This one is called ‘Notational Alphabet’. These geometrical compositions of squares, circles and triangles were developed in the process of creating an actual written alphabet. The alphabet can be found in my previous posts by clicking here and / or here.

The alphabet symbols were also explored through sculpture and these can be seen in the previous posts by clicking here ’Alphabet Models’ and ‘Miniature Alphabet Models’ here.

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 same typography that I developed for the ‘here comes everybody‘ ceramic piece was applied to create this woven DS15 sign.

]]> http://whycgi.com/Ricardas/?feed=rss2&p=844 0 http://whycgi.com/Ricardas/?p=829&utm_source=rss&utm_medium=rss&utm_campaign=here-comes-everybody http://whycgi.com/Ricardas/?p=829#comments Fri, 19 Sep 2014 11:59:10 +0000 http://whycgi.com/Ricardas/?p=829 This ceramic typography sign was a design I did for Design Studio 15 End of Year Exhibition at Westminster University in July 2014.

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 a collection of handmade minimalistic sculptural tiles with pyramids shifting out of the vanishing point creating a deceptive impression. The concept of the tiles is based on geometrical composition of squares, inspiration being Baroque architecture.

The ‘pink pyramid tile’ has recently been selected by Saatchi Art currator Bridget Carron to feature in a ‘Radical Geometry’ collection.

The sculptures are made of high quality plaster, coated in primer and acrylic paint. The frames are bespoke made to hold the sculptures.
The collection is limited to 60 sculptures.

The size of the sculpture itself is 39cm x 39cm x 4.5cm, whilst the framed size is 50cm x 50cm x 5cm.

These sculptures are available for sale. You can get in touch via contact form below if interested.

]]> http://whycgi.com/Ricardas/?feed=rss2&p=821 0 http://whycgi.com/Ricardas/?p=809&utm_source=rss&utm_medium=rss&utm_campaign=ceramique-quartier-marrakech-full-portfolio http://whycgi.com/Ricardas/?p=809#comments Mon, 08 Sep 2014 18:29:43 +0000 http://whycgi.com/Ricardas/?p=809

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.

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.

A self made electric kiln experiment.

This experiment – research and explorations of clay firing techniques was done as part of my MArch Architecture second year architecture portfolio.

After making a couple of sawdust firings I used the same fire bricks to make an electric kiln heated by four 750W electric fire elements, which were inexpensively acquired from a spares shop. Due to limited amount of time available the firing was on for 6 hours and peaked at lower than expected 575 degrees celsius in the middle of the kiln, then left to cool overnight. Judging from the fired objects it can be assumed that the temperature closer to the sides of the kiln was much higher – possibility of +100-150 degrees, since each fire element was tested to reach up to 800 degres celsius. The performance of the kiln could be improved by better insulating the kiln.

The temperature rise was controlled by gradually switching on each of the fire elements.

Two pieces with low fire blue glaze started to gain rich blue colour, whilst a piece with red glaze (cone 04 glaze) did not react to the low heat of the kiln. Two of three pieces made from Scarva PF520 clay completely burst into pieces. The last piece was left unglazed and became a cone 022 bisque ware.

The risk assessment was done prior to constructing a kiln in order to ensure a successful operation of the kiln and safe environment.