Ceramic Kitchenware

FDA Department of Industrial Design Industrial Design Graduation Project 2019

Research Report Ruchir Gupta

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ACKNOWLEDGEMENT I express my sincere gratitude to Florence Design Academy for offering us this project and also for the consistent support.

This project wouldn’t have taken the desired turns without the mentorship of Mrs. Olga Litvinova, Thank you for the constant support through this path that has been established; it certainly feels as if it wouldn’t have been possible without her.

Mr. Guglielmo Brambilla, for providing useful insights and references helping me make this endeavour successful.

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METHODOLOGY Exploration of Problem Area • Project Statement • Products and design trends in the market • Technologies, materials, production techniques • Characteristics of the potential user group • Inference and possible directions Exploration of the Solution Area • Project constraints, objectives and directives • Further research • Analysis of potential design solutions Design Solutions • Description • Detailing

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CONTENTS Project Statement Ceramics Ceramics in Italy Traditional Majolica Designs Ceramics in Italy Today User Group Project Objectives

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Design Direction Potential Design Solutions Ideation Design Solutions Detailing Ceramic waste

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Inference

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References

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CERAMIC KITCHENWARE

Masters Thesis - Industrial Design Thesis Timeline 1st March 2019 to 24th May 2019 Location - Florence, Italy

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PROJECT STATEMENT The project aims to develop ceramic kitchenware, to prototype solutions for minimally decorated or mass-produced earthenware, further promoting Italian pottery craft into the contemporary market (Catering to Scandinavian aesthetics or traditional story telling techniques).

The end outcomes should also emphasize on the functional aspects of kitchenware which could be tableware such as - cutlery, or vessels used in the kitchen as day-today routine objects. This would imply that the design outcomes may make the rather mundane objects seem un-mundane.

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CERAMICS The trend for ceramic art can be traced back to the era of the Sicanians. In particular, it is said that the Sicanians were influenced by the Mycenaean culture, the Mycenaeans being a race of Indo-Europeans who melded into the Greek population around the era of 2800 BC. Mycenaean pottery is said to have influenced Sicanian pottery in its style and appearance.

One particular Sicilian area to develop ceramics was that of Caltagirone. It’s a region that is universally famed for its ceramics, and it is said that the first instances of production began around the era of the second century BC. Ceramic output grew in stature, and was especially popular in the eras of Norman and Hohenstaufen rule.

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PROCESSING THE PRODUCT

MAIOLICA MAGNIFICENCE

A key reason for the popularity of Sicilian ceramics is the quality of the Sicilian clay.

The clay is freshly mined from Sicilian valleys and mountains, and contains a mixture of unique silicates that give the material its special properties.

A common ceramic sold in Sicily today is Majolica. Majolica is a type of ceramic earthenware and the first example of this type of ceramic was originally said to have first appeared in Arabic lands at around the time of the ninth century.

After mining, the potters and ceramic makers will mould and shape the clay to their precise requirements. Once the clay has been sun baked, it will then undergo a further bout of baking and firing in the kiln to give it that hardened, terra cotta quality. Finally, the clay is crystallised and becomes stronger and firmer, resulting in its finished ceramic product.

Tin oxide glazing enamels are used to paint the clay before it is fired to a strong and reflective result – a notable aspect of Majolica ceramics is that the clay is fired at a relatively low temperature.

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The common glazes used for majolica are viscous tin oxide colours which are used over a white imprimatura. It’s hugely popular in Sicily and combines the best of both Porcelain and Terra Cotta worlds.

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CERAMICS IN ITALY Italy has a long, rich history with ceramics, one that is revered by many all over the world. Handmade, hand painted majolica is an incredible thing to behold, especially in a time where minimally decorated or mass-produced ceramics flood the global market. It’s important to remember that pottery is not just for basic functional ware, but is also a form of artistic expression, and one that has been a major way of life for the Italians for centuries.

Italian majolica was first produced around 1350, but it wasn’t until the height of the Renaissance that the pottery reached its artistic peak. Early maiolica had a limited color palette; a classic white base with manganese (brown) and copper (green) glaze designs. By 1460, the technological advancements in kilns and glazes combined with the flourishing artistic prowess of the artisans brought us the vibrant, polychrome ceramics that we associate with Italian pottery today. By the end of the 15th century, small towns were renowned for their high-quality maiolica and each town had developed their own distinct styles.

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Some were larger cities, such as Siena, but more often they were small towns whose market was a large nearby city to which they were politically affiliated. Two prominent examples were Deruta, near Perugia and Montelupo, near Florence.

Both of these towns are located along riverbanks – the Tiber in Umbria and the Arno in Tuscany – where there are natural clay deposits, perfect for the production of maiolica. Once the Italians became experts in the craft, Italian ceramics became world-renowned; an incredible feat in the days in which information travelled by ships.

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TRADITIONAL MAIOLICA DESIGNS Many of the designs that originated during this prolific era of ceramic artistry have stood the test of time and can still be found today. The hillside town of Deruta, in Umbria, is one of the biggest producers of maiolica and they’ve been perfecting their artistry since the early Middle Ages.

During the 16thcentury, the Raffaellesco character became a popular design in pottery. Raffaellesco is the namesake of one of the Great Masters, Raphael (full name Raffaello Sanzio da Urbino, 1483-1520), a painter and architect. His frescos featured a creature which came to be known as a “grottesque”, a design that combines human, animal, and botanical forms. An example of this sort of creature can be found in Raphael’s “St Michael Trampling the Dragon”. Though the version of the dragon in Raphael’s painting is a dark, sinister-looking beast, the romantic Italians allowed the image of the dragon to evolve into a much lighter, more benign creature. The Raffaellesco we know today is a benevolent deity, bestowing good luck and fair winds to all who cross his path.

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Another familiar theme in Italian ceramics are the regal portrait platters that depict Italian nobles. Naturally, portraiture has been commonplace for centuries throughout many different cultures, but the remarkable skills necessary to produce these ultra-refined paintings on ceramics is truly impressive. These portrait platters (and sometimes bowls, urns and vases) came about due to dramatic development in the art of portraiture during the Renaissance in 15th century Italy. This was part of a larger cultural phenomenon in which the stature and accomplishments of the individual were increasingly celebrated; growth of trade, and a new emphasis on selfgoverning created a growing number of wealthy and politically powerful individuals who wanted to honour their stature and preserve their likeness for posterity. A portrait was a complex correspondence in which the subject’s piety, virtue, learning, and prosperity — even one’s soul were highlighted.

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MID-CENTURY APPEAL

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The mid-century era brought about a completely different artistic style that has gained quite a cult following. Giovanni DeSimone was born in 1930 in Palermo, Sicily to a pair of Italian aristocrats.

As a child he and his family travelled to Somalia, and his experiences there clearly stuck with him and inspired his life’s work, which demonstrates an appreciation of primitivism and the cubist movement that was popularized by Picasso, Matisse and Gauguin in the early 1900s.

The DeSimone ceramics studio began in the 1960s and produced both dinnerware and serving pieces as well as decorative tiles and larger panels. During his most prolific period, there was anywhere from four to six artisans who worked for him and helped with production. The colors and themes were consistent throughout, though each decorator brought their own style to the table. Giovanni would typically sign his work “DeSimone” in a location that would be visible without having to turn the piece over.

DeSimone relocated to Emilia-Romagna following WWII where he enrolled in the famed Istituto d’Arte per la Ceramica in Faenza. It was there he found his life’s calling; pottery became his passion.

After completing his studies, he and his family returned to Sicily. Nostalgic for his native land now seen through adult eyes, Giovanni finally felt at home. It is here in Palermo that DeSimone meets the love of his life, Eliana, who eventually becomes his wife. Together they created three beautiful daughters, Susanna, Margherita and Rosita.

Giovanni passed away in 1991, but his legacy continues through his daughters Susanna and Margherita, who operate La Fabbrica della Ceramica which is still located in Palermo, Sicily. Their work is very much inspired by the creations of their father, and, like his work, each are individually handmade and hand painted.

His brightly-colored pottery is recognized and sought after by collectors, but the honest accessibility of his work draws in new devotees every day.

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VOLCANIC STONE TABLES Incredible Italian ceramics craftsmanship doesn’t stop at pottery. Beautifully hand-crafted volcanic stone tables from Sicily are a breathtaking example of the advancements in the craft.

Highly skilled Italian artisans create a volcanic composite surface onto which traditional patterns are painted. Once glazed, the final product is loaded into a kiln and during the high-firing process, it is transformed into a dense, durable tabletop that is not only hard as granite, but which also features the intricate artistry that has made Italian ceramics famous for centuries.

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CERAMICS IN ITALY TODAY Today, pottery continues to be the livelihood of thousands of potters and their families throughout the country of Italy. The heritage extends to America, where one first-generation family has been importing these incredible works of art since 1982.

The pottery of Italy can be found in many Italian-American households; it is part of the heritage, deep-rooted in the family traditions, and passed down from generation to generation, much like the techniques that created it.

After retiring from his electronics business in his early forties, Ben Spalluto and his wife Carol began looking for their next chapter. After a few attempts in various directions, they discovered their shared passion in handmade Italian ceramics.

Raised in Puglia, Ben often travelled home to visit family, and he and Carol loved bringing the hand painted treasures they found on their travels back to the states. They then realized that they had a great opportunity to share their love of handmade ceramics with the rest of the United States. The business began strictly as a wholesale distributor, but quickly grew as the Spallutos found more and more irresistible work from small, familyowned factories throughout Italy. In 1993, they opened their warehouse to the public and Italian Pottery Outlet was born. Three of the four Spalluto children eventually joined their parents, and today the business is still completely family-owned and operated.

The lineage of expertise has been refined over hundreds of years of inspired artistry in the hands of accomplished Italian artisans, and the quality of their craftsmanship is undeniable. This attention to detail and incredible workmanship is evident in the pottery

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CERAMICS IN ITALY TODAY Companies producing tableware and other ceramics products with a contemporary and minimal design vision.

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USER GROUP Today, pottery continues to be the livelihood of thousands of potters and their families throughout the country of Italy.

Primary users Secondary users

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The pottery of Italy can be found in many Italian-American households; it is part of the heritage, deep-rooted in the family traditions, and passed down from generation to generation.

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PROJECT OBJECTIVES The clear objective of this project is to bring out the physical and mental aspects of ceramics. The viewer may perceive things as they were not intended but that has an equally important meaning. These products may seem like they have been intended to portray singular properties of materials but there is another hidden layer to it, which has been left for the viewers to discover.

Confusion and curiosity also play a major role in the process of discovering and drawing conclusions. It’s for the viewers to decide what they are looking at.

The project leads to a lot of unanswered questions, which need to be left unanswered, creating a sense of discomfort. Interaction between any piece of work and the audience is important as it gives definition to that work, in this case every product will have its own uniqueness even though they will be produced in bulk since the objects are craft objects and require specific artisan-al skills.

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This gives these portrayals within the product some depth and will also make each viewer a part of them. Also at times, such events give rise to thought processes that involve memories. People tend to relate things to themselves and then draw conclusions that in itself is an interesting way of looking at things.

The project aims to develop ceramic kitchenware.

The end outcomes should emphasize on the functional aspects of kitchenware which could be tableware such as cutlery, or vessels used in the kitchen as day-to-day routine objects.

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DESIGN DIRECTION Design is an action based process, that is the act of giving form to ideas, often described as creative problem solving but ideally it is more than this and cannot only solve problems but reveal opportunities.

For the solution - something practical, exciting and stylishly satisfying including customary and contemporary aesthetics of designing, diverse to the typical amenities. In this day and age its difficult to oblige every one of the necessities in a single product solution thus not effortlessly open, consequently I have consolidated key design elements, such as, convenience, elective uses and accessibility for the customer, giving sufficient capacity alternatives for every one of his/ her necessities making her collaboration with the product as intuitive and unobtrusive as conceivable through the idea.

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POSSIBLE DESIGN SOLUTIONS Coffee Mug Plates Bowl Glass

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Salt Pepper

Tea Cup

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IDEATION Sketching out ideas and initial concepts for ceramic kitchenware using hand sketches and digital ideation tools such as 3D digital modelling, rough renders and quick mock-ups.

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COFFEE/ TEA MUG Coffee mug with smooth glaze - easy to hold hot and cold items. Made of durable porcelain, a type of premium LEAD-FREE and NON-TOXIC ceramic, chip-resistant and more sturdy than stoneware. Perfect for coffee, tea, cocoa and cereal.

CMF Options Ceramic (Porcelain) Wood (Dark Walnut) Dimensions 165 x 180 x 120 mm

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Back

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Perspective

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180 120

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120

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165

30 Side

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Ceramic Mug Dimensions in mm Drawings not to scale

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COFFEE MUG CMF Variants

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GLASS Ceramic Glass with smooth glaze - easy to hold hot and cold items. Made of durable porcelain, a type of premium LEAD-FREE and NON-TOXIC ceramic, chip-resistant and more sturdy than stoneware.

CMF Options Ceramic (Porcelain) Wood (Walnut) Dimensions 160 x 120 mm

Side

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Perspective

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120 65

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160

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Front

Ceramic Glass Dimensions in mm Drawings not to scale

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GLASS CMF Variants

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SALAD BOWL Bowl with smooth glaze - easy to hold hot and cold items. Made of durable porcelain, a type of premium LEAD-FREE and NON-TOXIC ceramic, chip-resistant and more sturdy than stoneware. Perfect for Salad and cereal.

CMF Options Ceramic (Porcelain) Wood (Dark Walnut) Dimensions 300 x 300 mm

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300

165

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120 30 Side

Front

Ceramic Bowl Dimensions in mm Drawings not to scale

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SALAD BOWL CMF Variants

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PLATE Plate with smooth glaze - easy to hold hot and cold items. Made of durable porcelain, a type of premium LEAD-FREE and NON-TOXIC ceramic, chip-resistant and more sturdy than stoneware. Perfect for meals.

CMF Options Ceramic (Porcelain) Dimensions 300 x 300 mm

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Top Perspective

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230

170

200

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Top

15 Side

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Front

Deep Plate Dimensions in mm Drawings not to scale

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DEEP PLATE CMF Variants

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175

230

Top

15 Side

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Ceramic Plate Dimensions in mm Drawings not to scale

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Ceramic and Wood Product Line

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Perspective

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Top

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Front

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Ceramic Side Exploded

Mastic Adhesive

Walnut (Base and Handle)

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CERAMIC AND WOOD JOINERY Hi-Performer Advanced Bonding System to the underside of the ceramic substrate. After the hot glue cools, it will keep the ceramic and wood together - up to a temperature of about 280 degrees.

Another method is to use a special Glue, called Mastic, is the least expensive method. Mastic adheres the ceramic directly to wood. Creating mosaic designs or laying out a standard grid pattern using mastic is just like using thin-set with the exception that you must wait for the glue to tack before starting and then work quickly to complete the project before the glue dries too much.

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WOOD TREATMENT

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Untreated wood is susceptible to rotting, warping, or cracking. To prolong the life of your wood, you can treat it with a waterproofing product. Consider waterproofing any wood that is regularly exposed to the weather like a back patio or porch furniture. It is also common to waterproof interior-based woods and kitchen surfaces.

Linseed oil can also be bought without metal drying agents. You can create a stronger treatment and sealant by mixing the oil with turpentine and apple cider vinegar. Mix one part oil (tung, linseed, or walnut), one part turpentine oil, and ½ part apple cider vinegar. This mixture will preserve your oil supply and will create a more durable finish.

Method 1 Waterproofing Wood with Oil The three common oils used for waterproofing wood are linseed, walnut, and tung. Tung oil is typically found as a mix in most commercial products. Raw tung oil is often more expensive than other oils, so it is usually used on smaller wood projects. Walnut oil is the same product you’ll find next to olive oil in the grocery store. Due to nut allergies, walnut oil cannot be used commercially. Linseed oil can be purchased at most DIY repair shops, but many of these products are sold as raw or boiled. Boiled linseed oil contains metal drying agents that are poisonous. You can still use this product on outdoor patio equipment, but you should not use it for anything involving food.

Method 2 Using Sealants to Waterproof The sealant method is best for any previously finished wood, since oil-based stain may not sink into the wood. A water based wood sealer, You can find these products at a home improvement stores.

Water Seal and Stain Sealer are common names for wood sealants. You can also purchase a tinted sealant and sand the surface of the wood before you apply it.

Method 3 Waterproofing Wood with a Stain An oil-based semi-transparent stain. If you are planning on treating exterior wood, get an exterior grade stain. The lighter the stain, the more oil content the stain has.

Light stains are good for interior projects or woods that won’t be exposed outdoors as much.

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PRODUCTION • Step 1 - Milling • Step 2 - Molding • Step 3 - Applying the Handle • Step 4 - Detailing • Step 5 - Glazing • Step 6 - Firing in a Kiln Milling To begin the process of creating ceramic mugs, raw material is fed into a grinder and crushed into clay powder. The powder is added into a mixer with quartz, feldspar, and water for 15 hours. From there, it’s fed into molding tubes, cast into long clay mugs.

Molding These clay logs are cut into portions, placed into a single use mold, and formed into the shape of a custom mug. Once the mold is dry, the mug is removed by hand to prepare for the next step.

Handle Application At this point, the handles have already gone through the first two steps and just need to be attached. They are dipped into a mixture of clay and water called Slip, which acts as an adhesive binding the handle to the mug.

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Detailing A technician removes any excess clay or rough edges, rinses off any dust or debris, and gives the ceramic mugs a smooth finish.

Glazing The mugs are ready to receive their color and trademark ceramic glaze. Every coffee cup is hand-painted to ensure quality coating. After the mug is painted, it is set aside for 12 hours to dry.

Firing When the mugs are dry, they are ready to go into the oven or kiln. Rows of mugs are put onto a conveyor belt and into a standard temperature of 2,200º F.

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PROTOTYPE Ceramic mug model made using additive manufacturing processes (3d print) using plastic (ABS) as a material to simulate the semantics of the product and conclude associated inferences.

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CERAMIC WASTE During manufacturing process and transpiration lots of ceramic product brake and ceramic waste generated every year.

Ceramic products made of glazes, stains and clay which contains toxic metals like Antimony, vanadium, cadmium, copper, cobalt, lead, manganese, chromium, selenium and barium. Ceramic wastes is mostly used for landfilling which makes neighboring land unfertile and contaminate groundwater.

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Use of hazardous waste in concrete will lead to green environment. The concrete made so is called sustainable concrete which can also be called as Green concrete. Production of by-products and waste are increasing rapidly which need proper disposal , it’s recycling and reuse is necessary for protection of environment, reduction in dependency on natural materials, reduction in CO2 and making concrete efficient and economical.

The importance of sustainable concrete has become considerable for academia and industries.

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INFERENCE This project held me in a space where it was important to acknowledge and appreciate the value of basic aesthetics and associated design values. The fact that we are surrounded by artificial materials is overwhelming and there is an alarming need for mankind to start emphasizing more on natural material objects/ products. What I learnt after this course is the ways products interact with users or make users interact with them in many possible ways.

They say that every product is either aesthetically conveying something or it telling a narrative through its function.

Mostly users fail to notice the story behind the product. I feel that ceramic products in general tell a long and well-balanced story to the world. Every product no matter what the scale is needs to tell a story and that’s where innovation begins. I in this whole process re-visited my design process.

My study during the course has helped me understand and figure out the working of ceramics, which I have tried to implement in my concept. After failing to achieve my goals more than a couple of times (due to material contriants) I realized how complicated it is to come up with something so basic to the user yet so complex for the creator. I can fathom the hard work and endless number of failures after which the craftsmen over the years have perfected this craft and their skills.

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BOOK REFERENCES Ambikesh Singh, and Vikas Srivastava.

Report. Civil Engineering, SHUATS. Accessed May 02, 2019. https://www.researchgate.net/ publication/324831930_Ceramic_waste_ in_concrete-A_Review

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WEB REFERENCES Bensalhia, John. “The Fine Art of Ceramics in Sicily.” ITALY Magazine.

February 13, 2015.

Accessed March 01, 2019. https://www.italymagazine.com/featuredstory/fine-art-ceramics-sicily.

“Home.” Artemide.

Accessed April 01, 2019. https://www.artemide.com/en/home.

Robinson, Kristy. “How to Glue Tile to Wood.” Home Guides | SF Gate.

December 14, 2018.

Accessed May 12, 2019. https://homeguides.sfgate.com/glue-tilewood-31035.html.

Mertes, Alyssa. “How Are Ceramic Mugs Made.” Https://www. qualitylogoproducts.com/. September 12, 2018.

Accessed May 12, 2019. https://www.qualitylogoproducts.com/ promo-university/how-ceramic-mugs-aremade.htm.

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