We will be announcing the 39 project category winners, as well as the overall architecture, interiors, design and sustainability projects of the year, as well as the six Designers of the Year and the winner of the Bentley Lighthouse Award.
Guests can look forward to an exciting night with Champagne on arrival, cocktails, food, live entertainment and music throughout the evening.
The party will be a chance for everyone to come together to celebrate the 246 projects and 209 designers vying for accolades this year. Attendees will include Dezeen Awards 2023 judges as well as architects and designers from around the world including India, Cyprus, USA, Australia, Vietnam and Sweden.
Join our waitlist
If you missed out but are interested in attending, you can join our waitlist by contacting awards@dezeen.com with your name, company and the number of tickets you would like. A member of the Dezeen Awards team will be in touch if any space opens up.
You can also sign up to our Dezeen Awards newsletter to be the first to hear the latest updates, including information on the winners and announcements on the next edition of Dezeen Awards.
Dezeen Awards 2023
Dezeen Awards celebrates the world’s best architecture, interiors and design. Now in its sixth year, it has become the ultimate accolade for architects and designers across the globe. The annual awards are in partnership with Bentley Motors, as part of a wider collaboration that will see the brand work with Dezeen to support and inspire the next generation of design talent.
Pop Up is a response to the fact that dense cities, notably Tokyo, are building enormous underground cavities to defend against flooding, while at street level precious public space is being taken up by parking lots.
Above and top: Pop Up is a concept for a car park capable of floating on top of a sunken basin
The concept would see a parking structure sunk into a hole in the ground. During extreme rain, the basin would fill with water, pushing the car park up above ground level.
Tredje Natur imagined the structure, for which the material is yet to be decided, as a spiral shape that would ensure drivers could exit at all levels, no matter the height of the car park. It would also shelter a public garden on the roof from surrounding noise.
In normal weather conditions, the car park would be at ground level, rising up when the reservoir fills
In normal weather conditions, the public garden would be accessible at ground level with the parking underground.
Studio co-founder Flemming Rafn told Dezeen that Pop Up represents the level of experimentation required to adapt cities to worsening extreme weather events.
“It’s needed because we’re in a crisis,” he told Dezeen. “It is kind of pragmatic.”
Tredje Natur created the concept as a response to intense competition for land in cities
As well as providing social benefits, Tredje Natur contends that Pop Up would be cheaper than building flooding and parking infrastructure separately.
“On one plot we’re establishing a big box of nothing that might stay dormant for 50 or 100 years, and on the very next plot people are arguing over a parking structure where the landlord wants to build overground because it’s much cheaper and all the local neighbours and the city want to push it underground to have a public park,” said Rafn.
“Taking these two and putting them together is just much more societally sound, and construction-wise, the budgets of the two structures are overlapping.”
Pop Up’s spiral shape would create a public space on top of the car park
Tredje Natur is the most experimental of a number of Danish architecture and landscape architecture studios exploring ways to prevent flooding.
Denmark has emerged as a world leader in the space, after a freak flash flood in 2011 caused more than $1 billion of damage to Copenhagen in just two hours. Tredje Natur was founded in the same year.
“We just saw the need for trying to look at things differently,” said Rafn. “Actually a lot of our projects are really simple.”
“We were sleeping comfortably up until 2011,” he added. “That was what accelerated the Danish movement towards more resilient urban-planning practice, but we really started from scratch.”
Climate change means the Danish capital is under increasing risk of both flooding and drought, with what today constitutes a 100-year event likely to be more like a 10- or 20-year event by 2100, according to Rafn.
Flemming Rafn co-founded Tredje Natur “to look at things differently”
“We need systems that can somehow take the edge off these extreme events,” Rafn said. “So we need to think in a much more pragmatic way, but also a bolder way, because there’s no way of applying [existing] legislative approaches to these situations.”
In the 19th and 20th centuries, engineers focused on sanitation prioritised pushing water into underground sewers.
But today these systems are struggling to cope during severe weather events – and building more deep subterranean infrastructure such as sewers is prohibitively expensive.
Enghaveparken in Copenhagen’s Vesterbro neighbourhood is designed to flood. Photo by Astrid Maria Rasmussen
“We don’t really see managing water underground as a feasible response to an extreme climate situation,” explained Rafn.
Instead, Tredje Natur’s projects often seek to deal with rainwater as soon as possible after it falls, including by letting it flow into areas designed to flood.
For example, in 2019 it completed a renovation of the century-old Enghaveparken urban park in Vesterbro to make it capable of holding 23,000 cubic metres of water.
Tredje Natur’s Climate Tile paving slabs are an off-the-shelf flood prevention system
The terrain slopes gently down towards one end surrounded by a short wall, where pneumatic flooding gates pop up to seal the barrier when water gathers on the ground.
Another Tredje Natur project is Climate Tile, a permeable paving system that allows water to filter down into an under-surface drainage channel before being directed to urban planting areas or being captured for street sweeping.
A 50-metre stretch of Climate Tile paving was laid in Copenhagen’s Nørrebro neighbourhood five years ago, and Rafn said it works “completely as expected”.
Climate Tile allows rainwater under the surface where it is directed to the roots of urban plants
Rafn is adamant that the solution can be easily fitted in cities across the world as part of the routine maintenance of sidewalks and drastically reduce the cost of water management, but adoption is slow.
“No-one in the building sector is against innovation as long as it’s been tested for 20 years,” he deadpanned.
As its first project, Tredje Natur also produced the masterplan for the St Kjeld’s Quarter “climate district” currently being constructed in Østerbro.
The so-called “climate district”, Tredje Natur’s first project, is also designed to flood
This 100-hectare neighbourhood has been touted as “the first climate-change-adapted urban area in the world” and is intentionally designed to flood during heavy rain.
The studio is now working on Lynetteholm, the controversial 280-hectare artificial island planned for Copenhagen’s harbour intended to act as a massive storm-surge flood barrier while also housing 35,000 people.
Rafn argued that projects of this magnitude are necessary to prepare cities for more frequent and more ferocious natural hazards.
Lynetteholm is an artificial island planned for Copenhagen’s harbour that would act as a giant flood barrier
“I feel that we are approaching some of these extreme situations with too many small steps within existing scopes of sustainable urban transformation,” said Rafn.
“We need to take larger leaps and devise more systemic, large-scale solutions or we will just see the price of these crises expand almost exponentially as we go towards 2100,” he continued.
“The incentive to get going in any city is here and now. You don’t have to go through the stupidity of sitting on your hands and hoping it’s probably going to be okay, because it’s not.”
The images are by Tredje Natur unless otherwise stated.
This article is part of Dezeen’s Designing for Disaster series, which explores the ways that design can help prevent, mitigate and recover from natural hazards as climate change makes extreme weather events increasingly common.
The film documents Tour de Moon, which took place in 2022 and was one of 10 projects commissioned as part of the government-funded Unboxed: Creativity in the UK.
Launched as a celebration of UK creativity in the wake of Brexit, the event was initially known as Festival UK* 2022 and was nicknamed the Festival of Brexit.
The film (top) documents the Tour de Moon festival
“It was a controversial festival in many ways – with Brexit, Covid and the overall divisive political national context at its inception,” Ben Hayoun told Dezeen.
“A lot has been written about it, but we wanted to have a film that will tell it how we saw it, how it was from our perspectives – the people who made it,” she continued.
“The Tour de Moon documentary documents what we did and how we did it; it celebrates new beginnings, youth countercultures and nightlife but also celebrating the multiple individuals who took part in the making of this festival.”
The festival took place in 2022
The touring festival of free live events was created to champion nightlife and youth counterculture.
It featured numerous creatives aged between 18 to 25 who each submitted proposals to the festival and were funded by bursaries worth between £100 and £3,000. In total, £1 million worth of bursaries were distributed.
Some of the events and installations are included in the film, along with the behind-the-scenes creation process.
The festival traveled around the country
“You get to see some of the commissioned artworks from more than 800 artists, but also the decentralised experimental production processes, decolonial practices, experiences and creative programmes behind our travelling convoy and festival,” explained Ben Hayoun.
“It is an urgent call to action, a call for plurality in time of division, it is both chaos and radical imagination – the chaos of putting such production of that scale together with such a short timeframe, but also the coexistence of thousands of people involved from contributors to participants and digital collaborators.”
Creating the film also allowed Ben Hayoun to reflect on the impact of the festival, which commissioned 800 young creatives.
“For a majority of the 18 to 25-year-old contributors, this was their first paid creative commission,” she said.
“But let’s be real here, one million pounds of bursaries divided by 800 recipients, it doesn’t add up to a massive amount – so it’s not like we have resolved the situation for creatives in towns and cities throughout the UK,” she continued.
“But it’s a starting point to bring youths and nightlife workers to the front of national and international debates with regards to public support policies, and also to give them the platform that they deserve and frankly they own.”
The festival featured over 800 participants
Looking back, she also thinks that the festival’s format could have been better designed to have more of an impact.
“Possibly I would do a little less as it makes communication hard when you have such a breadth of programmes, but having said that, I think the best part of this project is also that we did a lot of various programmes and that meant something for everyone to participate,” said Ben Hayoun.
“There was a true experimental value in having this as a touring festival, being always nomadic in its nature, but we could have reached more audiences by staying a little longer in each of the locations that is for sure – so maybe something for the future!”
The festival was recently longlisted in the installation design category of this year’s Dezeen Awards. Ben Hayoun is currently working on a new film called Doppelgangers, which is to be released in 2024.
The film will be available on Dezeen until the end of 2024.
A sweeping roof designed to resemble a bird wing defines this restaurant, which Chinese studio Galaxy Arch has created on the grounds of an ancient temple on Dapi Mountain, China.
Named Dapi Mountain Restaurant, the building is designed to provide a better experience for visitors to the peak in the Dapishan Scenic Area, which is a World Geological Heritage Site.
Galaxy Arch has created the Dapi Mountain Restaurant
Galaxy Arch‘s design is distinguished by the roof, which is informed by traditional clay sculptures made of local birds, nicknamed Gugu birds.
These clay sculptures emulate the “gu gu” sound of the birds when air is blown into their tail.
It is located on the grounds of an ancient temple
Dapi Mountain Restaurant fans out along the cliff edge and is intended to resemble the silhouetted wing of a Gugu bird perched on the mountain, ready to take flight.
The entrances to the restaurant are positioned at either end, sheltered by the oversailing roof.
The building is made from wood, stone and slate tiles
“The architecture continues the traditional architectural feature of upturned eaves, gradually lifting the eave height of the eastern and western entrances,” said Galaxy Arch.
“[This] creates a sense of entrance, while lowering the height at the centre just enough to avoid any collision,” it continued.
Dapi Mountain Restaurant’s design is also responsive to its surroundings, with a height lower than that of the temple and the use of local natural materials such as wood, stone and slate tile.
“When selecting building materials, we placed emphasis on local materials such as the grey stone from the Taihang Mountain, wood commonly used in local ancient buildings and stone slate tiles that add texture to the roof,” the studio told Dezeen.
“We aimed to highlight the building’s ability to blend into the natural environment,” it continued.
The roof extends to create sheltered entrances
The fan shape of the building encloses a garden with an outdoor dining space, a stage and a display of clay Gugu birds. Ancient trees on the site have been preserved and integrated into the design.
“The entire Dapi Mountain is predominantly composed of rocks with limited soil volume, [so] the growth of native trees becomes extremely challenging,” the studio explained.
“We preserved all existing trees on the site and incorporated them into the design of the courtyard and entrances.”
Bird wings informed the roof
Inside, the restaurant is split into four zones. At the primary entrance, a micro-living room with wooden shelves and a counter sits next to the main dining area.
Bi-folding doors open up from these spaces onto the enclosed garden, where there is a nest-like structure that serves as a private outdoor dining pod.
Terraces form outdoor dining areas
To the rear, a kitchen and a private dining room are linked to the secondary porch via a curved corridor. These spaces open out onto a terrace that overlooks the trees on the hills below.
As much as most of my workflow is already digital, I still love integrating “old school” digital aspects every once in a while. One thing that I still do to this day is write important things on sticky notes and then putting them around my work area. I have to major problems about it though: they sometimes fall off and sometimes, I don’t understand my own handwriting. This new device from an offshoot company of Samsung Electronics might be the answer to my problem.
Designer: Mangoslab
The Nemonic Gen 2 inkless, thermal, and wireless printer lets you print your notes and even images on Ultra Sticky Notes that will not easily fall off. The small printer can be connected to desktops and mobile devices and lets you print notes that you drew, wrote, typed, captured on the connected app. It can even be integrated with Microsoft Office apps as wel as Slack and Zapier so if you use any of those in your regular workflow, then your productivity should run even more smoothly than usual.
There are different templates for each of the integrated apps so you can create either handwritten or typewritten notes. It is also able to remove shadows from photos or diagrams that you capture from a whiteboard or screen through the Nemonic Scanner app and then you can print it directly. It also has a de-curl feature so your sticky notes come out flat if needed. It also has auto-cut finishing so no need to stress about tearing or manually cutting off the note.
It is still currently on Kickstarter but they have already more than met their initial goal of $3,000. The Ultra Sticky Notes come with the package already but they will probably sell refills separately eventually as well. This will definitely be added to my dream devices to have at home in the hopes that my productivity will be further improved with this digital/analog hybrid.
Called 19 Waterloo Street, Australian studio SJB designed the building to replace a damaged structure on the compact site in the city’s Surry Hills suburb.
Commenters largely thought that the building fit the bill.
Reclaimed materials form “playful and textured” facade of Sydney house
“This home is a delight”
“Clever, playful and delightful use of a tight urban site,” wrote AlfredHitchcock. “It fits right in, whilst also making quite a lot of noise!”
Jacob Volanski was equally enthusiastic, writing “this home is a delight – full of personality without forgoing thoughtful organisation”. They went on to add “that shower with the terrazzo, skylight and foliage? Dreamboat status”.
Leo simply wrote “this is quite daring, I love it.”
Alexander admitted that they had a change of heart: “I was going to say this is a mess but actually, it has grown on me”. They concluded that “the interiors work well and it feels both solid and liveable”.
Greenaway Architecture adds glazed extension to thatched cottage in shadow of castle
“Like an awkward blind date”
A project which received less praise from commenters was this minimalist glass extension which Greenaway Architecture added to a 15th-century thatched cottage next to Farleigh Hungerford Castle near Bath, UK.
Readers generally liked the extension in isolation but thought it didn’t fit with its context.
As AlfredHitchcock put it, “the extension itself makes a wonderful garden room, but it’s an uncomfortable addition to the historic building.”
“The more I look at this addition, the more I wish it was in a cottage style,” echoed Chip Lynch. “Not every building needs a contemporary touch – wouldn’t it have been nice to see a cozy porch rather than a glass cube?”
JohnMarix was less forgiving, writing “seems appallingly incongruous to me”.
Meanwhile, for, Maria, the combination of old and new was “like an awkward blind date”.
Zea Newland called the building “cute” and suggested that “some splashes of colour would have completed the PoMo revival”.
However, other readers took a more blunt view.
Commenter M was concerned about having “an external staircase in a rainy climate and concrete flooring in a playschool”. They added “this is upside-down thinking”.
For IDRACULA, the building was best described as “an architectural joust”.
Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.
Dutch architecture office Studio Prototype has built a house with a hexagonal footprint in an area of Amsterdam designated for self-build projects.
Edge House is located in Route 1066, an area in Nieuw Sloten where landowners have the freedom to build anything they want as long as it meets certain criteria.
Edge House was built on a triangular plot
This particular plot is triangular, prompting Studio Prototype to develop a design with hexagonal geometry.
The asymmetric footprint makes the most of the available space without overcomplicating the layout. It results in an internal layout with only a handful of angular walls.
The area is designated for self-build projects
“The very difficult and unusual plot shape defined our direction, as we were not able to create the standard, rectangular house,” said architect Jeroen Spee, who co-founded Studio Prototype together with Jeroen Steenvoorden.
“We came up with the idea of following the dynamic lines of the point-shaped plot with different, changing sides facing the green surroundings,” he told Dezeen.
The exterior volume combines stucco, stone and floor-to-ceiling-glazing
The studio was commissioned to design the house for a couple, who were not exactly sure what they wanted.
“The clients came to us with the idea of having an Ibiza-style house but we thought differently,” Spee explained. “Our aim was to emphasise the magnificent view towards the greenery of Sloten.”
The final volume has a more modern, utilitarian feel, combining floor-to-ceiling glazing with stucco surfaces, stone cladding and iroko timber frames.
A central core houses the staircase, kitchen and bathroom
Inside, spaces are organised around a central core that houses the staircase, kitchen and bathroom, freeing up the rest of the floor plan for more open living spaces.
The ground floor contains spaces for lounging and dining while the upper level provides the main bedroom plus two smaller rooms that can serve as guest rooms or home offices.
The interior features double-height ceilings and skylights
The interior is more complex than the exterior belies, with long views, double-height ceilings and skylights creating spatial drama.
Internal finishes are varied, with herringbone-patterned flooring and stone cladding adding texture to the minimalist-style white walls and glazed details.
Stone surfaces and wooden floors add texture to the otherwise minimal interior
Spee and Steenvoorden founded Studio Prototype in 2008 and have worked on numerous residential projects including the Water Villa houseboat and the modular Villa Schoorl.
For Edge House, the duo took things a step further by helping their clients with the build after the contractor went bust midway through construction.
The windows were custom-made with iroko wood frames
“There was no other party willing to finish the job,” explained Spee. “We as architects took the responsibility to finalise the building, together with the clients, with all the qualified people and finishing specialists there to support us.”
Architecture: Studio Prototype Interior design: Kolenik, Studio Prototype Development area: De Alliante Ontwikkeling Stucco: RVG Stucadoors Iroko wooden frames: Kuin Houtbewerking Nature stone core: Schoenmakers Natuursteen
The Golden Capsule – a non-powered, hands-free intravenous device designed by students from Hongik University has won this year’s James Dyson Awards International prize.
Designed by Yujin Chae, Daeyeon Kim, Yeonghwan Shin and Yuan Bai, the device was developed in response to the limitations of existing intravenous (IV) packs identified following the Turkish-Syrian earthquakes in February 2023.
The Golden Capsule is hands-free and requires no electricity for use
Unlike existing IV packs which rely on gravity and electricity to work, The Golden Capsule uses elastic forces and air pressure to function, meaning it can be used hands-free.
“The limitations of these traditional IV packs become even more pronounced in disaster situations such as earthquakes,” the team told Dezeen. “In the aftermath of an earthquake, the site can be extremely challenging due to aftershocks, debris, and other hazards.”
A roller mechanism is used to control the speed
The device was made from a fluid-filled balloon that sits within a low-pressure transparent shell. Once opened, air enters the shell causing the balloon to shrink, releasing fluid into the patient.
A speed control device uses a roller mechanism to control air flow that allows medicine to be injected at a uniform speed, eliminating the need for manual squeezing.
The design also features a clip that allows the device to be securely attached to either the patient or medic.
The Life Chariot off-road vehicle has won this year’s Humanitarian prize
According to the team, The Golden Capsule was intentionally designed to resemble existing IV packs to ensure the product was intuitive for use by medical professionals.
The team now hope to commercialise the device to replace existing IV packs in both emergency situations and hospitals too.
This year’s James Dyson Awards has given three global prizes of equal merit – a Humanitarian, International and Sustainability winner – each receiving £30,000 to support the development of their inventions.
Piotr Tłuszcz from Poland was awarded the Humanitarian prize for The Life Chariot, an off-road medical evacuation ambulance designed for use by rescue teams in Ukraine.
Low-weight and suspension enable the vehicle to travel across challenging terrain
The vehicle was designed to be towed by a hook-equipped vehicle and is low-weight with suspension for travelling across challenging terrain.
The vehicle is already being tested on the ground, and Piotr is now developing the design based on feedback from medics as he hopes to adapt the vehicle for use on mountainous terrain.
E-Coating has been awarded this year’s Sustainability prize
E-Coating, an eco-friendly roof and wall coating that reduces the heat absorption of buildings, was awarded this year’s Sustainability prize.
Made from recycled waste glass, the coating was invented by Hoi Fung Ronaldo Chan and Can Jovial Xiao as a building cooling solution to reduce the need for air-conditioning.
The coating is made using recycled waste glass
“We invented E-Coating with a desire to help tackle the serious environmental problems our planet is facing,” the duo told Sir James Dyson. “The prize money will allow us to further our research and development goals and start a company to take our invention to the next level.”
With the award, they hope to advance the adhesion and application of E-Coating as well as explore formulas for indoor use.
In the next part of our Dezeen Jobs: How We Recruit series, we spoke to Sybarite‘s chief operating officer Natasha Manzaroli about the role that she believes AI will have in future recruitment processes.
Alice Laycock: Please talk me through the type of projects the studio works on.
Natasha Manzaroli: We have delivered close to 3000 projects since 2002 from fashion monobrands, malls and department stores to mixed-use masterplans. Our niche specialism is retail, hospitality and lifestyle. We focus on innovation and collaboration to deliver these projects.
Alice Laycock: What are you currently working on?
Natasha Manzaroli: We are working on monobrands, malls, department stores and masterplans globally but with a special focus on Asia and the Middle East.
Natasha Manzaroli is Sybarite’s chief operating officer. Top image: the studio’s Chengdu Park project in Chengdu, China
Alice Laycock: Where do you currently stand on recruitment in comparison to 10 years ago?
Natasha Manzaroli: Sybarite has had steady and organic growth over the past 10 years. Comparatively, in 2013 we had a much smaller team, and we had less visibility, with a smaller built portfolio and recruitment was based on an as-needed basis.
We now have a recruitment panel and are continuously reviewing CVs and interviewing in search of talented designers, architects, and interior and digital designers.
We are also much more focused on skills-based hiring, assessing candidates against requirements and on their abilities and potential to add value.
Over the past 10 years, we have placed greater emphasis throughout the recruitment process on diversity and inclusivity to ensure that Sybarite is a truly global melting pot of creativity, which we are extremely proud of.
Sybarite specialises in designing retail outlets
Alice Laycock: Has there been a particular impact on a certain type of job? If so, why?
Natasha Manzaroli: We specialise in luxury retail, lifestyle and hospitality, which have fortunately not demonstrated significant downturns – even during the pandemic, we continued to hire, unlike many other UK companies that were making redundancies. During 2023 we have grown our team by 60 per cent.
As architectural visualisation has become more sophisticated, digital and rendering specialists have become crucial. We have had a growing requirement for BIM specialists with the adoption of Revit on projects.
Also, with an increased focus on sustainability and environmental responsibilities, architects and designers specialising in sustainable design are a growing prerequisite for our staff.
The studio works on projects internationally
Alice Laycock: What new skill sets are you looking for candidates to have?
Natasha Manzaroli: We are primarily seeking candidates with a combination of creative thinking and a strong awareness of technical challenges and project realisation, but we also highly value proficiency in our core software – Rhino, Revit and AutoCAD.
We require strong communication skills to convey our ideas effectively to team members, clients and consultants. Accurate written, verbal and visual communication skills are all important.
We are an international studio and as such it is important for our team to have cultural and social awareness.
Alice Laycock: Are you looking for candidates with traditional routes to the position, or what kind of additional experience are you looking for? What would catch your eye in an application?
Natasha Manzaroli: We primarily look for candidates who exhibit quality work in their portfolios, emphasising precision and attention to detail in their graphics, passion for design and the willingness to experiment.
However, it is not just about the portfolio, it is about the person, their individuality, interests, passions, and what drives them to be designers – their very own USPs.
Project scales range from single store monobrands to masterplans
Alice Laycock: If a candidate were to come from a different discipline, what would you need them to gain experience in before they got the role? How multidisciplinary are your team at the moment?
Natasha Manzaroli: If a candidate comes from a different discipline, a good ‘can-do’ attitude, and a willingness to learn our software and work processes are essential. Our team is highly multidisciplinary, consisting of architects, designers, graphic designers, visualisers and branding experts, so having diverse viewpoints is crucial to our practice – it’s a core value that enriches our projects.
Alice Laycock: In the last five to ten years, what impact has technology/AI had on your recruitment process?
Natasha Manzaroli: We certainly seek candidates with expertise in new technologies. We rely on the knowledge and skills of new hires to help us grow and stay at the forefront of technological advancements in our industry.
Sybarite was founded in 2002
Alice Laycock: Looking into the future, where do you see recruitment heading?
Natasha Manzaroli: I think the initial stages of recruitment will become more automated through AI advancement, with AI playing a more significant role in candidate assessment and selection in terms of suitability for the role.
I am sure the advancement in algorithms will eventually be able to match the candidate with the practice and predict the likely success. This will likely reduce the time spent in the end-to-end process so the studio can focus on the personable and human aspects of recruitment.
The studio also works on hospitality and leisure projects alongside retail
Alice Laycock: How has Dezeen Jobs helped build your company?
Natasha Manzaroli: Dezeen intrinsically understands our business and the business of design and architecture and is the perfect match for our needs.
Alice Laycock: Please can you tell me your go-to resources for recruitment?
Natasha Manzaroli: Advertising, our own digital channels, internal word of mouth and recommendation and recruitment agencies.
Find out more about Sybarite by visiting its website.
View current and future vacancies by checking their company profile on Dezeen Jobs.
Dezeen Jobs: How We Recruit series
This article is part of Dezeen Jobs: How We Recruit, a series of interviews to mark Dezeen Jobs turning 15, which explores changing hiring practices and future recruitment needs for companies around the world.
Casalgrande Padana specialises in the design and manufacturing of tiles and its Petra range is designed to mimic the textural appearance of natural stone.
Petra tiles come in both cool and warm neutral colours
The tile’s dimensional finish nods to the organic variation in colour found in naturally mined stone – “[Petra tiles appear to have] imperfections left by the passage of time,” said the brand.
Six neutral-coloured hues constitute the collection, including the warm-toned Bianco, Oro and Sabbia to cooler grey Anthracite, Grigio and Perla, which all share characterful naturalistic striations.
These tiles are suitable for both indoor and outdoor applications on floors and walls and come in a selection of sizes and shapes.
One of the colours in the Atelier tile collection is red-pink Rubino
The company’s Atelier tiles come in a single large-format 6.5 millimetre-thick panel that has a ceramic materiality.
Atelier tiles come in eight single-colour hues, giving them a modern and stable block-colour presence when applied inside and outside.
The collection was created to complement some of Casalgrande’s more complex patterned tiles including tiles in its stone, concrete and wood-effect ranges.
The Aquatio collection extends beyond tiles to shower trays, shelves and basins
As well as tiles, the brand has also created a collection of integrated basins, shower trays and shelves called Aquatio, which are made up of porcelain stoneware slabs that come in customisable dimensions, allowing project-bespoke fittings to be created.
The pieces can be used alongside tiles for walls and flooring to create a seamless, continuous effect, especially when specified in the same marble-, stone-, concrete- or metal-effect finish.
“[Porcelain stoneware’s] wide range of formats and textures has expanded its use beyond floors and walls and turned it into an essential material for interior design,” said Casalgrande Padana.
Nature tiles have a soft, gently mottled surface
The brand’s Nature tile range recalls naturally-occurring textures and colours found in nature. They’re suitable for wall and floor applications and come in six mottled shades ranging from dark Lava to light beige Sabbia.
The tiles can be used in both private and public interiors, from domestic bathrooms to high-traffic areas in restaurants.
Metropolis tiles can be used in public retail environments as well as in homes
In contrast to their stone-effect tiles, Casalgrande Padana’s Metropolis tiles aim to mimic the smooth, gently mottled aesthetic of concrete.
The tiles can be laid seamlessly to provide the same continuous visual effect as poured concrete in an easy-to-install format.
Seven colourways make up the collection, including Almond, Graphite, Mud and Silver.
The tiles can be used indoors and outdoors
Casalgrande Padana is an Italian tile designer and manufacturer, which has been producing ceramic and stoneware tiles since 1960.
The brand has grown in size and now operates out of six factories across Italy, with a headquarters in Casalgrande, northern Italy.
Find out more about Casalgrande Padana by visiting its website.
Partnership content
This article was written by Dezeen for Casalgrande Padana as part of a partnership. Find out more about Dezeen partnership content here.
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