a low-sheen oil that keeps the tone light and lets the soft grain show.
Wide original pine strip boards stained a deep reddish-brown and finished in a high-build lacquer that throws the light back across a country kitchen-diner. The warm, hard-wearing board floor we’d restore through a working manor kitchen in West Sussex.
Narrow strip boards in a warm reddish-brown tone, run in long lengths past a grey-tiled fireplace and finished in a soft satin that lets the straight grain read cleanly. The kind of warm, understated board floor we’d lay in a South Downs manor.
Pale grey-washed oak laid as a fine herringbone through a period reception room, the soft matt finish keeping it light against the bay window and built-in shelves. The kind of calm, characterful floor we’d lay in a Hampshire manor house.
Whitewashed oak in a pale greige tone, laid as a crisp herringbone and run up to the garden doors with a low matt finish that keeps the whole room feeling light. The kind of soft, contemporary floor we’d lay across a West Sussex estate home.
The kind of statement floor we’d lay in a Petworth-area wedding venue — warm honey-toned oak herringbone set inside a sweeping curved border of straight boards, finished in a soft satin sheen that catches the light beautifully across a fireside reception room.
The kind of original floor we’d restore in a South Downs wedding venue — wide period plank boards brought back to a warm reddish-brown, run the length of a grand panelled room with a leaded bay window and finished to a soft mellow sheen that suits a ceremony space.
The kind of hard-wearing herringbone we’d lay in a Goodwood-area venue’s open-plan space — pale natural oak blocks running through a kitchen and seating area, finished in a low-sheen oil that shrugs off heel and trolley traffic while keeping a light, airy look.
No projects match those filters yet — we're adding new work all the time. Get in touch if you'd like to talk about something similar.
Photos shared on Darren's Google Business profile — different rooms, different timber, different towns.
Every project on this page came from someone who picked up the phone, described their room, and let Darren come round for a free 30-40 minute survey. If you're somewhere in the planning stage of a new floor or a restoration, that's the easiest first step. No pressure, no salespeople — just specialist advice and a written quote.
Each service page goes into species, finishes, process and lead times. Each location page shows the work we've done in that town and how we approach jobs in that specific area.
Forrestal Flooring is the trusted flooring partner to award-winning interior design studio LEIVARS. The accolades below were won by LEIVARS for their interior schemes — we're proud to have supplied and fitted the floors behind many of them.
