The latest edition of our weekly Dezeen Agenda newsletter features images of Apple’s new events venue in California. Subscribe to Dezeen Agenda now.

Technology company Apple has completed a new events venue, which was built into the hillside at the Apple Park campus in California.

The Observatory opened earlier this week and will serve as a venue for events and a place to showcase the brand’s latest technology.

This week’s newsletter also featured Dulux’s announcement of the 2025 Colour of the Year, the construction of Omaha’s tallest tower and a wildfire detection device made of organic materials, which has won the UK James Dyson Award.

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Dezeen School Shows: a winery in California, USA, which uses sustainable systems is included in Dezeen’s latest school show by students at Texas A&M University.

Also featured is a project that integrates the use of generative AI in architecture and emergency housing design to mitigate flooding.

Texas A&M University

Institution: Texas A&M University
School: Department of Architecture
Course: Master Architecture (Year 2)
Tutors: Benjamin Ennemoser, Alejandro Borges, Weiling He, Livia Louretro, Davi Xavier, James Michael Tate, Peter Massin, Fabrizio Aimar, Marcel Erminy, Ray Holliday, Marcelo López-Dinardi, Dr Stephen Caffey, Dr David Reed and Brian Gibbs

School statement:

“As part of a vibrant academic community, the Department of Architecture at Texas A&M University is deeply committed to shaping the future of architecture through innovative education, cutting-edge research and strong professional partnerships.

“Our graduates leave ready to enter the field and lead it, equipped with the skills and knowledge to make a lasting impact on the built environment.

“From the Bachelor of Science in Architecture to the PhD in Architecture, our curriculum emphasises critical thinking, design innovation and interdisciplinary collaboration.

“Direct connections with industry leaders enrich our programs through initiatives, with our specialised centres strengthening these connections, including the Centre for Health Systems and Design, the Centre for Heritage Conservation and the CRS Centre for Leadership and Management in the Design and Construction Industry.

“With by a computation and technology-driven curriculum, students can participate in the Integrated Path to Architecture Licensure program, significantly reducing the time needed to become a licensed architect. The program’s emphasis on collaboration, problem-solving and global perspectives further prepares graduates for success in an increasingly complex and interconnected world.

“The NAAB-accredited Master of Architecture program continues this trajectory, integrating ecological, technological and social contexts into the design process, enabling students to tackle contemporary challenges in architecture from sustainable design to heritage conservation.

“For those interested in research and academic careers, the MS in Architecture and PhD in Architecture programs offer a research-based approach to architectural studies, encouraging the exploration of topics such as design computation, digital fabrication, sustainability and more, often in collaboration with our research centres.

“Our students also have the exciting opportunity to enhance their global perspectives through study abroad experiences in Florence, Italy and Barcelona, Spain. These experiences, coupled with internships, provide an immersive, practical experience that bridges academic learning with professional practice, preparing our students for a truly global career in architecture.”

First Year Studios by Caroline Barry, Jordyn Redden and Ethan Garcia

“This design studio focuses on developing students’ ability to understand and visualise space, challenging preconceived notions of architecture.

“Through a series of exercises, the studio introduces students to the basic principles of spatial composition, the concepts of poche and figure-ground relationships.

“The studio also emphasises the concept of research in architecture, focusing on an analogue and spatial understanding of architectural artefacts and their graphical representation.

“The sequence of exercises frames the design process, moving from abstract and ideal concepts to those that are contextually and programmatically specific.

“The final project introduces the primary functional conditions of architectural assemblage, addressing place, scale, tectonic elements and spatial organisation, interpreted as generators of architectural and urban space.”

Students: Caroline Barry, Jordyn Redden and Ethan Garcia
Course: BS Architecture (Year 1)
Tutors: Alejandro Borges, Weiling He, Livia Louretro and Davi Xavier

SuperCharge by Thomas Huizar, Valentin Giles and Jake Taylor

“The SuperCharge 406 design studio is a platform where students demonstrate their dedication to learning and growth, with a crucial integration of generative AI in architecture.

“Students use the AI tools based on large language and diffusion models to explore architectural design, programming and conceptual frameworks, to design a multifunctional project which integrates an electric vehicle supercharging station and a high-speed train hub in College Station, Texas.

“By leveraging generative AI, students reimagine mobility norms, architectural programs and contemporary aesthetics, incorporating additional programmatic features.

“Through these explorations, each team challenges conventional norms and explores mixed-use typologies through the lens of AI.

“Building on advancements in robotics, AI, big data and the fourth industrial revolution, the studio speculates on new architectural design processes.”

Student: Thomas Huizar, Valentin Giles and Jake Taylor
Course: BS Architecture (Year 4)
Tutors: Benjamin Ennemoser

Timber, Wooden Architecture by Ethan Hajdik, Addison Henson and Jade Radford

“Arch 206 – architectural design II introduces students to materials as creative and generative tools in design, focusing on intermediate-scale housing, emphasising timber and wooden architecture.

“The first half of the semester familiarises students with using wood in building design across various contexts, including introducing the relationship between forests and buildings, considering species, resource management and sustainability.

“Students explore timber as both a structural and cladding element, studying its material properties and aesthetic qualities through vernacular and architect-designed examples, whilst also studying its historical use, the industrial production of dimensional lumber and plywood and the development of engineered wood products and mass timber systems.

“This study culminates in a charette, which encourages a creative exploration of wood products and construction systems at a residential scale, and in the second half of the semester, students build on their research by engaging with Austin’s proposed ‘home initiative,’ which would allow up to three housing units on single-family lots.

“Using a co-creation model, teams iterate on their initial designs, developing a kit of parts strategy adaptable to various site conditions and are encouraged to reimagine timber systems, combining heavy, light and mass timber to inspire contemporary timber architecture.”

Students: Ethan Hajdik, Addison Henson and Jade Radford
Course: BS Architecture (Year 2)
Tutor: James Michael Tate

Aesthetics of Dystopia by Larane Orsak

“Dystopia refers to fictional societies marked by oppressive and nightmarish conditions, in contrast to utopias, which depict ideal societies.

“While dystopian aesthetics often convey suffering and repression, designers and architects have found inspiration in the visual and conceptual aspects of these worlds for its offer of rich urban design strategies.

“Reassembly focuses on sustainable strategies for reusing existing buildings and materials which are essential for achieving the UN’s Sustainable Development Goals in architecture.

“In this design studio, students explore reassembly strategies that use digital tools and fabrication methods to repurpose fragments of Houston’s industrial plants into a mixed-use building near the city centre.

“The project emphasised sustainable design, with the final outcomes placing emphasis on the tectonic complexity and potential of reassembly in contemporary architecture.”

Student: Larane Orsak
Course: BS Architecture (Year 3)
Tutors: Peter Massin

Design for Climate Change by Mohammed Shahadat Hossain

“The studio focuses on designing a community centre to address flood risks by combining research and practice-based design approaches.

“Students begin with a SWOT analysis of four selected neighbourhoods in Greater Houston, Texas, proposing resilient strategies to mitigate climate change risks at neighbourhood and building levels.

“The designed building incorporates functions such as emergency preparedness, temporary housing, offices and emergency vehicle shelters, all while emphasising energy and construction sustainability.

“The key to the project’s success is the well-defined private spaces that represent the values of AI4ALL and the building’s ground condition and posture.

“Throughout the design process, AI is employed as a collaborator and partner, helping to navigate and integrate the various design constraints – this approach ensures that the community centre is functional, sustainable and resilient in the face of climate change risks.”

Student: Mohammed Shahadat Hossain
Course: Master Architecture (Year 1)
Tutors: Fabrizio Aimar

Architecture Integrated Studio by Ekaansh Kalra and Aidan Lozano

“The Architecture Integrated Studio is a pivotal part of architectural education, where students learn to synthesise various design aspects into a cohesive whole.

“Building on previous coursework, the integrated design studio combines structural systems, building assemblies and environmental responses with strong design considerations.

“It integrates research methods to prepare students for application to the Master of Architecture (M.Arch) degree.

“This holistic approach enables students to consider the broader implications of their design decisions, creating aesthetically pleasing, structurally sound, functionally efficient and environmentally responsive buildings.

“The Architecture Integrated Studio is essential in teaching students to think conceptually, critically and sustainably while fostering effective collaboration.”

Students: Ekaansh Kalra and Aidan Lozano
Course: BS Architecture (Year 4)
Tutors: Marcel Erminy

Sustainable Winery by Andrew Koltys and Christian Martinez

“In this course, students develop the ability to generate integrated architectural solutions focusing on net zero sustainability, that achieve performance characteristics outlined by the AIA 2030 mandate.

“The design project centres on creating a sustainable winery in Napa Valley, California, incorporating key architectural components such as envelopes, assemblies, structural and mechanical systems and life safety systems to achieve a cohesive and resolved architectural project that integrates these elements seamlessly.

“Students choose between two sites: Frogs Leap Winery, which has flat terrain, or Odette Estate Winery, which has varied terrain, to design a new winery complex in line with the site’s existing conditions with an innovative use of materials.

“The project requires at least one two-storey structure with two sets of stairs and one elevator in order to meet all ADA and code requirements.

“The assignment emphasises the connections between architecture, people and landscape, and by the end of the course, students will have developed skills in creating sustainable architectural designs that celebrate the relationship between the built environment and its natural context.”

Student: Andrew Koltys and Christian Martinez
Course: Master Architecture (Year 2)
Tutor: Ray Holliday

Transforming the Hot Wells Bathhouse into the Hot Wells Culture and Ecology Centre by Mia Hendershot

“The Hot Wells Bathhouse, once a bustling destination in the early 19th century, now stands as a unique intersection between humanity and nature, leaving the historic site in ruins.

“In its abandonment, nature began to reclaim the old building as its own, a process known as secondary succession.

“The ruins are now home to a unique ecosystem that bridges the ecology of the San Antonio River with the primitive flora that dominates the crumbling walls of the old bathhouse.

“This combination of anthropology and ecology informed the building program and design, forming a destination upon the riverbanks with a landscape that shares the narrative of its past for locals and tourists alike.

“The resulting project takes form as a place that not preserves the past and contributes to the community, providing a space for exploration, learning and gathering, whilst crucially acknowledging the ebb and flow between people and nature and offering a wealth of educational opportunities, spanning topics from the history of the site to the unique ecosystem it hosts.”

Student: Mia Hendershot
Course: Master Architecture (Year 2)
Tutors: Dr Stephen Caffey, Dr David Reed, Brian Gibbs and Marcel Erminy

AI-Techno Chapel by Alina Torres, Dylan Love and Alexandra Morabito

“Students utilise AI tools like diffusion models to generate new designs for a small-scale chapel in Austin, Texas, reinterpreting the chapel as a traditional Texas typology and incorporating 500 years of architectural history and theory.

“The design process combines of manual and computational techniques, accompanied with a field trip to the Dallas-Fort Worth area to explore chapel precedents and civic buildings that reflect key architectural periods and movements.”

Students: Alina Torres, Dylan Love and Alexandra Morabito
Course: BS Architecture (Year 2)
Tutors: Benjamin Ennemoser

Architecture from Public to Commons by Justin Gill

“The Post Oak Mall in College Station, Texas has decreased in attendance and each year the mall finds less foot travel than years prior.

“To support the growing population of students and the university as a whole, we are proposing to convert Post Oak Mall into an auxiliary campus for students in agriculture, technology, engineering and arts specific degree programs.

“The reduction of climate-controlled spaces within the mall’s buildings allowed us to incorporate greenhouse-like infrastructure directly into the buildings.”

Student: Justin Gill
Course: BS Architecture (Year 3)
Tutors: Marcelo López-Dinardi

Partnership content

This school show is a partnership between Dezeen and Texas A&M University. Find out more about Dezeen partnership content here.

The post Texas A&M University presents ten architecture student projects appeared first on Dezeen.

PatSeer, a company that helps users do patent searches, has created a new service for industrial design firms and manufacturers. The problem the service was designed to solve, is as follows:

“In the past decade, design registrations have surged in Asia and North America owing to market globalization and the rising value of designs as a competitive asset. This has led to more frequent and complex legal disputes.”

Designers can stay out of legal trouble, the company reckons, by first doing research to see if anyone’s designed anything similar to the thing you’re working on. To make this easier, they’ve created an AI-powered Industrial Design Search service “with unparalleled coverage,” they claim, citing access to 20 million design registrations across 86 different design registers.

To use it, you upload images of what you’re intending to produce, check off boxes narrowing down function, materials, finishes, etc., and AI returns similar designs that have already been registered.

“Design searching has been stuck in sand for a long period,” says company founder Manish Sinha. “Professional users have had no option but to scan thousands of images to ensure reliability in their outputs. By combining leading edge AI with enriched content, we are offering a hybrid intelligence solution that redefines how designs are searched. This platform represents the future of industrial design search and provides professionals with indispensable tools for the task.”

The company says you have to request access to the service by providing a name and e-mail address. Their pricing is opaque—”Contact Us”—but they’re providing a free two-week trial.

It’s that time in human history again when the world turns its attention to a country whose political outcome could also affect the rest of the world, one way or another. Presidential debates are pivotal moments during this period, offering candidates a highly publicized platform to present their policies, challenge their opponents, and connect with voters. These events have become quite sensational shows even, and just like any other show, there is one unsung hero: stage design. The layout and design of the debate stage are fundamental in shaping how these encounters are perceived by both the live audience and viewers at home. So we take a closer look at the role stage design plays in presidential or any other debate, and how various elements such as visual hierarchy, backdrop aesthetics, and camera angles can influence the overall dynamics.

Designer: Clickspring Design

Visual Hierarchy and Focal Points

Just like in any stage design, the placement and interaction of various elements play a critical role in guiding people’s attention, especially for those watching at home whose views are largely determined by the camera. Here are some of those elements that establish a visual flow that could very well change the narrative or impact the audience.

The Central Placement of Podiums

Image courtesy of: Pressmaster

The podiums where debaters stand are naturally the center of attention on stage and have a direct impact on its design. Typically, podiums are positioned centrally on the stage to ensure that candidates are the main visual focus. They are also distributed evenly across the center to maintain an equal visual weight between candidates, promoting an unbiased viewing experience. It is also a strategic arrangement as it facilitates a smoother debate flow, allowing candidates to engage directly with each other and the moderators, regardless of their position on the stage.

Backdrop Design

Although treated as a decorative element, the backdrop plays a more important role in setting the atmosphere and even diverting focus toward or away from the speakers. In political debates, it’s a canvas that can incorporate national symbols such as flags or seals, as well as national landmarks that paint a larger picture of what the event is about. The choice of color scheme is an important matter to consider, as too many hues can end up distracting or even straining the eyes. Neutral and muted tones are generally best to keep the emphasis on the candidates rather than the design.

Image courtesy of: Live Design Online

Camera Angles and Lighting

Considering presidential debates have always been televised or, more recently, projected on large screens in the venue, camera angles and lighting have become even more essential and can either enhance or detract from the debate experience. Wide-angle shots capture the entire stage, providing context and showing the physical dynamics between candidates. Close-ups, on the other hand, capture facial expressions and gestures, adding an emotional dimension to the proceedings. Lighting isn’t just a matter of putting a spotlight on people, especially since it has to be done in a way that doesn’t look biased, like casting shadows on some candidates but not others. Balanced and soft lighting helps to create a polished and professional visual atmosphere, keeping the focus squarely on the candidates, while extravagant and showy lighting effects tend to make the event and the stage look cheap and superficial.

Ensuring Equality and Focus

The layout and design of a presidential debate stage isn’t something that is planned haphazardly. Visual elements like the central placement of podiums, backdrop aesthetics incorporating national symbols, and strategic lighting all work together to highlight the candidates. The visual hierarchy created by these elements helps direct the viewers’ attention to the key players and enhances the overall impact of their messages. The most important point to remember is that the design should ensure that candidates are given equal visual weight, reducing any implicit bias. Stage design should also keep the audience focused on the content of the debate rather than the setting, though some more recent stages seem to go in the opposite direction and become spectacles themselves.

Image courtesy of: AnnaStills

The Evolution of Stage Design in Presidential Debates

While debates have been around since the time of the ancient Greeks, televised presidential debates are a more recent phenomenon that only started in the US in the 60s. Thanks to technology, this integral part of the US election system went beyond geographical borders and became something that other countries have come to follow. Of course, the design of the stages in these debates has also evolved along with human history and trends, reflecting not only the aesthetic tastes of the generation but also their concerns.

Historical Context

The first televised debate between John F. Kennedy and Richard Nixon in 1960 already highlighted the importance of visual elements. Kennedy’s youthful and composed appearance contrasted with Nixon’s pale, sweaty demeanor and the poor stage lighting and camera angles that didn’t do the latter any favors. This debate marked the beginning of an era where stage design would become an integral part of political strategy. The design of presidential debate stages has evolved significantly over the years as technologies improved and audiences have become more sophisticated.

Image courtesy of: Getty Images

Modern Innovations

Recent technological advancements have allowed for more complicated stage designs that go beyond simple podiums and plain backgrounds. High-definition screens, 3D projections, and even augmented reality have been integrated to create more engaging and dynamic environments. These innovations not only enhance the aesthetic appeal but also offer new ways to present data and statistics, making complex topics more accessible to the audience. That said, there is also a tendency to go overboard with these innovations, resulting in stages with distracting elements and presentations that turn the debates into entertainment shows.

Image courtesy of: CNN

The Psychological Impact of Stage Design

Stage design might seem like more of an audiovisual matter, but like any kind of design, they have underlying and sometimes subtle psychological effects as well, intended or otherwise. Even the mere placement of elements or choice of colors can have an impact on viewer perception, often subconsciously even.

Perception of Authority

Stage design can subtly influence the perception of a candidate’s authority and competence. For instance, elevated podiums can give candidates a commanding presence, while their placement on the stage can make them feel emotionally distant or close. Symmetrical designs and balanced lighting contribute to a perception of fairness and impartiality, indirectly boosting the candidates’ credibility. Lighting and camera focus can literally change how a candidate looks, making them seem gloomy, happy, suspicious, or trustworthy.

Image courtesy of: adme

Audience Engagement

The stage itself captures and retains the audience’s attention, and a well-designed one has stronger holding power. Strategically placing elements and tasteful use of visuals Engaging visuals ensure that viewers are not distracted and remain focused on the candidates’ messages. Elements such as movement on stage, transitions between camera angles, and interactive elements like audience reactions contribute to a dynamic viewing experience and can be potent tools to create a more meaningful connection with the audience, especially with the Internet that can include the participation of home viewers as well.

The Role of Technology in Enhancing Stage Design

While the first televised presidential debates relied solely on studio cameras and terrestrial TV networks, we have a broader range of technologies today to add flavor to the debate or, conversely, spin a different narrative. Just like any other tool or design element, these have to be used wisely and judiciously to put the focus on the most important part of the event: the candidates’ messages.

High-Definition Screens and Projections

High-definition screens and projections are now standard in modern debate stages as they can let live audiences see a closer look even when they’re at the bleachers. These can also display real-time data, enhance visual graphics, and even simulate different environments. This technology allows for a more comprehensive presentation of complex issues, making it easier for the audience to grasp the nuances of each candidate’s argument.

Image courtesy of: MUS_GRAPHIC_

Augmented Reality

Augmented reality (AR) has started to make its way into stage design, adding an immersive layer to the debate experience. Just like screens, AR can be used to visualize data, project interactive maps, or even recreate significant historical moments, except at a more personal distance. It can make viewers feel like they’re really “on the scene,” but like any other AR experience, it needs to be used in moderation so as not to exclude the majority of people who don’t have AR equipment to use.

Lighting and Sound Design

Advanced lighting and sound systems are crucial in creating the desired ambiance and ensuring clear communication. Programmable LED lights can highlight specific moments or shift focus between speakers, while high-quality sound systems ensure that every word is heard clearly. Conversely, they can also be sources of distraction or even physical discomfort when overused.

Designer: Clickspring Design

Challenges and Considerations in Stage Design

Stage design for presidential or any debate has the same elements as most stage designs, but they carry even more weight in ensuring an impression of impartiality and fairness. To some extent, this kind of stage design has a more serious overtone, presenting unique challenges to designers and architects.

Balancing Aesthetics and Functionality

Like with any kind of design, balancing aesthetics with functionality is one of the most important hurdles to overcome. While it’s essential to create a visually appealing environment, it’s equally important to ensure that the design does not interfere with the debate’s primary purpose: to provide a platform for meaningful discourse. Overly elaborate designs can be distracting, while overly simplistic designs might actually be counterproductive and bore viewers to the point of losing interest.

Image courtesy of: CNN

Ensuring Impartiality

To some extent, ensuring impartiality is probably the most critical consideration that guides the overall design. Every element of the stage must be scrutinized to avoid any potential bias, visual or otherwise. This includes equal lighting, symmetrical podium placement, and unbiased camera angles. Even subtle elements, such as the candidates’ color schemes, must be carefully managed to maintain a neutral environment.

Final Thoughts

Stage design for presidential debates is a complex interplay of art and science. It requires a deep understanding of visual hierarchy, psychology, and technology to create a setting that enhances the candidates’ messages and engages the audience. As technology continues to evolve, so too will the possibilities for innovative and impactful stage designs, further elevating the importance of this often-overlooked aspect of presidential debates. It shapes perceptions, influences engagement, and ultimately contributes to the political process by providing a fair and engaging platform for candidates to present their visions for the future. After all, the role of stage design in presidential debates cannot be overstated, for it is indeed a silent yet powerful player in the theater of politics.

Pasant Theatre, Wharton Centre

The post Setting the Stage: How Design Shapes the Dynamics of Presidential Debates first appeared on Yanko Design.

Promotion: architecture practice Iosa Ghini Associati has renovated the 1980s headquarters of Italian surfacing manufacturer Fiandre in Castellarano, using ceramic to cover almost the entire interior from the walls and floors to the custom furnishings.

Set across three floors and 2,400 square metres, the office was originally designed by architect Quintilio Prodi in 1989 and is described by Fiandre as “vaguely post-modern”.

Iosa Ghini Associati has revamped and reorganised the interiors by designer Carlo Cattani to prioritise the wellbeing of employees and encourage their return to the office post-pandemic.

With this aim, the architectural studio, with offices in Milan and Bologna, introduced novelties including a hangout area in the basement complete with a football table, a “take one, leave one” bookshelf and rocking chairs overlooking the garden.

Office space and meeting rooms are spread across all three floors of the building, separated by glass partitions that allow daylight to filter into the core of the building while still providing acoustic privacy.

Different areas are also distinguished by their use of different Fiandre ceramics, which architect Massimo Iosa Ghini used across almost all available surfaces.

“Ceramic surfaces were applied like a changing, decorative skin to floors and walls, at times adorned with precious triangular and herringbone cuts to embellish the spaces without ever overdoing it,” Fiandre said.

Fiandre’s ceramic surfacing was used to cover floors across all three storeys, as well as various walls, washbasins and custom desks, meeting tables, bar counters and coffee tables designed bespoke for the office.

To improve indoor air quality and hygiene, Fiandre chose Active Surfaces – ceramic slabs developed by Fiandre’s parent organisation Iris Ceramica Group. The photocatalytic properties of these “eco-active ceramic surfaces use light energy to trigger chemical reactions that eliminate bacteria, viruses and pollutants, converting them into harmless substances”, the company said.

In total, the building uses 5,058 square metres of ceramic slabs, which together with the LED lights help to purify over 10,000 cubic metres of air from odours and volatile organic compounds per day, according to calculations from researchers at the University of Milan.

In the lobby, the floor is finished in a herringbone pattern formed from alternating matte and glossy slabs of the marbled Premium White Maximum porcelain.

The reception desk is flanked by two waiting areas, underscored in Pietra Grey Maxium and enveloped by two curving walls clad in fluted ceramic slabs made using the 4D Ceramics technology pioneered by Fiandre’s parent company Iris Ceramica Group and distributed by Sapiestone brand.

Pietra Grey also features in the basement, combined with terrazzo-like Seminato Beige.

The executive offices on the first floor feature walls adorned in striking blue Amazonite Maximum, while the 70-square-metre CEO office is equipped with a mini-bar and a private bathroom that features Fiandre’s highly polished Glint finish, which reflects light around the room.

The first floor also features a huge 18-by-3-metre mural by digital artist Becha, printed on ceramic slabs using the company’s Design Your Slabs (DYS) technology and reused from Iris Ceramica Group’s exhibition space at international ceramics fair Cersaie in Bologna in 2023.

Meeting rooms scattered around the rest of the building can accommodate between eight and 20 people and feature tables with ridged and fluted bases made using the 4D Ceramic technology.

The lighting and polarised windows in the meeting rooms can be controlled with touch ceramic surfaces integrated directly into the stone surface, eliminating the need for unsightly external cover plates and switches.

And walls are decorated in Marsala Red with a tessellated pattern cut into the surface to provide subtle decoration.

“The colour of the furnishings and finishes adds personality, making the spaces feel more creative and more like home, while adding a sense of timeless elegance,” the architect specifies,” Iosa Ghini said.

Fiandre is part of Iris Ceramica Group. For more information on Fiandre, visit the company’s website.

Partnership content

This article was written by Dezeen for Fiandre as part of a partnership. Find out more about Dezeen partnership content here.

The post Iosa Ghini Associati clads Fiandre office in “decorative skin” of ceramic surfaces appeared first on Dezeen.