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Translating virtual architectures into ceramic form: experiments in clay slip

Brough, SK 2017 , 'Translating virtual architectures into ceramic form: experiments in clay slip', Research Master thesis, University of Tasmania.

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I work with clay at the intersection of three defined constructed spaces:
decorative expression, technological triumphs and functional applications. The
manipulation of surfaces leads to decorative expression, and it is only through
understanding the particular behaviors of clay and attention to process that
technological success may be achieved. The functional applications afforded
by the materiality of clay are many and varied: of particular relevance to this
project was the application of clay slip, for its synergies with line, fluidity, and
expressive potential.
Central to the project’s aims was the particular technique of fluid pouring
processes as a method of translating the schematics and geometric mapping
systems prevalent in computer aided modes of object design and 3D
modeling programs, into material form.
Methodologies developed from both hand and computer-aided drawing
informed these fluid pouring processes that deposited slip by using layering,
slicing, merging, drawing, depositing, building and exposing architectural
structures. The interpretation and adaption of these methodologies prompted
me to respond and deviate from computer generated drawings as a way of
investigating the dialogue between structure and surface within the field of
A high value was placed on material processes, expression and intuition. This
manifested into the development of a controlled application of clay slips of
differing viscosities to essentially draw an object into form from the ground up,
comparable to the way in which current 3D printers construct form in slices
and layers, or how some organic life forms, coral for example, deposit calcium
as they expand their colony.
The designers, architects, and artists who provide the relevant context for this
research include Andrew Kudless, and Lab Architects, who employ various technologies to enhance object design. Their manufactured surfaces also
evoke qualities of other matter, extending bold aspirations for what is possible
in the constructed sphere. In contrast, ceramic artists Kenji Uranishi and
Rebecca Catterall create objects that are pared back and expose an inner
and outer structure. In diverging from attempts to generate or replicate design
objects, the experiments carried out aimed instead at extending the
vernacular of slip trailing through embracing error as a means of generating
unique form.
The outcome was a series of experimental objects created with clay slip,
which interweaved aspects of digital technology and material processes.
These responses produced this series of speculative forms.

Item Type: Thesis - Research Master
Authors/Creators:Brough, SK
Keywords: Art architecture ceramics experimentation
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Copyright 2015 the Author

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