Currently, I am working on a number of series, but in this post I’ll be sharing some shots of the I Ching Chance Compositions.

This paintings are reproductions of a digital study of geometric chance compositions made consulting the book of chance I Ching.

The paintings in this post are Compositions No. 4 and 5.

The full explanation of these chance compositions can be found on my earlier post by clicking here.

Monumental Pissoir is a design proposal for public toilets for men in the Medina of Marrakech. The structure functioning as an inhabitable column or as a free standing object.

The proposal is a response to the Seven Towers of Seven Saints square in Marrakech. The square built in 2005 was since neglected – currently and predominantly used by locals as a public dump. Squatting, peeing and even glue-sniffing Morocans can be seen there at any time of day. The picture gallery below deomonstrates the square in its current state.

The ‘monumentality’ of the pissoir is inspired by Moroccan culture – colours, ceramics and vernacular living. The architecture of the pissoir is composed of handmade interlocking ceramic components. The pictured model / sculpture below is scale 1:5:

The ceramic components were hand made using a laser-cut mould and then fired in a self made raku kiln:

The interlocking components have a simple yet flexible geometry, which allows to create various interlocking patterns:

Eddie Blake, an architect and founding member of  Studio Weave, wrote about my work:

“Blazukas’ experiments with firing clay in a variety of his own self-built kilns are beautiful objects in their own right. His ceramics reflect such a deft touch, and an instinctive response to material.

The reason they are worth writing about is that they feed perfectly into a really well-developed design proposal for a ceramics complex in Marrakech. Blazukas obviously really grappled with the brief, and it dealt him a few heavy blows, but he followed it well and the results are beautiful. His drawings are only outshone by his ceramics.”

This article was also posted on Design Curial website, can be found by clicking here.

More about the ‘Monumental Pissoir’ that can be found in my Marrakech project portfolio here.

The typography of the sign as well as its aesthetic quality was designed using chance techniques. The letters are assembled out of small hand-pressed interconnecting clay components. Raku method of firing ceramics was used as a generator of chance in producing the unexpected aesthetic of glazes. The result of the experiment is typography with fascinating variety of colours and textures.

Thanks to Tim Waines and Piotr Garstecki for their huge contribution on this piece.

This is my final MArch Architecture project portfolio.

Design Studio 15, Westminster University, 2014.

The Ceramics Quarter project design is inspired by Moroccan arts & crafts, architect’s own explorations of chance through ceramic firing experiments and then directed by answers given by the I Ching.

The new neighbourhood in the medina of Marrakech will provide living and working spaces for local ceramics craftsmen and potters. Ceramic architecture components fired on the site will create an outstanding typology inviting tourists to the north east part of the medina. The proposal also responds to the current urban fabric of Marrakech medina, where poor and rich are often next door neighbours.

This type of applying texture to ceramics is a great raku method involving a lot of chance and unexpected results.

The ceramic cone was initially bisque fired to cone 04 and then covered in a mixture of chemicals and fired again to 650°C. The firing process took around 60min + time for cooling.

 The glaze recipe used for this cone without any specific amounts is as follows:

ferric chloride
copper sulphate pentahydrate
salt
leaves / vegetation

Step by step explanation is given in the gallery under each photograph.

Continuing my experiments with various kilns, I built up a kiln in a downdraft concept and used propane to fire it. In theory it did not work very well, but in practice I managed to achieve an interesting result on one of the glazed sticks. Both ends of the stick were dipped in the same glaze, but due to exposure to different temperature inside the kiln – the glaze reacted differently achieving a transition of colours.

Here’s the design for my portfolio catalogues for the midyear review submission at Westminster University Architecture School in London.

These ceramic models are the outcome of my colour compositions of chance exercise. Each colour was selected by I Ching, assigning values of colour to each of the 64 hexagrams.

The square model is hollow with a tiny ball inside making a beautiful sound when wobbled.

All models were fired twice – initially underglazed and bisque fired to cone 04, and then glazed and fired to cone 04 as earthenware.

My miniature alphabet models, a set of 12, single cast with 3 colours of plaster.

Moulds made of three main parts, which were shuffled by chance using I Ching.

Initial graphic drawing of these can be found here.