The collection is a complex set of modules, rhythms, and directions that the designer arranges according to their own logic, generating radically different environments—from absolute continuity to controlled tension between opposing visual fields. The surface stems from a process involving weft, warp, and resist-glaze techniques that recreate the perception of woven fiber while remaining, in substance, porcelain stoneware. This short-circuit is intentional. The eye reads a fabric, while the hand discovers ceramics. The border present in one of the two variants is not an ornament, but a structural element: it marks the direction, strengthens the visual module, and introduces that subtle vibration characteristic of natural materials. The four shades of SHIKI do not have color names. They are called Brezza, Vapore, Ripa, and Alba. They are conditions of light, memories of nature, atmospheric states. Strips and squares in Texture Tatami or Grafite add a second compositional level, calibrated by the designer with the precision of someone composing a visual score.

If SHIKI speaks the language of measure and systems, Mirage Thread responds with that of freedom and disruption. The contest was born with a precise but intentionally open goal. Architects and interior designers were invited to take Mirage porcelain stoneware surfaces and transform them into something unexpected: a piece of furniture, an interior design element, a form capable of surprising. Among the participants selected for the final, nine come from Latin America and the Caribbean: Costa Rica, Puerto Rico, Mexico. Different backgrounds, different approaches, a single starting material. What unites their projects is not style, but attitude. A genuine curiosity toward the limits of ceramics and the desire to push them further. Their works are exhibited in a dedicated space within the Mirage Project Point. Visiting them means understanding the potential of porcelain stoneware when it stops being just a surface.