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Adamas Stone, an Italian company, after almost a decade of presence in SLC, decided to establish its new headquarter in a new industrial area west of SLC. The new building needed to accommodate all operational functions of the company and being able to give a warm welcome to its clientele. Marco Bagnasacco, designed a space dedicated to the celebration of stone with new modalities of interaction, fruition, assimilation with final detailing and sale experience. Mr. Bagnasacco's work is an integration between information, show case and sale, that he is enriching with his international flair and the Italian "know-how to make it" (detail and seduction) approach united with the American pragmatism approach of performance and design. Truly real experience oriented to the future in which the technical aspect is melted with the culture and the needs of the market, without the imposition of a designer's style. "I do not believe in styles imposed by designers that characterizes indissolubly their own identity over client and consumer's taste. I believe instead in a design process, in the fluidity of design thinking that knows to catch the company's moment, make its essence and identity unique and take it to a new potential where to share with the users the pleasures of a contemporary cultural taste. A new way to observe, interact and shape the matter for designers and users, interpreting with sensibility, curiosity and passion the craft and sustainable nature of the stone: naturally colored, irregular, and material, combinable and usable in every single peace. Marco Bagnasacco has the right approach with the stone, enhancing the natural peculiarities. The design incorporate the creation of entry stands both innovative and coherent with the company image: "Quality, Elegance and Transgression ". These stands in the entry lobby have been created following a communicative device that put in evidence the man control over nature trough the technical transfiguration of a traditional material with a progressive dematerialization of the stone that, at minimum thickness, get closer to a sudden transparency. Big stone slates hung to the wall to defy gravity, textured drawings to invite a tactile experience, and choice of materials in which light pierces throughout and defies the heaviness and monumentality of the stone, creating unexpected games and effects for a material like the stone, a contrast between gravity and lightness to reinvent the uses of the material itself, to a smart reuse of waste materials from the caves. Using the Onyx today as material means, on top of proposing an unusual material for the design, work with a material that bring with itself the time, a material that has history. As ornamental and decorative stone, onyx was known in Egypt, Assyria and Babylon. In Rome it was used for inlays and mosaics. In the Middle Ages it was believed that onyx encouraged the owner to undertake enterprises by increasing revenue. Historical references and current uses of a material to appreciate again, but also in a different way compared to the past: to seek in it the lightness and transparency to reinvent unexpected applications.