Material Conversation

Few interior design choices carry as much visual and tactile weight as the selection of stone. And while marble has long been an emblem of timeless elegance and quartz the stylish hallmark of innovation and durability, many of today’s designers are blurring the lines between the two. Mixing materials, finishes, and applications can challenge convention and lead you to unexpected harmony where contrast becomes the design language and every surface tells its own story.

We asked leading designers Drew McGukin, Gil Melott, and Emily Moss to share how they navigate the nuanced decision-making of specifying marble, quartz, or both within a single project. Their insights reveal not only the art of concepting both beauty and performance but also some deeper design philosophies that define modern luxury.

When approaching a new project, what factors determine whether you lean toward marble or quartz?

Gil Melott: First comes function then comes form. It’s easy to be distracted by the pretty side of design, so I always ask the harder questions first: How will the material be used? Where will it be placed? What are the traffic patterns? Then, I get to choose the best material and in its best iterations.

Emily Moss: I always begin with two things: the story of the space and the lifestyle of the client. If it’s about resilience, think busy kitchens with three kids and a golden doodle, quartz can be the unsung hero. I weigh aesthetics, function, and personality equally; the right stone should always feel destined to live there.

How do you balance a client’s desire for beauty with the practical realities of maintenance and durability?

Drew McGukin: Modern day quartz products offer an immediate solution for balancing beauty and durability. I find that Cambria offers a wide array of styles, some closely aligned to natural stone. For my projects, I’m looking for point of interest (or point of view), something that moves us out of a generally accepted Calcutta malaise in the mainstream. It could be textual, it could be tonal, it could be graphic. I’m always laser focused and genuinely interested in that spark, an inherent “it factor,” a detail that calls you to an unexpected place. 

Gil Melott: I think most clients have become more educated about how materials respond to everyday use. I know that we find ourselves having more conversations about very specific products and their impact such as marble versus quartz. So I think there are more informed choices around the home.

Emily Moss: I like to remind clients that beauty isn’t just about first impressions, it’s also about longevity. I’ll sometimes say, “Let’s find the stone that loves you back.” If a client is swooning over Calacatta marble but terrified of staining, we might explore a quartz that gives them the look without the worry. My goal is to make their lives easier without ever compromising the heart of the design.

Marble is often described as timeless and luxurious, yet it comes with practical challenges. How do you decide when its beauty outweighs its vulnerability to etching and staining?

Gil Melott: There’s patina and there’s downright failure to withstand a heavy-handed household. I work hand in hand with Cambria and other stone producers to help determine the best use of a product in every project. 

Quartz is often praised for its consistency and performance. But, in high-end design, where uniqueness is valued, when and how do you choose to use quartz?

Emily Moss: Quartz is my precision tool. When a client values predictability, or a space calls for durability and uniformity, quartz shines.

Do you use quartz as a way to achieve a similar look to natural stones (such as marble veining) without the same level of upkeep? Or are there other considerations why you might prefer it?

Drew McGukin: Uniqueness of use is as much about fabrication as it is materiality. Particularly for quartz, where consistency can be dialed all the way in, there’s a ton of opportunity to showcase fabrication techniques and forward-thinking applications. I always appreciate using quartz as a reference to natural stone, but never a replacement. I value quartz products as an equally viable alternative. 

Gil Melott: My favorite quartz designs and the designs that offer the greatest value for me are the uniform palette slabs that can create a large scale color and design more uniformly, especially in kitchens. Marbling is always tricky, so I even use marble sparingly [in kitchens].

Emily Moss: Sometimes, yes, but that’s not the only reason I use it. Quartz gives me freedom to do things nature can’t: seamless oversized slabs, dramatic consistency, bold colors, or veining that would be nearly impossible to source in real stone. And when we do want it to feel more organic, I’ll often suggest a quartz with a honed or matte finish. It gives you that natural stone vibe, but without the maintenance anxiety.

When would you consider pairing quartz with marble within the same project, and what makes the combination successful?

Drew McGukin: Mixing materials?! Have we met!? Cornerstone DMc philosophy is “Why stop at one when you could use five?” The real magic is in the ability to visualize, emphasize, accessorize, and maximize impact through a combination of materials to create line, texture, rhythm, balance, dimension. 

Gil Melott: I am a fan of mixing material any chance I get and think the idea of using marble and quartz as complementary materials is a win. It certainly speaks to my design ethos but can also resolve performance qualms and balance aesthetics. 

Emily Moss: The key is choosing stones that support each other rather than fight for attention. For instance, a quiet, streamlined quartz in the kitchen can set the stage for a statement marble in an adjacent bar. 

Are there emerging finishes, treatments, or ways of working with stone and quartz that excite you right now?

Drew McGukin: Engineering and ability to use for furniture applications. 

Gil Melott: There is an interesting trend in stone veneer and tiling that has some legs. 

Emily Moss: Yes, textured finishes are really exciting right now. I’ve also come across slabs with fluted etching that feel fresh and architectural, adding dimension and playing with light in unexpected ways. 

Anything else other designers would love perspective on?

Gil Melott: One thing I like to remind myself of during every project is that materials are meant to serve you as a designer and to use them, mix them in unique ways, and manipulate them to create tasteful environments, and don’t hesitate to be bold. 

Emily Moss: Think of choosing a stone like dating, you might think you know what you want, but the magic happens when you see it in person. Sometimes another piece will catch your eye, sometimes it’s love at first sight. But either way, when you connect with the material in person, your choices feel sharper and the design feels more intentional, not just pretty.

Drew McGukin: Design is all about layers. Raise the bar. Raise the voice. An old mentor used to always critique me by saying, “Be a designer! Go deeper.”