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

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Iris Ceramica Group, global leader in high-end ceramic surfaces, and Alchimia, the luxury tech line by VBH, present a groundbreaking partnership unveiled during Milan Design Week 2025. Their joint solution fully integrates audio–video systems within natural ceramics, making technology disappear behind continuous surfaces. The result creates immersive interiors that quietly ‘come alive’ when needed, designed for refined architectural settings including private homes, yachts and exclusive commercial spaces. Visitors at the ICG Gallery experienced a preview of this innovation through a multi-sensory installation titled ‘Metamorphosis.’

Iris Ceramica Group and Alchimia reveal surfaces with audio-video systems | all images courtesy of Iris Ceramica Group

IRIS CERAMICA GROUP AND ALCHIMIA PARTNER TO REDEFINE SURFACES

Both companies share a vision of turning surfaces from static elements into active participants in interior design. Alchimia’s expertise in seamlessly embedded technology aligns with Iris Ceramica Group’s ongoing mission to reengineer ceramics for the better. Together, they created a solution where screens, speakers and devices are entirely concealed beneath natural ceramic panels, preserving aesthetic refinement while introducing sophisticated functionality. The surfaces discreetly transform on command, bridging visual appeal and utility without compromising material integrity. This partnership builds on Iris Ceramica Group’s pioneering work in eco-active ceramics, smart surfaces and backlit materials, further pushing the boundaries of how architectural finishes can perform.

surfaces quietly transform to display embedded screens and speakers on command

TECHNOLOGY DISAPPEARS AS SPACES COME TO LIFE

During Milan Design Week 2025, Iris Ceramica Group interpreted Fuorisalone’s theme ‘Connected Worlds’ through the immersive installation ‘Metamorphosis’ at the ICG Gallery. The presentation dissolved the boundaries between reality and illusion with sound, lights, interactive videos and digital canvases, amplifying the experience of the integrated surfaces. At the heart of the exhibition, the Alchimia & Iris Ceramica Group solution demonstrated how ceramic finishes can conceal screens, speakers and interactive devices — appearing and disappearing seamlessly.

The installation featured five digital canvases by international artist Lorenza Liguori, unveiled daily throughout the week. These works reflected alchemical themes such as transformation, balance and energy. Imagery shifted from the ‘Golden Stone,’ evoking the ultimate search for metamorphosis and hidden knowledge, to the ‘Silver Moon,’ a meditation on the cosmic union of sun and moon, spirit and matter. The ‘Tree of Life’ offered a symbolic journey of ascension, linking earth to sky, while ‘Liquid Soul’ explored water’s adaptive and reflective nature as a metaphor for continual rebirth. Finally, ‘Crystal Energy’ celebrated crystals as silent catalysts of change, mirroring how the ceramic surfaces themselves redefined their surroundings. The cover image of a butterfly captured the concept of metamorphosis, expressing the generative process and the evolving both beauty and identity of ceramic materials.

the collaboration between Iris Ceramica Group and Alchimia redefines the potential of architectural surfaces

the integrated solution enhances refined interiors for private homes, yachts and commercial spaces

the metamorphosis installation dissolves boundaries between reality and illusion with sound, light and video

digital canvases by Lorenza Liguori interpret themes of transformation, balance and energy

project info: 

name: Metamorphosis

company: Iris Ceramica Group | @irisceramicagroup

collaboration: Alchimia by VBH | @alchimia.elements
artist: Lorenza Liguori | @lorenza.liguori

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FLORIM and Matteo Thun express Italian artistry with sensiterre

With SensiTerre, Florim and Matteo Thun explore the architectural potential of one of the oldest materials—clay—through a refined and tactile language. Taking inspiration from Italy’s deep-rooted ceramic heritage, the collection models together artisanal tradition and technology, offering surfaces that are both expressive and versatile. A celebration of form, texture, and natural color, SensiTerre is a material statement crafted for modern design narratives, celebrating the tenth anniversary of the limited-edition terracotta vases Venere Bianca, designed by Matteo Thun and Benedetto Fasciana in collaboration with Bitossi.

celebrating the tenth anniversary of the limited-edition terracotta vases Venere Bianca, the new Florim SensiTerre collection is born (Naturale Sabbia 120×120; Grana Sabbia 20×20; Gradino 33×120 Listello Rosato) | all images courtesy of Florim

The world of clay and earth is re-explored

SensiTerre’s diverse warm colors and textured clay surfaces

a reflective process on the elegance of details, where each shade represents a deliberate and conscious color choice (Natuale Sabbia 120×120; Naturale Rosato 120×120; Listello Rosato; Naturale Amaranto; Grana Sabbia 120×120)

the natural color palette and material surface faithfully reproduce the various textures of clays, creating a warm and enveloping atmosphere (Natuale sabbia 120×120; Naturale Rosato 120×120; Listello Rosato; Naturale Amaranto; Grana Sabbia 120×120)

the colors Cotone, Sabbia, Rosato, Mattone, Amaranto, and Carbone are neutral yet intense (Naturale Rosato 120×120; Naturale Amaranto 15×30; Listello Naturale Carbone)

the modularity and multiple configurations of small and large formats are key elements of this collection (Grana Cotone 120×120)

the perfect combination of format versatility and color matching allows for a unique and personal product (Grana Cotone 120×120)

the SensiTerre collection results from an environmentally conscious process (Grana Sabbia 120×240 15×30; Listello Carbone)

the collection is also part of the CarbonZero project (Naturale Rosato 120×120; Naturale Amaranto 120×120; Spina Carbone; Cubo Rosato Amaranto Carbone)

the tones of SensiTerre evoke the earth, and the surfaces are distinguished by inviting touch and interaction with the material (Intreccio Rosato Amaranto; Sabbia 120×120; Listello Naturale Rosato; Naturale Rosato 60×120)

modularity and multiple configurations characterize the collection (Naturale Sabbia 60×120; Listello Carbone; Naturale Carbone 120×120)

six colors faithfully reproduce the different natural shades of clays (Listello Amaranto 3×15; Grana Rosato 120×120; Grana Amaranto 120×120)

all surfaces are suitable for flooring and cladding, except Cannettato, which is recommended for vertical wall use only only (Grana Mattone 20×20)

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Kringlan, Reykjavík’s iconic shopping mall, opens a new chapter with the complete renovation of its third floor. The transformation reveals a dynamic space where entertainment, social life, and design meet in harmony. More than a place to shop, Kringlan transforms into a vibrant crossroads for daily life in the city, shaped with a thoughtful design approach and enhanced by the ceramic surfaces of FMG Fabbrica Marmi e Graniti and Iris Ceramica, brands belonging to the Iris Ceramica Group. From floor to ceiling, and from the food court to the cinema, the company’s stylistic choices, varying in color, and pattern, elevate the third floor to a sky-high quality of details.

Paolo Gianfrancesco of THG Arketektar, the leading architect & interior designer for this project, explains, ‘We’re talking of around 5,000 square meters of flooring, in addition to the wall coverings in all the kitchen and bathroom facilities. The choice of using ceramics is based on their easy installation and maintenance, their excellent durability, high safety and comfort standards for the users and, above all, the really wide range of patterns and visual aspects available.’

Kringlan, Reykjavík’s beloved shopping mall, opens a new chapter with the complete renovation of its third floor | all images © Studiocapn, courtesy of FMG Fabbrica Marmi e Graniti 

How Ceramics and Community Revived Reykjavík’s Iconic Mall

Kringlan is the first indoor shopping mall built in Iceland and, since it was opened in 1987, has become a key attraction for the Icelandic people. Located in Reykjavik, it has around 150 commercial outlets and a total surface area of around 50,000 square meters. Malls have a special place in the Icelanders’ life, not only for shopping but also for social activities. Kringlan in particular has always played an iconic role for the population, both due to its position – close to the city centre and on Iceland’s busiest crossroads -, and because as an indoor facility it offers great services and activities where people can spend quality time.

In 2025, the shopping hub reveals a new third floor led by THG Arkitektar, creating a symphony of entertainment, social life, and design-led spaces. Born from a grand vision to rethink urban leisure, the renovation elevates Kringlan’s pulse with fluid and colorful touches, crafted with a keen sense of community. For the project, the porcelain stoneware surfaces played a central role in defining the new spaces. Around 5,000 square meters of flooring and wall coverings were provided by FMG Fabbrica Marmi e Graniti and Iris Ceramica, bringing to the surface a simple complexity thanks to a diverse combination of the companies’ materials for over 20 catering outlets (Kúmen), a bistro, a multi-screen cinema, and the new Oche® entertainment area.

the area, measuring around 7,000 square meters, now has over 20 catering outlets (Kúmen), a bistro, a multi-screen cinema, and the new Oche® entertainment area

close attention was paid to the selection of ceramic coverings chosen by FMG Fabbrica Marmi e Graniti and Iris Ceramica, brands belonging to the Iris Ceramica Group

An Environment Designed for Social Life, Enhanced by Ceramics

At the heart of the renovation is Kúmen Food Hall, named after the Icelandic word for cumin — a symbol of growth and renewal. Here, Pietra di Sciara by Iris Ceramica was used on floors and crossing areas, offering a natural look that echoes cobbled streets. The irregular shaped space with no sharp corners was enhanced by diagonal laying and varying colors that add a dynamic appeal.

Wall surfaces are clad in the classic brick format with the minimal, linear design of Elementi Rivestimenti, bringing a crafted, tactile quality to the interiors. The warm materials and dynamic layouts invite visitors to linger, meet, and explore a diverse culinary offering.

at the heart of the renovation is Kúmen Food Hall, named after the Icelandic word for cumin

wall surfaces are clad in the classic brick format with the minimal, linear design of Elementi Rivestimenti

Among the restaurants, the Finnsson Bistrot stands out for its lively, elegant atmosphere underlined by the infinite-colored stone and marble granules of the Venetian terrazzo-effect Venice Villa by FMG. Laid in the walkways, on the walls above the backsplash and table tops in the greenhouse, the charming mélange texture blends with the practical function of full-body porcelain stoneware.

For the architect Gianfrancesco, ‘one of the qualities of FMG full-body ceramics is that it can be used not only for floor and wall coverings but also for furniture. It is easy to cut and, in particular, the depth of shade and grain guarantees both the technical features of cleanliness and hardness but also a visual and aesthetic appeal that other materials don’t have. So we took the surface to where it can be touched by hand.’

the Finnsson Bistrot stands out for its infinite-colored stone and marble granules of the Venetian terrazzo-effect Venice Villa by FMG

Moreover, the play area on the third floor designed in partnership with Oche®, a famous northern European entertainment specialist, brings another layer of energy. In this playful zone dedicated to social gaming, FMG’s Palladio was selected for its high resistance to wear and its sophisticated stone-like appearance. The durability of these full-body ceramics ensures the space can withstand heavy use while maintaining its aesthetic appeal. 

Even the restrooms in this area, often an overlooked detail, were designed with care, creating vibrant, Instagram-worthy spaces filled with color and graphic design. The spaces offer an unusual combination of colors, sophisticated touches, as well as the natural plants and flows, and the elegant ceramic surfaces Elementi Rivestimenti by Iris Ceramica on the countertop. The resulting wow-effect invites visitors to take a selfie to share with friends. 

the Oche® space offers social gaming facilities to combine socialisation, premium food and pioneering games

Elementi Rivestimenti by Iris Ceramica clads the countertop in Oche® restaurant and helps to cereate a glam atmosfere

In the cinema area, the renovation emphasized comfort and quality. Access to concessions is now barrier-free, and a new VIP room — Iceland’s most luxurious — offers sofa beds, heated seating, phone chargers, and cutting-edge acoustics. Throughout these entertainment zones, the choice of hard-wearing, elegant ceramic surfaces supports both the functional needs of the space and its welcoming atmosphere.

With this transformation, Kringlan reinforces its role as a symbol of contemporary Reykjavik: resilient, social, and open to innovation. The collaboration with FMG Fabbrica Marmi e Graniti and Iris Ceramica highlights how material choices can define the spirit of a place, combining beauty, practicality, and emotional resonance in a single, coherent design.

in the cinema area, the renovation emphasized comfort and quality

throughout these entertainment zones, the choice of hard-wearing, elegant ceramic surfaces supports both the functional needs of the space and its welcoming atmosphere

the Palladio by FMG technical ceramics laid beneath the shuffle boards was selected for its high resistance to wear and its sophisticated stone-like appearance.

even the Oche® restrooms were designed with care, creating vibrant spaces

the bathrooms are clad with the elegant ceramic surfaces Pietra di Sciara and Elementi Rivestimenti by Iris Ceramica

project info:

name: Kringlan

ceramics: FMG Fabbrica Marmi e Graniti and Iris Ceramica

design and project management: THG Arkitektar

leading architect & interior designer – Paolo Gianfrancesco

consultants – M Worldwide

real estate developer: Reitir

location: Reykjavík, Iceland

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In their first collaboration, Swiss bathroom brand LAUFEN and designer Yves Behar present VOLTA – a sink that takes the humble wash basin to new environmental and poetic heights. Unveiled as part of the ‘A New Dimension of Water’ exhibition during Milan Design Week 2025, the product builds on the brand’s carbon-free production process and Behar’s interest in connecting sustainable technology with everyday rituals. The basin introduces a sculptural, river-like flow that reduces water usage and simplifies cleaning, reflecting the duo’s shared belief in purposeful design and environmental responsibility. 

designboom visited the exhibition and spoke exclusively with the designer Yves Behar and Marketing and Design Director of Roca Group Marc Viardot to learn more about the ideas behind VOLTA, and how ceramic design can become a platform for sustainability and sensory experience.

‘There was no reason to reinvent the wash basin. With Saphirkeramik, we had already spent 12 years reinventing typologies, aesthetics, proportions, textures… but this was about new functionality,’ starts Viardot our conversation in Milan, reflecting on how the partnership began.

LAUFEN and designer Yves Behar present VOLTA | all images courtesy of LAUFEN

A COLLABORATION POWERED BY THE WORLD’S FIRST ELECTRIC KILN

Central to the project is LAUFEN’s electric kiln, the world’s first tunnel kiln for sanitary ceramics powered entirely by renewable energy. Developed in collaboration with German company Keramischer Ofenbau, a technological leader in ceramic kiln engineering, this groundbreaking production technology eliminates the need for gas-fired kilns. It also laid the foundation for the partnership between the Swiss company and the industrial designer. More than an innovation in manufacturing, the electric kiln signals a shift in ceramic design – one that brings sustainability into dialogue with both functional and aesthetic ambition.

‘The starting point was the electric kiln – a major innovation,’ says Viardot. ‘It’s the world’s first CO2-free ceramic production line. We are currently the only ceramics factory doing this, which is a huge leap, and hopefully just the beginning. That’s where our thinking began: the kiln already fires all the products in the Gmunden factory today, but we started wondering what else it could unlock.’

developed using LAUFEN’s fully electric kiln, VOLTA reflects a shared vision for sustainable ceramic production

RECREATING RIVER STREAMS IN CERAMIC DESIGN

For Yves Behar, the electric kiln represents more than just a breakthrough in ceramic production – it sets the tone for a design approach that seeks to optimize sustainability at every stage, including how the basin is used. With VOLTA, he reimagines the conventional wash basin by introducing a sculpted water path that offers a dynamic and intuitive experience. Inspired by the movement of natural streams, the design gently guides water through a central channel, helping it carry away debris more efficiently. The result is a more natural interaction that reduces water consumption and simplifies cleaning.

‘In most bathrooms, water is delivered invisibly and disappears quickly. It’s purely functional,’ Behar tells designboom. ‘With VOLTA, we wanted to create an experience closer to nature. The form emerged from that intention. The idea of a river or a vortex was in the very first sketches.’

inspired by the movement of natural streams, the design guides water through a central channel

Transforming the concept of a river into a functional ceramic form was no small feat. Both Behar and Viardot faced technical and conceptual challenges as the prototypes began to take shape. Without any digital simulation tools to predict the water flow, the team had to rely on physical experimentation, building full-scale ceramic prototypes, adjusting angles, and observing how the water moved in real-time. The sink’s distinctive geometry is made possible by LAUFEN’s Saphirkeramik, a high-performance material that enables the precise formation of thin lips and intricate contours, pushing the boundaries of what ceramic can do.

‘The main challenge was not knowing if it would work,’ recalls Behar. ‘There wasn’t any software to simulate this – we had to build real, full-size prototypes to see how water would behave. Persevering in an unknown direction was the biggest challenge. You can always make something “pretty,” but doing something new and functional takes courage and belief. Without Saphirkeramik, the design would’ve looked thicker, heavier – less appealing. That material innovation from Marc and LAUFEN really enabled us to pull this off.’

fine edges and intricate forms are made possible by using Saphirkeramik

The collaboration marks more than just the launch of a new product – it signals a broader vision for the future of bathroom design. For Behar and Viardot, VOLTA is not a standalone object but the beginning of a larger exploration into reducing water consumption and incorporating natural elements into home design. Its sculptural form and functional principles have the potential to evolve into a series of products aimed at changing the way we interact with water.

‘This is more than just a product. It’s a fundamental innovation with many applications,’ concludes the designer. ‘We see it not only as a product, but as a platform for reducing water consumption, for exploring the poetics of water.’

the basin reduces water use and simplifies cleaning – blending form, function, and environmental intention

Volta was unveiled at the ‘A new Dimension of Water’ exhibition during Milan Design Week 2025

its intention is to create a closer experience to nature

Behar and Viadot view the basin as a hallmark for broader water-conscious design

project info: 

brand: LAUFEN | @laufenbathrooms

product: VOLTA

designer: Yves Behar | @yvesbehar

material: Saphirkeramik

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A sweeping roof clad in 28,000 blue-gradient tiles, sparkling like ripples in water, gently rests atop the AOI Celestie Coffee Roastery in Japan. Perching the café on a bustling urban corner surrounded by high-rise residences and across from a station, Yuko Nagayama & Associates has anchored a mixed-used complex with a new neighborhood landmark. The structure is set back from the street front with a curve containing a verdant courtyard with an olive grove, forming what the architects describe as a ‘white space’ within the city — symbolically creating a moment of calm and visually softening the engulfing urban density with organic rhythms of light, nature, and material care.

all images by Nobutada Omote

yuko nagayama & associates connects three spatial layers

For Yuko Nagayama & Associates, the project began with a modest brief to activate a public-facing space at the client’s site. With an approach centered on community and enhancing the public sphere, the Japanese practice decided to envelop the everyday ritual of coffee within a spatial and material statement, crafting a volume that feels weightless and grounded. The external courtyard is a sunken yet open enclosure that tops a multi-purpose hall, and at first look subtly reveals the three layers of the AOI Celestie Coffee Roastery.

Inside, the ground level houses the roastery, kitchen, and counter amid concrete and brick curves, while the second opens up to the olive garden through expansive windows. The third floor is semi-enclosed beneath the sweep of the roof, hosting a bar area that peers over the layered volumes below and offers fleeting glimpses of the city. Each level is linked by a central atrium that enhances openness and connectivity.

Yuko Nagayama & Associates completes AOI Celestie Coffee Roastery

28,000 tiles shape the roof rooted in urban memory

The structure is designed as an interplay between enclosure and release. Though the building is compact and hemmed in by tall residential towers, its open courtyard and stepped floorplates allow for porosity and quiet. Along the ground floor window, seats are recessed into the floor itself, inviting the eye outward. Meanwhile, above it all, the tile-clad roof that seems to have fallen from the sky, gives the café its most distinct architectural identity against its neighbors.

This roof, shaped with subtle curves in reinforced concrete, is wrapped in six shades of ceramic blue, produced using the wet extrusion method and coated with glass glaze. The color gradation — lightest at the apex and darkest at the base — gently mirrors the sky and shifts with light, becoming reflective and textured on rainy days as water traces its grooves and drips into the courtyard garden. This was an intentional detail by the team at Yuko Nagayama & Associates, who notes that their use of tiles stems from an observation that at renovation sites, the colors of most materials tend to fade, but tiles retain their original vibrancy.‘We often use tiles because they can retain their original colours over the years, and the tiles and the architecture using them can be passed on to future generations,’ they tell designboom.‘The tiles embody our desire for the Aoi Celestie Coffee Roastery to remain a community landmark for many years to come. The tiles [here] are not meant to recall the past memory; they are a symbol of a succession for the future.’

the curved structure is set back from the streetfront, the void containing a verdant courtyard

28,000 blue-gradient tiles that sparkle like ripples in water

along the ground floor window, dining spaces are recessed into the floor itself

overlooking the olive grove

the project anchors a mixed-used complex with a new neighborhood landmark

the third floor is semi-enclosed beneath the sweep of the roof

concrete, wood, and brickwork define the visual language

the café is split across three porous levels

project info:

name: AOI Celestie Coffee Roastery

architect: Yuko Nagayama & Associates | @yna_tokyo

location: Japan

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Set to become one of Dubai’s most impressive new landmarks, UNStudio‘s Wasl Tower is nearing completion and continues to transform the city’s skyline with its sinuous form and advanced facade of ceramic fins. With structural design by Werner Sobek, the supertall tower rises 302 meters and draws on classical art’s ‘contrapposto’ stance — its twisted form suggesting a figure mid-stride. Currently in the final stages of construction, the project has been photographed by Nils Koenning, offering a unique glimpse into the next generation of mixed-use skyscrapers in the UAE.

Located on Sheikh Zayed Road, the project sits at a critical urban intersection in Dubai, linking the world-famous Burj Khalifa with the newer City Walk development. Its prominent placement along Sheikh Zayed Road ensures high visibility, especially as it stands opposite the Burj Khalifa without any other tall structures to compete with. A new pedestrian bridge connects the building to the Burj Khalifa metro station, extending accessibility while reinforcing its role as a node within Dubai’s ever-evolving infrastructure network.

images © Nils Koenning

the high-performance facade of ceramic fins

With one of the tallest ceramic facades in the world, the Wasl Tower in Dubai pushes the limits of facade design by blending tradition with performance. The architects at UNStudio and engineers at Werner Sobek cloak the tower in a lace-like grid of ceramic fins, crafted from low-tech glazed clay. This surface works to both reduce heat gain and enhance interior daylighting. Each fin is precisely angled at 12.8 degrees, a figure determined through parametric modeling to optimize shading and light diffusion. This outer skin is thus a passive cooling system which responds to the desert climate and offers a tactile visual identity that reads as both futuristic and traditional.

The Wasl Tower in Dubai introduces an unusual vertical seam that functions as a ‘vertical boulevard’ — a stacked procession of outdoor balconies and green terraces that run up the spine of the building. Crowned by a series of rooftop infinity pools, this seam brings a new level of permeability to high-rise living in a desert context. It also forms a crucial axis for public engagement, with programmatically rich zones that house dining, entertainment, and hospitality functions suspended far above the city.

Dubai’s Wasl Tower is a 302 meter skyscraper designed by UNStudio with structure by Werner Sobek

unstudio’s classical inspiration

With its Wasl Tower in Dubai, UNStudio draws inspiration from classical sculpture, rotating along its vertical axis in a dynamic contrapposto pose. Its complex geometry is supported by three massive 300-meter shear walls, which are linked by four strategic outriggers. This structural system enables an open and adaptable floorplate, meeting the demands of its mixed-use program — including office spaces, apartments, and a hotel — while allowing the building to gracefully twist and face multiple directions.

The project becomes a living element within the nightscape through its responsive lighting system designed by Arup. Hidden behind the ceramic fins, the system pulses with light patterns that mimic the tempo of urban life. During the day, the same ceramic system moderates solar exposure. At night, the tower becomes a glowing presence powered in part by PV panels integrated into the adjacent car park structure. The lighting concept flows from exterior to interior, especially in the tower’s public areas and sky lobby.

the building’s sculptural form is based on contrapposto and rotates along its vertical axis

To navigate its complex, multi-functional interior, UNStudio and Werner Sobek employ a layered vertical transport strategy. A total of seventeen elevators — including five for services — support the distinct programs within the tower. Express lifts connect major hubs like the ground floor, spa, sky lobby, and rooftop, while separate lift groups serve office workers, hotel guests, and residents. While streamlining circulation, this system enhances user experience by lending direct, efficient access between public and private zones.

As the Wasl Tower nears its anticipated completion later this year, Dubai prepares to welcome a new icon which actively engages with its climate, culture, and infrastructure. With its ceramic cloak, kinetic silhouette, and environmentally responsive features, the tower signals a forward-thinking future for high-rise design in the desert metropolis.

it features one of the world’s tallest ceramic facades made from low-tech glazed clay

ceramic fins provide shading and reflect light deep into the building

a vertical boulevard of outdoor balconies runs the full height of the tower

the tower is located on Sheikh Zayed Road between Burj Khalifa and City Walk

project info:

name: Al Wasl Tower

architect: UNStudio | @we.are.uns

location: Dubai, United Arab Emirates

contractual partner, lead engineering consultant: Werner Sobek | @werner.sobek

completion: expected late 2025

photography: © Nils Koenning | @nils_koenning

UNStudio team: Ben van Berkel, Gerard Loozekoot, Frans van Vuure with Nick Marks, Harlen Miller, Crystal Tang and Derrick Diporedjo, Machiel Wafelbakker, Dana Behrman, Roman Kristesiashvili, Filippo Lodi, Rene Wysk, Hans Kooij, Patrik Noome, Megan Hurford, Elizabeth White, Fernando Herrera and Aleksandra Sliwinska, Pietro Scarpa, Mihai Soltuz, Philip Wilck, Rutger Stefan Oor, Bao An Nguyen Phuoc, Nanang Santoso, Thomas van Bekhoven, Ka Shin Lu, Henk van Schuppen, Matthew Harrison, Jung Jae Suh, Jae Geun Ahn, Pieter Doets, Shankar Ramakrishan, Meng Zhang

advisors
structural, facade, MEP engineering: Werner Sobek
sustainability, acoustic engineering: Werner Sobek Green Technologies
local MEP engineering: Seed
architect of record: U+A Architects
light design: Arup
landscape architect: Green4Cities
cost consultant: Kulkarni Quantity Surveyors
FLS consultant: Aecom
vertical transportation: Dunbar & Boardman / TUV Sud
AV/IT consultant: Shen Milson Wilke
wind engineering: Wacker Ingenieure
kitchen consultant: Sefton Horn Winch
pool engineering: Barr & Wray
interior design hotel: GA Design
interior design F&B: AB Concept

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Oculta Studio presents Kinetic Vases at Milan Design Week 2025, reinterpreting traditional ceramic vases by introducing movement and transformation. Typically displayed in museums, preserved behind glass in a static state, historical vases serve as the foundation for this exploration of change and reconfiguration. By reimagining these traditionally inert objects, the design aims to create vessels that transform from within, shifting into entirely new sculptural forms.

all images courtesy of Oculta Studio

Oculta Studio explores continuous transformation of material

First unveiled during Mexico City Art Week 2025, Kinetic Vases by creative studio Oculta are set to be displayed at Isola District from April 7th to 13th as part of Milan Design Week. These pieces challenge conventional notions of permanence and form by incorporating kinetic elements that alter their structure. The design reflects themes of fragility and evolution, bridging historical artifacts with contemporary reinterpretations. Through controlled fractures and shifting forms, the vases demonstrate the impermanence of physical objects and the continuous transformation of material and memory.

the installation reinterprets traditional ceramic vases through movement and transformation

inspired by historical vases, the design challenges their typically static presentation

through shifting forms, the pieces explore themes of impermanence and change

the design bridges historical artifacts with contemporary reinterpretations

movement is integrated into the form, redefining expectations of traditional vases

the kinetic structures highlight the continuous transformation of material and memory

each vase presents a balance between traditional craftsmanship and kinetic innovation

the installation explores how objects change over time, both physically and conceptually

Kinetic Vases blurs the line between historical artifacts and modern experimentation

project info:

name: Kinetic Vases
designer: Oculta Studio | @oculta.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

The post oculta studio twists traditional vases into kinetic sculptures at milan design week appeared first on designboom | architecture & design magazine.