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:

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.

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.

Wood fired downdraft kiln was only a quick experiment I did to see what temperature can be achieved. I did not fire any objects inside the kiln, because I did not have enough wood to keep the temperature at the maximum for at least a couple of hours.

Downdraft concept for the kiln is simple but effective. As the illustrations explain, the fire box is located at the bottom of the front, whilst the kiln space is above the fire box. The heat rises and travels down into the chimney providing a consistent heat inside the kiln.

The concept appeared to work great creating an extremely high draft on a calm sunny day and achieving up to 900C inside the kiln space.