Ceramics Collective

List Of Content:

Introduction:

3.Design Brief 4.Contextual Background

5.Contextual Background

Spatial Context: 6.Location content

7.Around Liverpool Road 8.Site Location 9.Site Location 10.Site History 11.Mapping Site History 12.Site Data 13.Site Figure Ground 14.Site Land Use 15.Site Traffic 16.Images of building 17.Images of building 18.Images of building 19.Site Exterior Similarities 20.Exterior Features 21.Interior Features 22.Elevation 23.Floor Plans 24. Structural Grid (GF) 25.Structural Grid (FF) 26.Structural Grid (SF) 27.Structural Analysis 28.Component Analysis 29.Component Features 30.Environmental Analysis (Interior) 31.Environmental Analysis (Exterior)

Research Context: 32.Role Of Research 33.Museum or Gallery? 34.Manchester Museum/Gallery 35.Manchester Craft and Design Centre 36.Interview with CraggJones 37.CraggJones Information 38.CraggJones Images 39.CraggJones Images 40.Interview with Leepagehanson 41.Lee workplace and storage 42.Lee Images 43.Lee Images 44.Pavlov Ceramics 45.Pavlov Ceramics Images 46.Interviewing Abigail Wright 47.Inside Pavlov Ceramics Studio 48.Inside Pavlov Ceramics Studio 49.Labelled Information On Pavlov Ceramics 50.Participatory Research 51.Visual Anthropology 52.The British Museum 53.Images of the British Museum 54.Images of the British Museum 55.Images of the British Museum 56.Contemporary Ceramics 57.Images of Contemporary Ceramics 58. Rhian Malin 59.Rhian Malin Work 60.Sara Dodd 61.Sara Dodd Work 62.Akiko Hirai 63.Akiko Hirai Work

64.Yo Thom 65.Yo Thom Work 66.Inside Contemporary Ceramics 67.Inside Contemporary Ceramics 68.Inside Contemporary Ceramics 69.Inside Contemporary Ceramics 70. What is 3D Printing? 71.3D Printing Pottery 72.Type of Ceramics 3D Printing 73.Image of 3D Printing pottery 74.Thingiverse, Ultimaker Cura 5.2.1 75.Process of 3D Printing 76.3D Printing Design/Drawing 77.3D Printing Design/Drawing 78.Precedent Study Learning Hub/ Heatherwick Studio 79.Precedent Study Learning Hub/ Heatherwick Studio 80.Precedent Study Studio Gang Natural History Museum 81.Precedent Study Studio Gang Natural History Museum 82.Precedent Study Heydar Aliyev Center 83.Precedent Study Heydar Aliyev Center 84.Precedent Study Heydar Aliyev Center 85.Precedent Study Office buildings 86.Precendent Study Zolaism Cafe 87.Precendent Study Zolaism Cafe 88.Identifying the Audience

Design Context: 89.Design Concept 90.Concept Model #1 91.Concept Model #2 92.Concept Model #3 93.Concept Model #4 94.Concept Model #5 95.Drawings 96.Drawings 97.References

Design Brief

INTRODUCTION

People express themselves more through ceramics, an art and design that has grown in popularity. But it lacks youth and diversity. Many people will be able to connect through the expression of 3D designs by connecting ceramics and humans.

BRIEF

To design innovative ceramics and youth experiences through studios with 3D Printing. Bringing practices, galleries, and cafes together.

“Central to my working practice is that the process must be an enjoyable one. I draw from an eastern aesthetic of contemplative, simple, quiet forms and surfaces and I am particularly drawn to the iconic teapot, which allows opportunities for interesting compositional challenges – the articulation of handles and spouts, taking on an almost animated human form, and the subtle balance of proportions that make a piece sing.” Masterclass with Tricia Thom

“I love the feeling of movement and rhythm and the sense of one-off pieces. In music there is always an element that every performance will be different with a little embellishment here and there. I treat my work in ceramics the same way. With agate ware there is always an element of surprise, but it still gives me that feeling of excitement and movement within a performance.”

Masterclass with John Dawson

“The pots I admire the most are pieces that have often been made for a specific and sometimes mundane purpose. However, through their connection with people and being made using a magical combination of materials, extraordinary skill and chance, they have become objects with emotional and spiritual value. For me, the truest form of ceramic art.” - Jack Doherty

ContextualBackground

When it comes to ceramics being displayed in MUSEUM and GALLERIES, Manchester lacks appreciation. A deeper connection needs to be developed than just studio pieces created in PRIVATE. We need to show off ceramics because it is actually the way of expressing ourselves through 3D knowledge in the NEW GENERATION. In today's world, you can find ceramics pieces ONLINE, without having to visit an actual store. By creating 3D sculptures, we can CONNECT the people with each other.

Different Ceramics techniques provide pottery makers and artists alike with the wide array of choices to demonstrate their skills, aesthetic tastes, and even POLITICAL and SOCIAL stances and all that often through utility wares. Ceramics should not be just correlated with pottery, pottery techniques or sculpture, as there is a distinction between TRADITIONAL and MODERN or TECHNICAL ceramics. Following the industrial revolution and technological innovations of the 20TH CENTURY, ceramics evolved and broached into different fields such as AUTO INDUSTRY or electronics where ceramics is used due to its insulating properties.

By developing a design that binds people together, ceramics will be able to develop even further. When it comes to ceramics, it is not a YOUTH DOMINATED art and that separation between AGES must be further developed. Does the process bore the younger generation? Is it not talked about enough for people to be interested in?

The procedure of creating ceramics in art and pottery studio includes kneading of the silicate-based microstructures, their shaping through either handbuilding, wheel throwing or slip casting, then drying or firing in kiln, and finally decoration where different ceramic glazes and painting techniques are employed.

Any material that can be shaped in three dimensions can be used sculpturally. Certain materials, by virtue of their structural and aesthetic properties and their availability, have proved especially suitable. The most important of these are stone, wood, metal, clay, ivory, and plaster. There are also a number of materials that have only recently come into use.

Sculptureis not a fixed term that applies to a permanently circumscribed category of objects or sets of activities. It is, rather, the name of an art that grows and changes and is continually extending the range of its activities and evolving new kinds of objects. The scope of the term was much wider in the second half of the 20th century than it had been only two or three decades before, and in the fluid state of the visual arts in the 21st century nobody can predict what its future extensions are likely to be.

Certain features which in previous centuries were considered essential to the art of sculpture are not present in a great deal of modern sculpture and can no longer form part of its definition. One of the most important of these is representation.

Sculpture, an artistic form in which hard or plastic materials are worked into three-dimensional art objects. The designs may be embodied in freestanding objects, in reliefs on surfaces, or in environments ranging from tableaux to contexts that envelop the spectator. An enormous variety of media may be used, including clay, wax, stone, metal, fabric, glass, wood, plaster, rubber, and random “found” objects. Materials may be carved, modeled, molded, cast, wrought, welded, sewn, assembled, or otherwise shaped and combined.

Glass, tiles, pottery, porcelain, bricks, cement, diamond, and graphite—you can probably see from this little list that "ceramics" is a very broad term, and one we're going to have difficulty defining.

Location Context

The two cities are essentially twins, with Salford always playing second fiddle to Manchester. It is not necessarily true that Manchester prevented Salford from growing. In the metropolitan county of Greater Manchester, Salford is a metropolitan borough. Salford is actually a collection of small towns. Similar to Trafford, except that Salford is also a city. Located west of the Irwell, it is adjacent to the city of Manchester. With the exception of the east side of the Irwell. As it is situated in the middle of both Salford and the city centre, there is a museum dedicated to ceramics pottery called Pilkington's Museum.

Manchester city centre has lots of pottery shops and also house multiple pottery studios such as Manchester Crafts centre. The building site has a lot of relationships when it comes to the bonding of pottery in Salford and Manchester. The best pottery centers and ceramic cafes in Manchester are designed as family attractions. Ceramic cafes and pottery centers are available in 44 Manchester locations. The pottery centers and ceramic cafes listed are rated according to their age group and colour schemes. Several of these places are educational or historic, making them suitable for class trips or ways to learn while having fun over the summer.

Site Location

21 Rice Street is a three storey office building in the heart of Castlefield, Manchester City Centre offering good quality workspace.

Located on Rice Street, close to the junction with Liverpool Road (A6143), opposite the Museum of Science & Industry, the immediate area is a cosmopolitan mix of business, residential and leisure / retail uses and there is plenty of long and short-stay car parking nearby.

The prime business district of Spinningfields is approximately 5 minute’s walk. The Hilton Hotel is less than a minute’s walk and Manchester’s Conference Quarter is within 5 minute’s walk. Closes public transport links include Deansgate train station and Deansgate/ Castlefield Metrolink station are both within 2 minute’s walk. Manchester Oxford Road Station is also within a 15 minute walk of this office premises

Air conditioning is installed throughout the office space. Three floors of open office space are available, each with meeting rooms and private offices. Furthermore, the property boasts stunning views of Castlefield Bowl and a fitted kitchen. An incoming tenant will save significant capital costs by moving into 21 Rice Street without having to pay for fit-out cost

The nearest bus stop is Water Street. It is located 482m away or approximately 6 minutes walking distance. The nearest station is Deansgate. It is located 357m away or approximately 4 minutes. The nearest airport is TM3 Airports. It is located 890m away.

Site History

Liverpool road is the main road that connects both Duke street and Rice street. In Manchester, England, Liverpool Road is a former railway station on the Liverpool and Manchester Railway that opened on 15 September 1830. A timetabled steam locomotive hauled all services from the Manchester terminus of the world's first intercity passenger railway. There is no other terminal railway station older than this in the world. As one of the first elevated railway stations in the world, it also has tracks behind the building.

The railway had been intended to be terminated on the Salford side of the Irwell, but the Mersey and Irwell Navigation had opposed it. There was a last-minute change in plan due to an agreement. An arched stone bridge would span the river, incorporating a cart road for the Navigation company's use. It was really a matter of crossing Water Street that was the problem. Manchester Highway Commissioners would not be able to construct an arched bridge to their specifications because of the levels. Spans across a distance that was deemed too wide were the only alternative. A parabolic t-section girder had been developed by William Fairbairn to make fireproof mill flooring. It could thus be said that the Water Street bridge was the first girder bridge of the modern era.

England's North West region includes Rice Street in Manchester. Manchester Central constituency includes Deansgate ward/electoral division, which falls within the postcode. Manchester Nucleus which is based in rice street is about the creative solutions that arise when insatiable curiosity combines with a passion for making a positive impact in the fields of medical communication, marketing, and education. They are known for our authenticity, credibility, and reliability as true partners to our clients. Located opposite the Nucleus building, rice street has changed through the years from a printing works in the 1940s to a depot in the 1980s. It's a very quiet and private street that needs cultural improvement.

Mapping Site History

1900 1950 1980

Next to my building back in 1900 there was a staffordshire warehouse. Pottery comes from staffordshire and you can find a lot of clay pieces all over staffordshire. In 1950s it was then changed to a mixed concrete Depot. In ceramics, concrete cement would be a good choice. Cement works well with clay because it doesn't stick to it or absorb a lot of water from it, and it's quite durable. Your clay will not be contaminated by chips and cracks, unlike plaster. Pourable concrete can be used as a work surface. Liverpool Road also had printing works in the 1950s, demonstrating its creative side. In the 1980s, most of the area became depots. Large quantities of equipment, food, or goods could be stored there. It is possible to see buildings that have been knocked down or connected over the years next to the Manchester Nucleus office. As can be seen from these maps, many areas have remained the same, including street and road names. In the 1900s, the buildings seemed much more crowded, but through the years they have become much more spacious.

Overall, the gender split in the UK is roughly 49% male, 51% female. However, the majority of residents around M3 4JL are male (56%). Many factors can contribute to this, but the most common are: areas with higher education nearby, areas that contain large establishments, such as boarding schools, and areas with younger populations (females typically live longer than males, so retirement areas are more common).

M3 4JL is surrounded by a high concentration of single residents - 75 percent of the resident population is single. About 35% of respondents to the census were single on average. Singles tend to live in areas with good entertainment facilities, often in built-up areas. The population in these areas tends to be younger as well. Family members under 16 and those in full-time education aged 16-18 are not included in the figures for relationship status.

There is a median age of 39 across the UK as a whole. Generally, inner city areas have a high concentration of people aged 18-30, suburbs have a higher concentration of adults aged 30-50, and rural and small towns have a higher concentration of retired people and older workers. People in poorer areas do not have a majority age group, largely because they are constrained by circumstance rather than being able to choose where they will retire, raise a family, and grow up.

Site Figure

Site Land Use

There is a lot of residential space along the upper portion of the river Irwell and it is one of the quietest parts of Salford. As a result of the large number of schools, shops, and leisure facilities around Salford, the area is growing both economically and socially faster than other areas.

The area is densely populated with residential buildings located mostly on the north side of the meadows and lower down in the area. There are a lot of primary schools and a large university campus in the area, demonstrating its social value. Because certain areas of Salford are crossed by railway lines, noise could be a problem for locals, causing complaints and stress. Noise could be a problem for locals in certain areas of Salford because railway lines cross through them.

A wide range of commercial and retail buildings are located in the Manchester city centre. As a result, the city centre is populated with a lot more people. A large amount of infrastructure surrounds the building site, but there aren't many educational institutions nearby.

The Roman fort and Liverpool Road Railway Station are located in Castlefield, a southwest area between Deansgate and the River Irwell. It is the only Urban Heritage Park in the United Kingdom that retains much of its industrial character, including mercantile 19th century warehouses and adjacent wharves that transported goods from Manchester during the industrial era. There are many bars and pubs along the waterside in Castlefield today, and the area is quiet. At the opening of the Liverpool and Manchester Railway in 1830, Manchester Liverpool Road station was the first inter-city railway station. In addition to the station frontage, a warehouse built in the 1830s is also Grade I listed.

The structure is now a part of the Museum of Science and Industry (MOSI). Its industrial past, particularly the canal as a mode of transportation and the railway, has been considered for UNESCO World Heritage status for many years

Images Of Building

Site Exterior Similarities

Similar materials are used on the exterior of these buildings, such as bricks. Red, buff, yellow, brindle, sand, stone, and buff are among the lighter brick colours. Anthracite grey bricks, brown bricks, deep red bricks, and black bricks are among the darker brick colours. Bricks in these buildings are darker colours mixed with stone, such as red and dark red, while subtle colours such as brown are also present. Although these buildings are modern and new, they still serve as a bond for the community.

Akbar’s Indian/ Rump N Ribs Steakhouse ST Matthew's Sunday School Sapporo teppanyaki manchester Manchester apartments

The castlefield Burohappold engineering

Exterior Features

Bricks used for facing are seen outside of houses, on feature walls, and in other brickwork. Despite the UK's famously wet and windy climate, they're made of clay and manufactured to be weather resistant. Facing bricks come in two types: wire cut (or extruded) bricks, which are made in a rectangular column, and cut into multiple bricks of the same size. The result is a clean, consistent appearance that allows mass production. An individual mould is used to make soft mud bricks, which are then fired in a kiln. With this process, soft edge bricks are produced with a reclaimed brick texture, which is great for matching old brickwork.

It has a pitched roof. Mono pitch roofs slope from one side of a building (or part of it) to another. In Victorian times, mono pitch roofs were commonly used to form extensions, and they are still used today. Raffers are usually fixed to walls at either end of a roof span and supported by battens to which roof coverings are attached. One feature you can't miss is the big narrow windows that take up most of the building. There are a variety of materials available for most window styles. In the past, timber windows were made of hardwood or softwood, and were often painted or finished with natural wood finishes to prevent decay. It is necessary to maintain this finish on a regular basis.

Interior Features

A spacious interior space is made bright by its bright furniture and walls, which make the room seem bigger and brighter. When carpets are installed, cold air will be trapped, making it easier for residents to keep cool with an air conditioner. These high-rise tables are essential in this interior space to allow workers to hear what they are doing and to cancel out sound.

A few of the key features of this office building include desks, toilets, and kitchens. A soundproof room with heating during the winter. In case people do not wish to use the main office space, the building includes private meeting rooms. There are functional stairs and lifts in the building, which makes it accessible. Three floors are in this building, and each floor has the same features.

Second Floor Image

Elevation

PrimaryImagesofBuilding

Structural Analysis

An angled roof that slopes typicallydownwards, in two parts from a central ridge, but sometimes from one edge to another. A roof's "pitch" measures its steepness by dividing its vertical rise by its horizontal span. Rainwater is collected in a drain pipe that prevents damage to the building.

The structural steel components of the metal structure are connected to carry loads and provide rigidity. A steel structure is reliable and requires less raw materials than a concrete structure or a timber structure due to its high strength grade.

component Analysis

Usually, red bricks are used for building construction, how clay bricks are made and fired, the difference in quality, class, and strength, selecting a good brick for the building, and how they should be used. Red bricks tend to be very hard, dense, and have been used as structural building materials for centuries, i.e., the red bricks provide the building's structural strength. The red brick is used to build large buildings, churches, factories, and tall factory chimneys without any reinforcement

On the front facade there is 6 long windows that are a very noticeable feature on the building. One on each side of the building however none on the back of the facade.

Role Of Research

Literature Review

Interviews

Participatory Research

Visual Anthropology

The purpose of a literature review is to provide an overview of previous publications on a particular topic. The purpose of a literature review is to provide the researcher/author and the audience with an overview of the existing knowledge of what Ceramics is and its history.

There is a great deal of information about ceramics from cultures around the world, so forming an opinion based on a single source would be misleading. Research can be approached from a variety of perspectives through literature.

A direct interview involves asking questions in such a way that the respondent understands the purpose of the question and the expected response. A respondent in an indirect interview is unaware of the purpose of the questions or the intended response. Researchers are able to obtain original and unique data directly from a source based on the study's requirements.

Getting further information and personal responses from ceramics and pottery artists and teachers is possible through interviewing them. In addition to the equipment they store and the experiences they have, this information allows them to provide extra information.

Participatory research is the process of engaging in an activity that will allow one to gain knowledge about a topic they are interested in. Participating always gives you the opportunity to express your opinion. By taking a ceramics class and learning about the different materials, you will have a better understanding of them.

Being introduced to ceramics in an environment where everyone learns about it helps someone come up with a lot of different research topics. The goal of participatory research is to give local people control over where help is needed

Anthropology, the study of a particular human society or the process of making such a study.

Photographing what a pottery teacher does on a daily basis helps put oneself in the creator's shoes. Explaining the purpose of every material used by lining them up in order.

Museum

A museum displays and cares for artifacts and other objects of artistic, cultural, historical, or scientific significance. Public museums display these items through permanent or temporary exhibits that are open to the public. There are thousands of local museums in smaller cities, towns, and rural areas around the world, as well as the largest museums in major cities. From conserving and documenting collections to serving specialists and researchers, museums serve a wide range of purposes. It is not just about serving researchers, but also about serving the general public.

Gallery

Visual art is displayed in art galleries, which are rooms or buildings. Since the mid-15th century, Western cultures have considered galleries to be long, narrow passageways along a wall, first used in the 1590s as a place to display art. The long gallery in Elizabethan and Jacobean houses served many purposes, including displaying art. In the past, art has been used as a symbol of status and wealth, and for religious art, it has been used to represent rituals or narratives. Aristocratic palaces or churches were the first places where galleries were built. In response to the growth of art collections, buildings became dedicated to art, becoming the first art museums.

Museum or Gallery?

MANCHESTER MUSEUM

With its unusual, almost disquieting layout, the museum is intended to be equally unsettling and illuminating which was the Imperial War Museum is popular for. The Manchester Museum is the largest university museum in the United Kingdom. A vivarium houses critically endangered amphibian species, among other collections in archaeology, anthropology, and natural history. The museum in Manchester focuses on democracy, radicalism, equality, and social justice. From 1819 to the present, the People's History Museum tells the story of democracy.

MANCHESTER ART GALLERY

The Manchester Art Gallery is a public art museum in Manchester city centre, formerly known as Manchester City Art Gallery. Its collection is housed in three connected buildings designed by Sir Charles Barry, two of which were built for a learned society in 1823. There are approximately 55,000 items in the Whitworth's collection in Manchester, England. An art garden, a study center, a learning studio, and a cafe are all included in the development.

Museum Race Information:

- In 2018 to 2019, 50.2% of people aged 16 years and over had visited a museum or gallery in the past year

- 51.1% of White people had visited a museum or gallery, compared with 33.5% of Black people and 43.7% of Asian people

- Although it appears that people with Mixed ethnicity were the most likely to have visited a museum or gallery, this estimate is less reliable because of the small number of respondent

- Age group - In 2015/16, adults aged between 25 and 44 were most likely to have visited a museum or gallery (56.4%). This is compared to adults aged 75 and over who had a significantly lower engagement rate of 34.1 per cent.

1800 - Manchester's shopping district was located here in the 1800s. Located between Great Ancoats Street and Shudehill, the main high street, still called High Street, used to run through this area. Ancoats was known as the 'world's first industrial suburb' and was the cradle of the Industrial Revolution. There were many Italian and Irish immigrants living in this overcrowded, bustling area.

I873 - In 1873, the building opened its doors for the first time. Known as Smithfield Markets, this popular city center shopping hub featured many markets. The market was the second largest in the country, and it covered the majority of the local area. There were butchers, greengrocers, meal and flour markets housed in the various Smithfield Market buildings.

Founded nearly 40 years ago, Manchester Craft & Design Centre is home to some of the region's most talented independent designers and makers. Each of the 20 studios offers textiles, jewellery, accessories, ceramics, glass, prints and homeware in addition to a shopping experience.

They host regular exhibitions that showcase regional, national, and international craft talent. By promoting craft in all its forms, we expand the definition and relevance of craft for everyone. Developing emerging and established talent, supporting viable creative careers, and showcasing innovative and ambitious craft practices are some of the things we are committed to.

1973 - A century of trading ended at Smithfield Markets. Due to increased competition from the newly opened Arndale Shopping Centre, trading ceased

1978 - With the majority of the markets demolished, there was to be a Manchester Craft Village to accommodate local makers and visitors.

1982 - The building was reopened to the public after four years of conservation. Manchester City Council owns the building and operates it as a craft venue.

2003 - Manchester Craft and Design Centre started as an artists' cooperative and then became a not-for-profit limited company.

The Victorian market building offers visitors the opportunity to browse and purchase directly from the makers, watch the products being made, commission something special, or just relax and enjoy the beautiful surroundings. Jewelry, ceramics, homeware, textiles, artwork, and more are created and sold on the two floors of maker studios.

We'll have craft activities throughout the day for you to try if you feel like getting creative. During our informal drop-in craft sessions, we will weave, draw together, and make models, all abilities are welcome.

On the second Sunday of every month, the Northern Quarter Makers Market offers a variety of art, craft, coffee, baked goods, music and street food, as well as hundreds of traders offering an eclectic selection of items.

Interview With

CraggJones Clay

WHAT GOT YOU INTO CERAMICS?

Sue began making ceramics as a hobby and met Nicky, who led her to the Manchester craft and design centre studio. In the studio where she met Nicky, they were able to spend 12 hours a week in the studio as members. As a result, they could use equipment such as kilns, wheels, and clay. In order to create her own pottery, Sue bought her own wheel and kiln and learned how to do so at home. With Nicky, she dreamed of opening a cafe and a pottery studio. They would use the pottery they made to serve tea and drink out of in the cafe. Although they were ready to retire, they still enjoyed doing pottery and wanted to remain flexible.

One of the studios at Manchester craft and design was available for rent because Nicky knew someone who owned a studio there.

Three years ago, they began working at MCD before the pandemic started, and love being able to make pottery while also socializing with others. In Nicky's workshop, people learn how to build by hand, whereas in Sue's one-on-one sessions, people learn how to build by wheel. Whenever Sue opens the kiln, she describes it as 'opening treasure'. However, it can be both underwhelming and exciting at the same time.

STATISTICALLY WHAT AGE RANGE AND RACE DO YOU GET IN YOUR STUDIO

There are traditionally a lot of middle-aged and old white people involved in ceramics. According to Sue, the development has a community element. Diversity in design (Local Community Groups) should be incorporated into the MCD. MCD works with a charity called 42nd St about mental health for young people near MCD, and they do link work with MCD. Ceramics is becoming more accessible to a wider age range. In addition, a pop-up space has been designed to bring together young artists from all different communities. As a result of the change of location to the front of the MCD, the Connecting Links has been able to bring in more young people as a lot of them attend the Makers Market.

As a result, the MCD establishes more publicity since it is a hidden place and few people are aware of it. I didn't know you guys were here,' Sue gets a lot of comments like that. One-on-one sessions with her revealed that a lot of guys do pottery, although she believes it is changing slowly. Due to a lack of space in the studio,

HOW DO YOU STORE YOUR EQUIPMENT?

Sue finds it difficult to store a lot of her equipment at the MCD, even though she enjoys working there. She keeps her things minimal and only brings what she needs.

Creating brilliant, local communities, the Maker's Market brings together independent artisans, makers, performers, and businesses. Independents and artisans from the local area participate in the markets, which bring communities together. Supporting their local community by shopping locally. In order to reach local customers throughout the Northwest, they provide support for local independent artisans and businesses. Each trader produces quality, handmade, artisan products. In addition to delicious treats, amazing art and craft, and so much more, we have a wide array of truly unique traders.

About

Nicky Jones and Sue Cragg make and sell handcrafted ceramics at Cragg Jones Clay in Manchester Craft and Design Centre. The upstairs studio and shop is light filled, calm and welcoming. Unlike mass production, Sue and Nicky's work is handcrafted; no two objects are exactly alike. Creating timeless, sustainable, and enjoyable objects is important to them. Their work is contemporary and often rustic and is inspired by Scandinavian design.

Sue Cragg

It is not uncommon for Sue to use white stoneware or porcelain clays and often stain them with colour to make her pots. With pared back simplicity, she makes modern / rustic tableware. Designed to be durable and to handle well in use, each piece has a unique form and finish. Sue mostly uses matt glazes in neutral tones to enhance each piece's shape and balance.

Nicky Jones

Using pinching coiling and press moulding, Nicky crafts each piece by hand. She strives to make her forms reveal the process of making and the unexpected outcomes presented by the materials. By drawing with glaze and creating exciting colours pops on the surface of her pots, she utilizes her fine art background. Her work has been exhibited at international craft fairs and is currently on display at Plas-y-Weddw.

Cragg & Jones Workspace/Space

What got you into ceramics?

During his college years, Lee studied general art and design, focused on textiles and photography, and ended up doing a ceramics course. It was fun for him to imagine different designs in his head and to always be thinking of new ideas. When he visits an art gallery, he loves to see a colour scheme and incorporate it into his own design. A geometric aspect, a shape, or a surface. His view is that all aspects of ceramics are fun, from making it to decorating it to firing and glazing it. “wouldn’t enjoy it as much if he only had to do one aspect”. The process might change because the techniques change so often, but trying new things always gives you a sense of excitement.

How do you store your equipment?

It is important to keep in mind that ceramics undergoes different climate changes over time. As a result, clay dries faster in the summer. He stacks things on shelves to let them slowly dry out (you must wrap things a lot). In order to prevent tiles from warping, he stacks them up at the top so that nothing cracks while they dry. Through separating the pottery, he knows what to fire and what to glaze next. Three people share his space, so he has to be organized.

In addition to his gallery works, he has a cabinet that stores all the molds, recycled clay, glazes, etc. The cabin is very dumpy, which could damage the clay. Keep small clay in the cellar, along with cardboard boxes and packaging. There are hooks, lustres, a computer, scanner, and a backdrop for his photographs, folders, and books in the cabin. In his collection, he has pottery with chips that he likes and wants to keep.

Statistics wise what age/gender do you normally get in your studio?

In terms of statistics, 80% of his studio visitors are women, and their ages range from 30- to 60. His work is for commission so that people who buy it have 'money to spend'. At the moment, he is doing a commission and designing Christmas gifts for people who want to buy gifts such as birthdays, anniversaries, etc.

“I love to paint my pots with a big brush and gooey decorating slip. I enjoy constructing embossed paper collages which I cast in Porcelain. Cutting out the enamel transfers and applying them to my pots is great fun.”

INTERVIEW WITH LEE PAGE HANSON

Pavlov Ceramics

“I am a ceramicist and teacher, currently based in Birmingham. Craft is my means of navigating the world, a way of life, a source of meaning. My practice focuses on marrying aesthetically pleasing forms with clearly defined functionality.

Most pieces begin as a fascinating encounter – with human or nature – followed by meaningful conversations, and culminating in obsessive making for months on end. Everyday moments are translated into objects for our every day; their essence captured into lithic textures across a gradient of hues.

Through my work, I pay tribute to clay –the humble material that enables the ceramic process. Sometimes, it is found and used in its natural state. On other occasions, I would reconstitute and laboriously blend it to achieve the colour of cliffs yet unseen. Every piece I make, however, is always hand-thrown on the wheel and meticulously finished into a pot that bears the marks of its own story.” - Chris

Pavlov Ceramics

Interviewing Abigail

Why did u start ceramics?

Wright:

After completing my PGCE I knew I did not want to teach full time, so (in 2017) I got a job as an artist in residence and for two years practiced making my own ceramics. Then I completed my NQT year in 2019 and started teaching ceramics and art at the school, where I still teach ceramics today to pupils age 11-18.

What's your favourite thing about Ceramics?

My favourite thing about ceramics is opening the kiln after a glaze firing and seeing beautiful usable items that came from a ball of mud!

Where do you store all your equipment? Why is your pottery class held on the top floor? Does the Clay change due to the weather?

We store all our equipment in a storage unit in the middle room so they are accessible for all rooms. The only reason the studio is on the top floor is that this was the space available… we would much rather it be on a ground floor so there can be wheelchair access, also it was super tricky carrying all the heavy clay and equipment up all the stairs! The clay tends to dry a lot quicker in summer so we can have faster firing times, however it does make it tricky for our reclaim as the clay can dry unevenly and too fast in places.

Age range? Do you get younger people or older people or a mixture?

A total mixture. I get a lot of young couples, but have had age 11 to around 70 join my classes.

Female or more male?

More female, usually the males come with their girlfriends.

What race do u normally teach more of?

I have a mixture of races that join, an equal mix of all I would say having looked at my stats.

What would you change about Ceramics as a whole?

I would make it more accessible. It is tricky as the wheels and kiln are so expensive to buy, then a kiln is so expensive to run. I would like more community run pottery studios that are non profit.

Pavlov Ceramics

The British Museum

It is located in the Bloomsbury area of London and is dedicated to art, history, and culture. Its permanent collection of eight million works is among the largest and most comprehensive in the world.Throughout its history, it tells the story of human culture. A public national museum covering all fields of knowledge, the British Museum was the first of its kind.

Chinese Ceramics

Through history and across the globe, clay has captured the imagination of people with its ability to be transformed into beautiful objects.

China produced porcelain for the first time around AD 600. For the imperial court, the domestic market, or export, Chinese ceramics were by far the most advanced in the world. Most of the objects Sir Percival David collected were of imperial quality or of traditional Chinese design.

From the third to the 20th century, this gallery of almost 1,700 objects exhibits some of the finest Chinese ceramics in the world. Several hundred pieces were mass-produced at a time, some of which are one-of-a-kind creations. Chinese ceramics are visually varied due to technological innovations and regional raw materials.

Contemporary Ceramics

A retail gallery showcasing the best in British studio ceramics, Contemporary Ceramics Centre is located in the heart of the city. A national and international exhibition program is held at this gallery opposite the British Museum every year. A regularly changing display allows you to see and purchase a wide range of products from functional tableware to individual collector's items.

“Distinguished studio ceramicists, our makers display the very best of ceramic skill, technique and ambition. Creating highly collectable work, made to the very best standards in ceramic art, we are proud to sell the unique, hand crafted, pieces by our ceramic artists. All work on display in the gallery is by makers who are members of the Crafts Potters Association. Each year, a council of management elected from and by the membership chooses and invites new members to join the greatly respected ‘Selected Membership’ group.”

Rhian Malin

A long historical tradition of hand-painting porcelain with cobalt-blue decoration is continued by Rhian Malin, who is inspired by her grandmother Willow Pattern collection.To bring this tradition into the 21st century, she created elegant wheel-thrown porcelain vessels.

Each geometric pattern is meticulously divided up and mapped out by eye, resulting in a contemporary take on the much loved, and often nostalgic, combination of blue and white. She now works from her studio on the Alscot Estate in Atherstone-on-Stour, Warwickshire.

The Crafts Council UK supported her in 2016 through the Hothouse Programme, and since then she has won a number of awards: Highly Commended Newcomer Award at Ceramic Art London (2018), Best Ceramics at the Contemporary Craft Festival (2017), Best New Business at the Great Northern Contemporary Craft Festival (2017) & Winner of Bils & Rye Emerging Potters Exhibition (2016). She graduated with a BA (Hons) in Three Dimensional Design from Camberwell College of Art in 2014.

SARA Dodd

A Welsh ceramic artist living and working in North London, Sara Dodd creates art using clay. As a graduate of Cardiff Metropolitan University's BA(Hons) Ceramics program, she graduated in 2013. She is often influenced by the landscapes and skies of South Wales, where she grew up. As she explores these ideas and locations, Sara is exploring the passage of time.

The aim of Sara's work is to evoke curiosity in her viewers, capture their amazement, and raise questions about the general notion of ceramics. In order to create her works, she uses slip to create wafer thin ceramic pieces. Sculptures and wall-based installations are then constructed by repeating these individual units. In Sara's process, the firing itself plays an important role, using the high temperatures within the kiln as well as the natural materiality of porcelain. These movements enable Sara to manipulate her designs and add a finishing touch to her freestanding pieces. Each sculpture captures a moment in time from the firing, immortalizing it. Bringing freedom and individuality to her work, Sara integrates design and chance.

“It’s a wonderful delight to tell people the pieces are ceramic, and to see their amazement as they realise these pieces are made of porcelain.”

Akiko Hirai

The ceramic ware produced by Akiko Hirai is both functional and decorative. Despite being rooted in contemporary design, her ceramic work is strongly influenced by Japanese culture.

In addition to private collections, her work is exhibited in museums worldwide, including the V&A (U.K.), Fitzwilliam Museum, National Museum of Ireland, and Everson Museum of Art in Syracuse, NY.

For each ceramic surface, Akiko applies several layers of slips and glazes using various building techniques, including throwing, coiling, and casting. Often fired using the reduction atmosphere in her gas kiln, rather than using coloured oxides to decorate her work, she uses metal and mineral rich clays and marginal metals and minerals in other raw materials to produce colors that result from the chemical reaction during firing. She compares this process to the aging of many materials over time.

YO Thom

Japanese potter Yo Thom lives and works in North Dorset. In 1998, while studying ceramics in Kent, she worked for Lisa Hammond MBE as a potter. After training at Maze Hill Pottery, Greenwich, she set up her own studio in 2004 to produce celadon and shino semi-porcelain work. In 2009, Yo relocated her pottery to North Dorset. In her current work, she combines inspirations from Japanese folk indigo textiles with the beautiful surroundings of rural Dorset. Her work is decorated with traditional Japanese patchwork called "Boro" as well as abstract landscape patterns. She uses stoneware clay and forms her work by throwing, slabbing, coiling, and pinching. The slate-like surface of her work is created using sgraffito techniques on an indigo slip, then coated with a white glaze.

“In this technologically advanced society, I appreciate the true beauty made by human hands and its originality now more than ever. I work with a very simple and rather primitive technique to form and mark my work, which hopefully echoes the ethos of traditional folk arts” Yo Thom

What Is 3D Printing?

A 3D printer or additive manufacturer creates solid objects from digital files in three dimensions. In 3D printing, additive processes are used to create objects. During an additive process, successive layers of material are laid down until the object is created. The layers can be visualized as thin slices of the object. With 3D printing, a piece of metal or plastic is created by cutting out / hollowing it out with a milling machine, for instance. Compared to traditional manufacturing methods, 3D printing can produce complex shapes with less material.

Material

A polymeric material has traditionally been the preferred material for 3D printing due to its ease of manufacture and handling. In addition to polymers, 3D printing can also print metals and ceramics, making it one of the most versatile manufacturing processes. As a result of the ever-growing CAD industry, particularly the solid modeling side of it, layer-by-layer fabrication of three-dimensional physical models has become a modern concept. Three-dimensional models were previously created using wireframes and surfaces, but the layers of materials are always controlled by the printer and material properties in all cases. In a computer file, the deposition rate of the three-dimensional material layer is set by the printer operator. A heated metal alloy was used to print patterns using the earliest printed patented material, hot melt ink.

So what is ceramic? It’s a fairly broad term that includes everything between earthenware and Alumina. The origins of ceramic can be traced to Greece where they would bake clay at high temperatures to make it rigid. Technically speaking, ceramic is a solid material comprising an inorganic compound of metal, non-metal, or ionic and covalent bonds. Carbon and silicon can be considered ceramics from that perspective, and that’s important to note because the names of many of the 3D printable ceramics sound more like metals as they are not derived from clay. Nowadays, ceramics are divided into two categories: classic ceramics that are made up of only natural raw materials (clay) and technical ceramics that include other materials like silicon, carbon, and nitrogen.

Classic ceramics include stoneware, earthenware, and porcelain. Technical ceramics are also known as engineered ceramics and industrial ceramics, and their list would be much longer because more are regularly created as custom solutions for specific applications. Some popular technical ceramics are Aluminum Nitride, Zirconia, Silicon Nitride, Silicon Carbide, and Alumina. Technical ceramics have dramatically improved mechanical, thermal, chemical, and electrical properties as compared to classic ceramics. Most 3D printed ceramics fall into the technical category but the extrusion based printing process (discussed below) works primarily with classic ceramics.

To completely harden, all of the processes require firing. Some of the systems also require sintering. Afterwards, they can be glazed so that they can be used in the freezer, oven, and dishwasher. Although extrusion-based technology produces pretty rough results, other printing processes can achieve a high level of detail. Companies are adopting additive manufacturing technologies to optimize ceramic parts because 3D printing enables geometries that are not possible through traditional injection molding. Printing ceramic parts also has a much shorter turnaround time, which is generally attractive to production managers. Ceramic 3D printing will be made possible by the same network of post processors that sinter metal 3D printed objects. You can expect to see a lot more ceramic 3D printing in the future.

Types of Ceramics 3D Printing:

Extrusion is a paste or slurry of clay that is pushed through a nozzle and parts are built up layer-by-layer like on a desktop 3D printer; resolution is lowest on this technology but it also scales up to the largest build volumes. Binder jetting is a binding agent and is selectively applied to a bed of ceramic powder one layer at a time; final parts must go through a debinding process. Powder sintering is high-power laser sinters the cross-sections of each layer onto a bed of ceramic powder. NanoParticle Jetting is Liquid suspensions containing solid ceramic nanoparticles are deposited with inkjets layer-by-layer. Photopolymerization (DLP) is Resin that’s filled with ceramic particles is used in a DLP printer that cures each layer into a solid with UV light; final parts must go through a debinding process.

ThingiVerse, Ultimaker Cura 5.2.1

Thingiverse is a website where users can share their digital designs. Users can use 3D printers, laser cutters, milling machines, and other technologies to create the files they share on Thingiverse. I searched on the website thingy verse for 'ceramics pottery' and went through several files until I found the right one.

You open Ultimaker Cura 5.2.1 after you download and save a file. With Ultimaker Cura Crack, you can print 3D objects on your PC or Mac. A few clicks are all it takes for professionals to prepare prints. Once I have opened Cura and added my files, I am able to change the scale of the object and slice the object to see each layer as a process. In all, I spent 11 hours printing my object, and I used the material ‘Matte PLA’.

Precedent Studies

Learning Hub / Heatherwick Studio

Architects: Heatherwick Studio

Area: 14000m² Year: 2015

As a result, both social and learning spaces are interwoven to create a dynamic learning environment that promotes causal and incidental interactions between students and professors. With fifty-six tutorial rooms without corners, fronts, or backs, twelve rounded towers taper inward at their bases around a generous atrium. In order to support NTU's new pedagogies that emphasise active learning and small group teaching, the university developed new-generation smart classrooms. Using the flexible format of the rooms, professors can better engage their students, and students can collaborate with each other more easily.

Each room opens up to the atrium, interspersed with open spaces and informal garden terraces, providing students with a visual connection while also allowing them to gather, linger and pause. NTU Professor Kam Chan Hin, Senior Associate Provost (Undergraduate Education) says, “The new Learning Hub provides an exciting mix of learning, community and recreational spaces for NTU students, professors and researchers from various disciplines to gather and interact. By bringing people and their ideas together, NTU can spark future innovations and new knowledge that increasingly happen at the intersection of disciplines.”

Precedent Studies

Studio Gang's Natural History Museum extension nearing completion

A completion date has been set for Studio Gang's Gilder Centre in New York City, with images showing the concrete interiors and panelled exterior nearing completion.

Griffin Atrium, the Gilder Centre's central atrium, was designed by Studio Gang of American architecture. In addition to a library and exhibition space, the extension will add numerous spaces to the American Museum of Natural History.

In order to achieve its cave-like, fluid appearance, concrete is sprayed on rebar during construction. In many spaces throughout the museum, shotcrete is used, which requires hand finishing. As a light-filled central zone for the museum, the four-story atrium will help circulate air throughout the building, according to the studio. Walkways and cut-outs line the walls of the atrium, providing views of the ground below. The atrium central open space is surrounded by dramatic skylights and bridges. Cranes are seen installing Milford pink granite panels that surround the facade's central glazing in images released of the facade as well.

Studio Gang chose to shape the panels with a 3D cut so that they would appear undulating, just like on the iconic front of the main museum building on Central Park West.

"Their diagonal pattern evokes both geological layering and the richly textured and coursing surface of the stone masonry on the 77th Street side of the Museum," said the studio.The atrium will be connected to several other spaces, which are also nearing completion.

There will also be a research library, a five-storey "collections core" where most of the museum's exhibitions will take place, classrooms, an insectarium, and a vivarium with over 80 species of live butterflies.Invisible Worlds is a permanent, immersive exhibition demonstrating virtually different scales of life processes on earth that the studio is also building. Additionally, the structure will create connections between the 10 existing buildings on site, as well as provide ground-up construction.

In this way, the museum is creating "a continuous campus across four city blocks as it was envisioned more than 150 years ago." A large window set into the plaster and copper cladding of the rear facade interacts with other buildings on campus. There will be a total of 230,000 square feet (21,367 metres) of facilities at the Gilder Center.

To renovate Theodore Roosevelt Park, adjacent to the Gilder Center, Studio Gang is working with landscape architecture studio Reed Hilderbrand. A rendering of the project was revealed in 2019 and the museum plans to open in February 2023. A "sugar-cane" skyscraper in Hawaii and a ceramic clad skyscraper in San Francisco are among Studio Gang's other projects.

Precedent Studies

Heydar Aliyev Center

Architects: Zaha Hadid Architects

Area: 101801m²

Year: 2013

Heydar Aliyev Centre design relates its surrounding plaza to the building's interior in a continuous, fluid manner. In addition to the plaza, Baku's urban fabric rises to enclose a series of event spaces dedicated to the celebration of contemporary and traditional Azeri culture. The plaza is accessible to all as a part of the city's urban fabric. A multitude of intricate formations, such as undulations, bifurcations, folds, and inflections, transform this plaza surface into an architectural landscape that welcomes, embraces, and guides visitors through different levels. This gesture blurs the conventional distinction between architectural object and urban landscape, building envelope and urban plaza, figure and ground, interior and exterior of the building. There is no new trend in architecture in this region when it comes to fluidity. Like trees in a forest, rows, grids, or sequences of columns flow to infinity in historical Islamic architecture. It establishes seamless relationships and blurs distinctions between architectural elements and the ground they inhabit through continuous calligraphic and ornamental patterns on carpets, walls, and ceilings. By developing a distinctly contemporary interpretation, reflecting a more nuanced understanding, we aimed to relate to that historical understanding of architecture, not through mimicry or adherence to the iconography of the past. By introducing a precisely terraced landscape that establishes alternative connections and routes between the public plaza, building, and underground parking, the project responds to the sheer drop that previously divided the site. By transforming a disadvantage of the site into a design feature, this solution avoids additional excavation and landfill.

The architectural development of the building's skin was one of the most challenging aspects of the project. As a result of our desire to achieve a surface so continuous that it appears homogeneous, a wide range of different functions, construction logics, and technical systems had to be integrated into the building's envelope. Through advanced computing, these complexities could be continuously controlled and communicated among the numerous participants in the project.

Using the space frame system, a free-form structure could be constructed and significant time was saved during construction, while the substructure was designed to incorporate a flexible relationship between the rigid grid of the space frame and the free-form exterior cladding seams. In order to rationalize the complex geometry, usage, and aesthetics of the project, these seams were derived. In order to achieve a strong plasticity in the building's design while responding to very different functional requirements related to a variety of situations: plaza, transitional zones, and envelope, glass fiber reinforced concrete (GFRC) and glass fibre reinforced polyester (GFRP) were chosen as

The seams between the panels in this architectural composition are the rhythm if the surface is the music. To rationalize the panels while maintaining continuity throughout the building and landscape, numerous studies were conducted on the surface geometry. It is easier to understand the scale of the project due to the seams. A pragmatic solution to practical construction issues like manufacturing, handling, transportation, and assembly is provided by the fluid geometry's continual transformation and implied motion. As well as accommodating deflection, external loads, temperature changes, seismic activity, and wind loading, they address technical concerns as

Precedent Studies

PUBLIC ARCHITECTURE, OFFICE BUILDINGS •PARRAMATTA, AUSTRALIA

Architects: Year: 2022 Landscape Designer : Lighting Designer : Project Manager :

Builder :

Structural Engineer : Services Engineers : NDY

Acoustic Engineers : ESD : NDY

Transportation Engineer : Quantity Surveyor :

A 'emerging' project persona informed the design response for NAB 3PS, which was a keystone in establishing Parramatta as Sydney's Central City. NAB 2CS, meanwhile, possesses an 'established' persona due to its heritage surroundings and well-tread CDB business hub. Workplace design was influenced by these conceptual approaches in all aspects, including space programmatics, geometry, movement, connectivity, and materiality. A new persona was emerging

It was important to create an aesthetic that reflected the greater Sydney context and a culturally diverse demographic for the 'emerging' theme of the project. Space is intersected and layered through movement, spatial distribution, and forms within the interior to create a bold and interactive experience. By drawing the customer and community inward, the lower levels of the building 'lift the curtain' on the inner workings of the bank, and offer a variety of immersive spaces to facilitate connection and co-creation, as well as accessible amenities for staff.

Precedent Studies

BLUE Architecture Studio designed this cafe in the Chinese seaside resort Aranya with structural columns disguised as huge, craggy boulders. The Zolaism cafe is located in a coastal area in the city of Qinhuangdao known as the Aranya Gold Coast, just a few hours drive from Beijing. There are four boulder-like columns surrounding the coffee shop, and its roof is flat and white. In order to create the appearance of a natural landscape, BLUE Architecture Studio introduced columns made of glass-reinforced concrete (GRC).

"In the vast world, humans are a small and lonely entity," explained the Beijing-based practice.

"The tranquillity and vastness of nature helps people to escape from the rhythm of urban life and to return to their true selves."

The studio designed each column by hand rather than using computer software. A series of increasingly large models, made first from foam then from clay, helped the studio determine the shape and arrangement of the columns. It was decided to fill the moulds with GRC, which provides an impressive contrast to the delicate glass walls, once the shapes were finalized. Steel support pillars were used to assemble column parts on site.

Several of the columns are hollow to accommodate more intimate seating areas accessible through arched doorways. There are benches and paper lanterns inside, and small portholes provide views out to the street and the cafe. To give the Zolaism cafe a sense of fluidity, extra chairs and white dining tables have been scattered throughout the rest of the facility. The cafe's outdoor terrace also features rugged low-lying GRC blocks that serve as benches, or thick ledges carved into the base of the columns. To match the tonality of the columns and floors, a gray service counter runs the length of the cafe's rear wall.

BLUE Architecture Studio erects rocky columns inside Zolaism cafe in Aranya

Identifying the Audience

Jennifer 19

Jennifer has always been passionate about textiles and loved creating cool designs. Her grandmother introduced her to it, and she wanted to use her knowledge of textiles to create 3D structures. Yoga and hiking are two of her favourite activities in her spare time. In order to become more sociable, she believes you can push yourself to meet new people at a social event. In addition to improving her social skills, she believes ceramics will bring her closer to her grandmother. When she was a child, she was quiet and insecure, but her confident grandma helped her grow into the woman she is today.

Student

Ben 25

Sasha 23

As a child of a wealthy family, he appreciated the privilege of growing up with money. The arts have always been an interest of Ben's, and he never followed his family's rules. Though he loves his family's business of selling washing machines, he always had a creative mindset. A ceramic artist is something Ben hopes to become one day, and this will allow him to fulfil his skills and interests not only in ceramics, but also in technology.

Business Owner

In addition to graduating with a first degree honours as a lawyer, Sasha wanted to try other things to relieve stress. As a child, she grew up in a single mother household and wanted to emulate her mother's strength and independence. After a lot of stress, she found out about ceramics and took a wheel throwing class and fell in love with it. When one sculpts an object with their hands, they can form a connection with it is what she believes.

Law Graduate

Ranveer 27

Amir is a structural engineer and an Indian Buddhist who identifies as gay and believes people should be free to be themselves. His passion for technology and creativity has always been a driving force in his life. When it comes to tech, he has researched and read about all the latest developments. 3D printing is his favorite hobby and he spends most of his free time creating designs using it. It was a low-class neighbourhood where he grew up. As his mother left when he was young, he was raised by his father.

Learning about different things helps him cope with his youth.

Structural Engineer

Chris 20

Despite Christopher's love of ceramics, he found the lack of diversity and age range to be a problem. Every pottery process is intriguing and different, and he loves creating fun and exciting pots. In the beginning, he wanted to become a footballer, but after an accident made him feel less confident, he ended up finding ceramics, which helped him fill the void of teamwork and practical work as it allowed him to be more active.

Artist

Design Concept

The idea for this project is to create a sequence of 3D Structures by carving into a pot and placing it in the interior space to create a structural design. The Sydney Opera House is a good example of this. These processes are created by focusing on flow, connection, movement, rhythm, and striation. Taking inspiration from nature, curved forms blend into the surrounding landscape because they are fluid and fluidic. Ceramics contain natural materials such as clay, which reminds one of the environments, and the curved structure creates an illusion of peace. It gives you something new to look at each corner, just like pottery is a process. It gives you multiple perspectives on a structure when you cut the pots into different sizes. In architecture, rhythm is defined as the repeated use of visual elements to establish a recognizable Pattern which is the same concept as making a pot.

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