Kosuke Takahashi and 224 Porcelain release Corcelain, a series of ceramic cups and vessels with mountable 3D printed feet and screws. Dubbed the world’s first customizable porcelain vessel, each object comes with a screw hole at the bottom, so users can add vibrant legs, handles, lids, and more under every homeware piece. The design is inspired by a term in traditional Japanese ceramics called Kodai, which is the raised circle shape on the bottom of cups and bowls that allows the homeware to be more stable. In Corcerlain, the ceramic cups and vessels make use of Kodai for the 3D printed feet and parts, raising the objects while giving them a more playful yet functional look.

Because the parts are 3D printed, the users can customize the kind of mountable objects for their ceramic cups and vessels. ‘As a maker and 3D printer user myself, it’s hard to make things safe for food or drink,’ Kosuke Takahashi shares with designboom. ‘Standard materials like PLA and ABS aren’t food-safe, and even with safer filaments, the layered surfaces trap food particles. That’s where the idea of a modular vessel came from. You could mix and match ceramic bases with whatever extensions you dream up. That way, we solve the hygiene issue and, at the same time, give anyone the power to customize everyday objects like cups and plates. Corcelain became a reality thanks to a collaboration with 224 Porcelain, which is a traditional kiln in Yoshida – Saga, Japan.’

all images courtesy of Kosuke Takahashi/ootori

corcelain’s ceramic cups come with custom 3D printed parts

There’s a backstory to why the maker Kosuke Takahashi started Corcelain with pottery manufacturer 224 Porcelain. He tells us that traditional craft industries in Japan are facing a crisis, so he wants to bridge this with the use of current technologies like mountable 3D printed parts for the ceramic cups. He worked with a craftsman named Mr. Tsuji, who has been trained in traditional porcelain techniques that have been around for 400 years. ‘The idea of adding a screw hole to the base only worked because of Tsuji-san’s touch, combining technology with delicate, hands-on adjustments from his artisanal intuition,’ Kosuke Takahashi explains.

This is how he conceived the name Corelain for the series of ceramic cups and vessels with 3D printed feet and screws. It is a blend of ‘co-creation’ and ‘porcelain’, a hint at the use of traditional craftsmanship techniques with present technologies. The manufacturer 224 Porcelain steps in here, too, through its use of machines like CNC and 3D printers in their pottery works, which has allowed Kosuke Takahashi to realize his series. For Corcelain, the inventor also draws inspiration from the Japanese word ‘utsuwa’ which translates to ‘vessel’ or ‘container.’ But this word has its roots in the term ‘utsuho’ which means ‘emptiness’, but one that is waiting to be used. At the bottom of the Corcelain’s ceramic cups, it comes through as the kodai, the hollow bottom, allowing the users to bolt in the custom 3D printed feet, screws, and parts they have designed in varying colors.

Kosuke Takahashi and 224 Porcelain release Corcelain, a series of ceramic cups with 3D printed feet

the design is inspired by a term in traditional Japanese ceramics called Kodai

each object comes with a screw hole at the bottom, so users can add vibrant legs

in Corcerlain, the ceramic cups and vessels make use of Kodai for the 3D printed feet and parts

because the parts are 3D printed, the users can customize the mountable objects for the ceramic cups

the series’ name is a portmanteau of ‘co-creation’ and ‘porcelain’

users can also add handles

detailed view of the handle with circular bottom plate

view of the parts’ printing process

project info:

name: Corcelain

design: Kosuke Takahashi | @ootori_t

pottery: 224 Porcelain | @224porcelain

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: matthew burgos | designboom

The post meet corcelain, a series of ceramic cups with customizable 3D printed feet and screws appeared first on designboom | architecture & design magazine.

In Xiamen, China, OMA completes a new headquarters for JOMOO, the country’s largest sanitaryware manufacturer. Marking the transition of the company from national supplier to global brand, the project redefines the conventional office typology through a sculptural volume that bridges city and nature. On one side, dense high-rises of the emerging central business district press in, while on the other, forested hills rise above the coast. Responding to these contrasts, OMA’s design combines a multi-functional base with a 230-meter tower, anchoring JOMOO’s identity. White vertical ceramic stripes compose the facade, a detail that references both the company’s industrial roots in ceramics and traditional window patterns found in Fujian’s vernacular houses. These stripes shift orientation across the surface of the building, creating a pattern that gives the headquarters a distinct presence. 

Led by OMA partner Chris van Duijn, with project architects Chen Lu and Lingxiao Zhang, the building is the firm’s first realized high-rise in China, a precursor to several ongoing commissions in Hangzhou, Shenzhen, and beyond. ‘Located in rapidly growing cities,’ van Duijn notes, ‘these projects explore new connections to their immediate urban context, reinterpreting the prevailing tower typology that has shaped much of China’s recent urban expansion.’

images courtesy of OMA

rocky topography inspires the irregular form of the tower

The OMA-designed structure houses JOMOO’s offices and showroom, along with public-facing spaces like a lobby, multipurpose hall, and recruitment and conference rooms. The design team embeds all these areas within a monolithic base volume, whose irregular form draws from the rocky topography of the surrounding landscape. This base anchors the campus in its natural setting, while establishing a civic presence along the urban front.

The system of the facade eliminates the need for interior columns, allowing flexible and open floor plans throughout the tower, an architectural choice aligned with JOMOO’s modular, future-oriented production ethos. The project is the result of a close collaboration between OMA and local architect Huayi Design, which also handled structural and mechanical engineering. 

OMA completes a new headquarters for JOMOO

the project redefines the conventional office typology through a bold sculptural volume

OMA’s design combines a multi-functional base with a 230-meter tower

vertical ceramic stripes compose the facade

the detail references the material expertise of the company and traditional window patterns

these stripes shift orientation across the surface of the building

the OMA-designed structure houses JOMOO’s offices and showroom

project info:

name: JOMOO Headquarters

architect: OMA | @omanewyork

location: Xiamen, China

client: JOMOO | @jomoointer

partner-in-charge: Chris van Duijn

project architects: Chen Lu, Lingxiao Zhang

design team: Mark Bavoso, Slava Savova, Sebastian Schulte, Ricky Suen, Gabriele Ubareviciute, Yue Wu, Adisak Yavilas, Pu Hsien Chan, Alan Lau, Cecilia Lei, Kevin Mak, Connor Sullivan

local architect: Huayi Design

structural & mechanical engineering: Huayi Design

facade consultant: VS-A

photographer: Xia Zhi, Chen Hao

The post OMA completes JOMOO headquarters in china with sculptural white-striped tower appeared first on designboom | architecture & design magazine.

The Mosca Bianca project by AACM – Atelier Architettura Chinello Morandi is a ceramic workshop that also functions as an exhibition space in Padua, Italy. The design concept integrates the entire process of terracotta crafting into the spatial and material composition of the interior. The primary design gesture takes the form of a continuous, sculptural element that extends from the ceiling and guides the spatial experience. Shaped to evoke the twisting movement of clay on a potter’s wheel, this form creates a centripetal dynamic within the space, drawing attention toward a single zenithal light source. This lighting element punctuates the central axis, aligning with a monolithic work and display table positioned diagonally within the room.

The table serves multiple functions. While it operates as an exhibition platform when closed, it transforms into a worktable during ceramic workshops. Its structure reveals a series of concealed chairs and storage compartments integrated into the volume. Constructed from okumé wood sheets and supported by T-shaped frames, the table features a slender, cantilevered design that visually reduces its mass and emphasizes lightness. The choice of surface material responds to functional requirements for clay workability.

table without chairs | all images by Catalogo

Spatial Design by AACM is Rooted in Material Lifecycle

The surrounding surfaces contribute to the narrative of the ceramic-making process. Walls and ceilings are finished with a rammed-earth plaster composed of clay and brick production waste. This material selection reflects a focus on reuse and closed material cycles, consistent with the lifecycle of terracotta. Storage for tools and workshop equipment is integrated discreetly behind metal blades and fabric curtains, maintaining a clear spatial language and allowing functional elements to appear only as needed during use.

Throughout the project by studio AACM – Atelier Architettura Chinello Morandi, the relationship between form, material, and function remains central. The spatial layout, material palette, and lighting strategy collectively reference the phases of terracotta production, from raw material, through shaping and working, to final display.

table closed altar

worktable

diagonal table closed

diagonal table open

table light curtain

ceramics

table light and shelves

hidden shelves

table structure detail

ceiling detail

junction detail open

junction detail closed

exterior

project info:

name: Mosca Bianca
architect: AACM – Atelier Architettura Chinello Morandi | @aacm_studio

client: Mosca Bianca Ceramics | @mosca.bianca.ceramics

location: Padua, Italy

area: 45 sqm

photographer: Catalogo | @catalogo.studio

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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In Barcelona’s Raval district, MIAS Architects completes Lady Raval, a social housing project that revitalizes a once-fragmented building. Positioned on the emblematic Hospital Street, the team revamps a historic structure, weaving in the cultural richness of the neighborhood and the lived experiences of its community. Awarded first prize in the city’s competition, the restoration transforms a decaying apartment block into a bright housing complex built around a richly detailed central courtyard.

At the center of the transformation is the courtyard, brought back to life as both the heart of the building and a space shared by everyone who lives there. Once closed off and cluttered, it’s been opened up and redesigned as a calm, welcoming area that connects all the homes. The architecture here tells a story using textured walls, handmade ceramics, and colors inspired by everyday objects like fabrics, food, and tools. These elements reflect the different cultures and backgrounds of the people who live in Raval, many of whom are returning to live in this newly restored space. ‘The project is both a refurbishment of a historic building in central Barcelona and a tribute to the memory and cultural roots of its inhabitants,’ notes Josep Miàs, director and founder of MIAS Architects.

all images by Adrià Goula

lady raval transformed by removing additions

Internationally recognized MIAS Architects maintains the integrity of the original structure while reconfiguring the interior into a series of open, light-filled spaces that invite connection and comfort. Lady Raval is made up of two parts, one facing the street and another L-shaped wing that wraps around its central courtyard. Over the years, these spaces had been broken up into tiny units, with makeshift additions, even on the roof, making the building feel cramped and chaotic. The architectural team removed these additions and brought back a clearer layout, with two apartments per floor in the front building and three per floor in the wing. They kept the two staircases, added a lift in each section to make the building accessible, and a shop on the ground floor that still opens out onto the street, staying part of the daily life of the neighborhood.

MIAS Architects use handmade ceramic tiles in the courtyard

ceramic tiles narrate the residents’ personal stories

Working closely with architect and ceramist Carlos Jiménez Cenamor, MIAS Architects use handmade ceramic frames in the courtyard to bring in patterns and shapes inspired by the cultural backgrounds of the residents. These ceramic details are tied to personal and collective stories, helping the space feel familiar and full of meaning. The colors are bright and warm, and together with plants that hang from balconies, they give the courtyard a sense of life.

MIAS redesigned Lady Raval’s circulation areas, staircases, landings, and hallways so they feel open and welcoming. With added windows and carefully placed openings, light passes through the whole building, and people can see and connect with each other.

at the center of the project is the courtyard

these ceramic details are tied to personal and collective stories

the colors are bright and warm, reviving the space

bringing in patterns and shapes inspired by the cultural backgrounds of the residents

these elements reflect the different cultures and backgrounds of the people who live in Raval

MIAS Architects maintains the integrity of the original structure

reconfiguring the interior into a series of open, light-filled spaces

the project transforms a decaying apartment block into a bright housing complex

project info:

name: Lady Raval

architect: MIAS Architects | @miasarchitects

location: Raval, Barcelona, Spain

ceramics: Carlos Jiménez Cenamor (DelAmorYlaBelleza) | @delamorylabelleza

photographer: Adrià Goula | @adriagoulaphoto

The post ceramic tiles tell stories of barcelona’s residents in restored social housing by MIAS architects appeared first on designboom | architecture & design magazine.

As a significant evolution in ceramic technology, Ariostea’s Full Body³ slabs are created from a mix of natural granules and flakes, running through their entire thickness which ensures visual consistency and uniform performance from the outermost layer to the very core. A brand of the Iris Ceramica Group, Ariostea combines this material depth with advanced production to support a wide range of architectural applications — from walls and floors to countertops and custom furnishings. With resistance to acids, fire, water, and abrasion — and a non-toxic, non-absorbent composition — the slabs meet technical demands without compromising design quality.

Ariostea’s Full Body³ slabs ensure material integrity throughout the entire thickness | all images courtesy of Ariostea

THE RESULT OF THIRTY YEARS OF MATERIAL DEVELOPMENT AT ARIOSTEA 

The Full Body³ technology is the product of over thirty years of material development at Ariostea, where ceramics are not treated as flat decoration but as long-term building components. Known for its technical expertise and aesthetic sensibility, the Italian brand continues to challenge conventions with high-performance porcelain that reflects the nuances of natural stone. Full Body³ is a testament to this expertise – a masterful blend of advanced technology, artisanal precision, and an industrial production process protected by international patents.

each slab is formed from compressed natural minerals, creating a dense and uniform structure

THREE PROJECTS, ONE CORE TECHNOLOGY

Pressed at extremely high pressure and vitrified at 1300°C, each slab produced with Ariostea’s Full Body³ technology is one of a kind. The material transcends its role as a mere finish layer, instead embracing the full characteristics of an architectural component: inherently resistant, dimensionally stable, and tactile. Its durability is underpinned by a responsible production process, prioritizing the use of safe materials and sustainable methods. Full Body³ delivers on functional demands, presenting as a non-absorbent, acid- and fire-resistant, sanitizable surface, free from harmful substances. 

The Full Body³ system underpins three distinct projects, each characterized by its own stylistic language but unified through the same technical core. Elementae refers back to geological origins, inspired by the tones and textures of Portuguese stone. The palette ranges from Lumen — a bright ivory — to the warmer Tellus brown. Available finishes include Natural Plus, Flamed, and Structured, as well as the Stilo decoration. In its 20 mm-thick CM2 Outdoor version, Elementae becomes suitable for terraces, public plazas, and garden installations — enabling material continuity between indoor and outdoor applications.

Full Body³ ceramics can be worked on the edges, opening up detailing options for architects and designers

Accademia looks to the Venetian terrazzo tradition, reinterpreted through Ariostea’s high-tech processes. Its granular patterns evoke handcrafted surfaces, offered in six chromatic interpretations named after Italian masters of painting. Both the reflective Polished and contemporary Natural Soft finishes give the slabs stylistic flexibility. With four available sizes, Accademia caters to a wide range of environments, from classic to modern interiors.

designed for durability, the material suits high-traffic interiors, wet areas, and custom furnishings

Fragmenta is a tribute to the diverse character of stone. From Bianco Greco to Nero Ombrato, the palette bridges subtle neutrals and deep tones. Natural Plus and Structured finishes emphasize its raw, expressive potential, while the CM2 Outdoor version introduces spatial continuity between indoor and outdoor zones. Suitable for everything from poolside paths to interior feature walls, Fragmenta adapts effortlessly to shifting scales and contexts.

the material moves beyond surface finish to function as a true architectural component

Fundamentally, Ariostea’s Full Body³ lies in its through-body composition: solid, robust, and homogeneous, it retains its flawless appearance even under the most extreme wear or damage. It is intrinsically safe, clean, and fireproof – impervious to acids, effortlessly cleaned, inherently fire-resistant, and rigorously guaranteed to never release harmful substances. Crucially, it is also highly sustainable, a porcelain stoneware brought to life with the utmost respect for the environment, designed to be both enduring and fully recyclable.

the porcelain stoneware technology was brought to life with the utmost respect for the environment

removing the boundary between surface and core, Ariostea’s technology rethinks ceramic as a solid material

each slab produced with Ariostea’s Full Body³ technology is one of a kind

designed to be both enduring and fully recyclable

project info:

name: Full Body³

brand: Ariostea | @ariosteahightech

material: Full-body porcelain stoneware

collections: Elementae, Accademia and Fragmenta

The post how ariostea’s full body³ ceramic slabs bring color, pattern, and density through every layer appeared first on designboom | architecture & design magazine.

Wutopia Lab’s The Lake House – Life Experience Pavilion sits on the site of a former water base along a bayfront park in Shanghai, China. Developed as a design-build project with an accelerated timeline, the project integrates architecture, structure, interiors, signage, and curatorial display into a single modular strategy, transforming two existing buildings into a unified spatial journey. The pavilion, realized within a mere 40 days, reuses curtain wall ceramic panels from earlier residential developments and combines them with a lightweight metal skin system to create a dual-layered enclosure that distinguishes formal expression from climate performance.

The process began with chief architect Yu Ting surveying three potential sites and selecting one located directly on the water. The brief involved addressing that the park mandated that the original structures be preserved without disturbing even a millimeter of surrounding greenery, including two trees abutting the facades. The client requested integration of recycled materials and an architectural design that could be completed in just a couple of weeks. That same evening, Yu proposed a ‘house within a house’ concept, with two volumes clad respectively in metal and ceramic skins, both layered over the retained structural shells. Developed with structural consultant Miao Binhai, they shaped a metal skin that would form the functional climate envelope, while the ceramic would remain purely visual. Prefabricated modules, repeatable systems, and prefixed materials formed the core of Wutopia Lab’s fast-build strategy.

all images courtesy of Wutopia Lab

wutopia lab completes the pavilion within just 40 days

A modular coordination session followed, where every component was streamlined to meet the deadline. 150×150 millimeter steel profiles were integrated directly into the facade system, and cantilevered foundations on the waterfront were used to create a raised platform for rapid assembly. The resulting envelope blended aluminum cladding, vertical greenery, glass partitions, and ceramic panels into a single layered construction, blurring the boundaries between structure and skin.

Inside, the spatial journey of the Lake House unfolds as a horizontal composition, drawing from the metaphor of Chinese landscape scrolls. Wutopia Lab arranged a sequence of elements — preserved trees, vertical gardens, an entry lobby, exhibition halls, three individually themed VIP rooms, a willow colonnade, a terrace, and a waterside café — as a continuous and immersive path. Interior and exterior thresholds dissolved as a result, and orientation became intuitive through shifting materials, dappled daylight, and the calibrated interplay of solidity and openness.

Wutopia Lab completes The Lake House – Life Experience Pavilion

the prefabricated volumes inserts industrial textures in nature

Throughout the space, repurposed and unconventional materials create a quiet undercurrent, suggesting a more reflective engagement with sustainability. Marine plastic plaster, mushroom leather, recycled tiles, and glazed ceramics perform as tactile evidence of a material logic rooted in sensorial awareness. In one of the VIP rooms, a skylight was retained even after its accompanying stair was removed due to park restrictions. That improvised void now takes on a new reading, echoing old Shanghai tiger windows or mirroring the shape of a nearby tree hollow, and marking a moment of alignment between contingency and intention.

Despite its compressed timeline, Wutopia Lab’s Lake House resists the aesthetics of fast architecture and creates space for measured experience. In the final days before opening, a passerby stopped to run his hand across the pearlescent ceramic wall, pausing silently before walking away. For Yu Ting and the design team, that quiet gesture marked the real completion of the project.

a multifunctional pavilion

set on the site of a former water base in Shanghai

the project integrates architecture, structure, interiors, signage, and curatorial display into a single modular strategy

the pavilion reuses curtain wall ceramic panels from earlier residential developments

combined with a lightweight metal skin system

the client requested integration of recycled materials and a design that could be completed in just a couple of weeks

the architects proposed a ‘house within a house’ concept, wrapping the volumes in new skins

blending aluminum cladding, vertical greenery, glass partitions, and ceramic panels into a single layered construction

orientation became intuitive through shifting materials, dappled daylight, and the calibrated interplay of solidity and openness

the spatial journey unfolds as a horizontal composition, drawing from the metaphor of Chinese landscape scrolls

developed with structural consultant Miao Binhai

project info:

name: The Lake House – Life Experience Pavilion
architect: Wutopia Lab | @wutopia.lab

location: Shanghai, China

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

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Florim‘s Authentic Luxe porcelain stoneware collection moves away from decorative excess to emphasize the intrinsic elegance and tactile substance derived from classic travertines, limestones, and marbles. Embracing the rising trend of quiet luxury, these carbon neutral ceramic surfaces are defined by soft tones, subtle mineral details, and rich but restrained veining that offer visual harmony and material depth. The minimalist aesthetic is expressed through a neutral color palette, accentuated by gentle chromatic inflections that remain consistent with the collection’s understated style, all while conveying calm, warmth, and a distinct sense of enduring quality.

Florim’s Authentic Luxe collection recalls classic stone and marble in ceramic surfaces | all images courtesy of Florim

FULLY CARBON NEUTRAL ARCHITECTURAL SURFACES

Florim is an Italian manufacturer known for its architectural surfaces that combine craftsmanship, technological precision, and environmental responsibility. As part of the CarbonZero program, every surface in the Authentic Luxe collection is fully carbon neutral. From raw material extraction and production to transportation, installation, and use, every stage of Florim’s production is measured by its environmental impact to align with the company’s long-term sustainability goals. Wherever emissions remain, they are offset through certified projects that support clean energy production in developing countries.

capturing the visual signature of marble with chromatic vitality

AUTHENTIC LUXE OFFERS SUSTAINABLE STONE AND MARBLE OPTIONS

Authentic Luxe not only offers sophisticated surfaces, but a material statement of accountability — one that supports high-end design without compromising on sustainability. Its collection reinterprets classic stone varieties — travertine, limestone, and marble — ensuring they meet contemporary aesthetic demands while retaining their intrinsic character and appeal.

The collection consists of two travertines in Gold and Pearl tones, four limestones in shades of Jura, Chablis, Montpellier, and Dordogne, and two marbles, Aubisque and Nuage. This curated selection of material tones ensures wide stylistic versatility, allowing for the creation of exclusive environments that prioritize a sense of well-being and tranquility without overt display.

a minimalist aesthetic conveying calm and warmth

Beyond the primary surfaces, Authentic Luxe is complemented by three distinct dimensional additions. The Honeycomb mosaic subtly references the ancient cloisonné technique, offering intricate yet refined detail, while the Rustic Edge motif features irregular edges, embracing the natural imperfection of stone. Finally, Slats provides a precise, symmetrical pattern, creating a subtle two-dimensional interplay.

craftsmanship, technological precision, and environmental responsibility combined

every Authentic Luxe surface is fully carbon neutral

reinterpreting classic stone varieties for contemporary demands

delicate surface textures with an authentic, organic feel

capturing the visual signature of marble with chromatic vitality

soft matte finishes recalling natural stone nuances

understated design thoughtfully enhancing architectural spaces

Authentic Luxe supports high-end design without compromising on sustainability

project info: 

name: Authentic Luxe

company: Florim | @florim_ceramiche

material: Porcelain Stoneware

colors: Gold and Pearl Travertine, Jura, Chablis, Montpellier, and Dordogne limestone, Aubisque and Nuage marble

finishes: Matte Leather, Matte Silk, Matte, Glossy

The post florim’s authentic luxe reinvents classic stone and marble surfaces with carbon neutral design appeared first on designboom | architecture & design magazine.

Fiandre (Iris Ceramica Group) lifts the curtain on Tribute100 – a collection that revisits a classic and reinvents it with sculptural intent. Tribute100 marks the revival of Serie 100, the brand’s cult 2010 collection that broke new ground by integrating recycled content into ceramic design. More than a retrospective, Tribute100 is a forward-facing homage, reinterpreting eco-consciousness through tactile surfaces and light-responsive geometry. This collection affirms that ceramic surfaces can transcend decoration. 

Fiandre presents Tribute100, the collection that plays with colours, three-dimensionality and reflected light, offering versatility and spectacular decorative potential | all images courtesy of Fiandre

fiandre’s refined choreography of recycled material

Fiandre, under the umbrella of the Iris Ceramica Group, is globally recognized for its pioneering role in high-performance, sustainable porcelain. Collections such as PULSAR and Marmi Maximum reflect this legacy, each transforming raw material into an expressive architectural language. Tribute100 resonates with this same philosophical depth, drawing from its heritage to establish a meaningful material narrative that is both emotive and precise.

Tribute100 takes a different approach—offering a refined choreography of recycled material, structured finishes, and illuminated textures, creating a deliberate and poetic interpretation of light, sustainability, and design history.

the collection pays homage to a product launched in 2010, which went on to become a cult: Serie 100

Rooted in the original Serie 100, Tribute100 revives the pioneering spirit of recycled ceramics with a renewed sensibility for form and feeling. The collection unfolds through three distinct surface designs—Net, Fold, and Paint—each engaging light and texture in unique ways. Net features a woven aesthetic, reminiscent of fine textiles or metallic grids. Fold offers the softened structure of pleated paper, subtle yet architectural in its rhythm. Paint, by contrast, captures the fluid spontaneity of a brushstroke mid-motion, infusing the surface with energy and a sense of transformation.

These surfaces aren’t passive, they shift and shimmer depending on the environment, making each installation a dynamic experience. They engage with light not just as reflection, but as part of the material’s expression, blurring the line between architecture and art.

Tribute100 recovers the sinuous movement and changing three-dimensionality of the Serie 100

The Tribute100 palette is refined and atmospheric, encompassing a spectrum of tones that lend versatility and depth. Pearl is luminous and expansive, casting light across surfaces and opening up the space it inhabits. Shark, a deep, sophisticated grey, fluctuates between solidity and movement, while Mink offers a warm, earthy elegance. Titanium stands at the intersection of warmth and coolness, a balanced neutral that adapts to its context with ease. Each shade is offered across all three textures and comes in modular formats of 120×60, 60×60, and 60×30 cm, supporting recombinable, flexible design strategies that adapt effortlessly to any project scale.

Complementing the tactile designs is a breakthrough in finish: metallic glazes that introduce a soft sheen, elevating the surface without overwhelming its natural form. These metallic accents, paired with subtle 3D reliefs, create a layered effect of matte and gloss, shadow and reflection. The result is a surface that feels alive—one that evolves throughout the day with changing light, offering a sensory experience that’s as visual as it is physical.

the collection comes in four colours – Shark, Mink, Pearl, Titanium

Tribute100 stays grounded in cultural memory, yet equally futuristic in its approach, reflecting Fiandre’s dedication to materials that are sustainable in composition and conceptual longevity. The collection proves that sustainability can be quiet, sophisticated, and deeply emotional.

This spirit is fully embodied at FAB, where Tribute100 is displayed for formal architectural settings as well as through playful, sensory installations – like a ‘grab & go’ concept inspired by food retail, where samples are packaged like gourmet items. It’s a tactile, joyful way to engage with materiality, reflecting Fiandre’s vision of ceramics as both a craft and an experience.

Tribute100 offers a ange of versatile formats, 120×60, 60×60, 60×30 cm, along with different colour-design combinations

the collection is crossed by 3D filigree patterns just waiting to meet the light to add a unique changeability to the ceramic surface

combined with a lightly 3D surface, the ceramic surfaces are given a living, changing appearance

three textures play on the surfaces with thicknesses, incisions and reflected light

the unique light and shine of these surfaces comes from the use of metallic glazes

project info:

name: TRIBUTE100

company: Fiandre | @fiandre_surfaces

colors: Shark, Mink, Pearl, Titanium

finish: Structured

sizes: 120×60, 60×60, 60×30 cm

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Iris Ceramica, part of the Iris Ceramica Group, introduces ‘Armonie,’ a modular project of porcelain stoneware surfaces that blends three archetypal materials — oak wood, stone, and cotto — into a single, flexible design language. Developed to create continuity across indoor and outdoor environments, the ceramic surfaces promote compositional freedom, allowing to choose from a range of colors, finishes, and formats. From warm wood slats to compact cotto surfaces and graphic stone slabs, each element is suitable for a variety of applications: residential, contract, retail and outdoor.

oak, terracotta, and stone, reinterpreted into porcelain stoneware | all images courtesy of Iris Ceramica

BALANCING ARTISANAL CHARACTER WITH ADVANCED MANUFACTURING 

Iris Ceramica brings over six decades of expertise in creating sustainable, high-performance ceramic materials that respond to both technical and aesthetic demands. As part of the Iris Ceramica Group, the Italian brand continues to explore how advanced surfaces can elevate everyday living. Armonie continues this tradition, translating the enduring qualities of oak wood, terracotta, and natural stone into a modular design solution. Whether applied in residential, contract, or commercial settings, the surfaces reflect a contemporary approach to materiality — balancing artisanal character with advanced manufacturing.

harmonious material blends enable fluid connections between residential, retail, and contract interiors

OAK WOOD, TERRACOTTA, AND NATURAL STONE IN ARMONIE PROJECT

Armonie is built around the interplay of three distinct ceramic surfaces — Legno, Cotto, and Pietra — each referencing a traditional material while offering the technical advantages of porcelain stoneware. 

Armonie Legno reinterprets oak wood through four different tonal variations — Inverno, Primavera, Estate, and Autunno — evoking the shift in seasons. The slat formats (150×25 cm, 120×20 cm) and herringbone-ready stripes (10×60 cm) are available in Natural Plus, Antislip, and a soft-touch Cashmere finish designed for comfort in residential interiors.

slatted oak-look porcelain surfaces in ‘Rovere Estate’ create natural warmth with technical performance

Armonie Pietra offers a graphic, architectural counterpoint. Four stone variations — Pietra Madrid, Fontainebleu, San Just, and Pietra del Chiostro — are available in multiple sizes (from 120×120 cm to 60×30 cm) and two finishes: Natural and Antislip. A thicker 20 mm version in the 120×60 cm format enhances durability for outdoor settings. The result is a versatile palette that moves seamlessly between surface applications while retaining a strong visual identity.

Armonie Pietra offers a graphic stone pattern for architectural surfaces

Armonie Cotto distills the warmth and texture of handmade terracotta into compact 15×15 cm size in Cotto Rosa and Cotto Nero. Designed primarily for flooring but equally effective on walls, the format adds depth and rhythm to surfaces, especially in combination with contrasting textures.

Cotto Nero in 15×15 cm format adds tactile rhythm to floors and walls across indoor spaces

designed for compositional freedom, armonie enables seamless transitions between materials and settings

Armonie Pietra surfaces combine graphic depth and subtle tonal variation

smooth cashmere and antislip finishes enhance both comfort and safety across multiple applications

warm oak tones of Rovere Primavera paired with compact Cotto Rosa tiles to create layered, tactile compositions

Iris Ceramica continues its modular surface design legacy with a new multi-material ceramic collection

project info:

name: Armonie

brand: Iris Ceramica | @irisceramicaofficial

materials: porcelain stoneware

thickness: 8 mm, 20 mm 

finishes: natural, antislip, cashmere, natural plus

application: residential, contract, retail, outdoor

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Ateno Architecture Studio’s Gaia residence seeks to renegotiate the traditional notions of luxury, embracing a philosophy grounded in simplicity and the use of raw materials. Despite the seemingly contradictory character of the chosen materials against the lush green island backdrop in Greece, the house exudes an intimate and inviting ambiance. Its warm clay terracotta tones resonate with the landscape, creating a space that conveys the feeling of being cradled within the earth, as if carved from the land itself. Rustic textures, of handmade terrazzo, marble, and wood, uniformly applied to walls, floors, and ceilings, come together to establish an ideal environment for a summer residence.

all images © Yiorgis Yerolymbos

ateno sculpts the house with minimalist geometries

Meganisi Island, known for its vibrant landscapes and pristine waters, provided the perfect setting for the project. Perched atop a ridge and surrounded by century-old olive trees, the design of a two-storey building, originally conceived and permitted by another architectural firm, underwent a complete transformation, preserving only its structural framework and core spatial arrangement. Responding to the building’s irregular geometry, defined by tangent rectangles, Ateno Architecture Studio’s design introduces an extensive wooden pergola, that serves as a unifying element, and evokes the sense of an expansive canopy floating above a podium, rising from the earth.

The clay house features five distinct bedrooms complemented by expansive seating and dining areas, seamlessly blending private sanctuaries with shared living spaces. Nestled in the embrace of nature, the exterior space, spread across three levels, integrates with the topography. Its focal point lies in the middle tier, where the swimming pool, remote yet inviting, connects the upper and lower levels. Surrounded by vibrant greenery, the upper-level provides occupants with panoramic views of the Ionian sea and Pindos mountain range, while the lower level, embedded in the terrain, creates a secluded retreat.

Gaia becomes part of the island landscape

the project embraces a philosophy grounded in simplicity and the use of raw materials

responding to the building’s irregular geometry, Ateno introduces an extensive wooden pergola

its warm clay terracotta tones resonate with the landscape

the view through the living spaces opens up towards the Ionian sea and Pindos mountain range

muted tones and raw textures create continuity in color and form

wide openings connect the living spaces with the landscape

light and shadow moves through the space

vivid colors contrast with the muted material palette

warm wooden textures complement clay surfaces

the main facade, framed by wild greenery and illuminated from the interior

from above, light outlines the geometry of the house

set on Meganisi Island in Greece

project info:

name: Gaia Residence
architect: Ateno Architecture Studio | @ateno.studio

location: Meganisi, Lefkada, Greece

architect team: Elias Theodorakis, Yiorgos Fiorentinos (Ateno Architecture Studio)

collaborating architect: Spiros Giotakis

structural engineer and supervisor: Angelos Kourtis
MEP engineer: Ioannis Mavrokefalos
contractor: My Ionian Group
client: Polydeykis S.A.

photographer: Yiorgis Yerolympos | @

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

The post ateno’s clay-coated house overlooks mountains and the sea on a greek island appeared first on designboom | architecture & design magazine.