How we got to this
Our story
D&Z began as a foundry supplying other people's designs. The work was good and the margins were thin, and the thing that changed the business was not a bigger furnace — it was being handed a drawing for an eight-metre piece and realising nobody in the supply chain had checked whether it would stand up.
We hired a structural engineer. Then another. Today every commission leaves here with signed calculations, an anchoring drawing and a loading plan, because a sculpture at this scale is a structure before it is an object, and the person specifying it is professionally liable for that distinction.
That is most of what separates us from a catalogue supplier. We work in four materials — metal, bronze, marble and fiberglass — under one roof, so the material is chosen for the setting rather than for what the workshop happens to own. We quote against drawings rather than a price list. And we set out what a commission includes and what decides the cost, because a specifier who cannot budget for a piece will not specify it at all.
Most of what we make is bespoke. The catalogue exists to show what is achievable at a given scale and budget, not to be ordered from.