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Inspiration ofArchitecture on Contemporary Ceramic Art Thesis o f M a s t e r o f F i n e Arts

W o n g Lai Ching

Depar tment of Fine Arts

The Chinese University o f H o n g Kong

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Supervisors:

i Mr. Cheung Yee )

I Mr. Chan Yuk Keung i i j

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August 1997

、

INSPIRATION OF ARCHITECTURE ON

CONTEMPORARY CERAMIC ART t ,, ..

A thesis submitted to the Chinese University of Hong Kong in partial

Rilfilments of the requirements for the degree o f M a s t e r o f F i n e Arts.

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ABSTRACT

To most ceramists, material is the hero in ceramic art. No doubt “clay” is

always the primary concern in this form of art. In the era of conceptual art,

however, this belief is being challenged or even shattered. Although a number

of artists have given up the ways they have been working with in order tojustify

their existence in the main art stream, it does not mean that we should deny the

media. On the contrary, it is necessary to rethink and contemplate on the use

of this medium, as well as the elements that constitute ceramic art. By doing so,

it is hoped that a meaningful dialogue can be maintained between the artists and

their works.

Historical and cultural concern sometimes put very lieavy burden on ceramics.

Only by removing meaningless constrains can the way be opened for newer

and more authentic discussion. The thesis seeks to discuss ways of how the

artists can make use of the historical pitfalls of ceramics to open up newer paths

in the future. At the same time, the idea that ceramics is about object rather

than process is put forth for reconsideration and discussions. Architecture is

used as a tool to approach the ceramic art from the three aspects of time, space

and material, in order to bring about a more interesting and less confined forum

for contemporary ceramic art.

H

CONTENT

ABSTRACT

INTRODUCTION 1

Chapter 1 : SYMBIOSIS OF INSIDE AND OUTSIDE 4

Transformation of vessel

Chapter 2 : THE CRISIS OF IDENTITY 15

The magic of teapot

Chapter 3 : SITE - SPECIFIC WORK 22

The giant in nature

Chapter 4 : METABOLISM 35

Regeneration and process

CONCLUSION 42

BIBLIOGRAPHY AND REFERENCE 45

、

INTRODUCTION

Clay is soft earth; when shaped and fired, however, it can be elevated to

become a part of human culture. In most ancient cultures, ceramic products

were fundamentally flinctional in nature. With the invention of machines and

electric kilns, ceramic utensils are produced in a mass production scale in

factories. Handmade ceramics becomes a form of art. People who purchase

ceramic objects may not be looking at their pragmatic purposes. Their

decorative or artistic values become a major concern. Some people may in

fact be seeking emotional, intellectual or aesthetical satisfaction from these

works of art. Chris Tyler very insightfully pointed out that many of the

historical movements in clay began with socio-cultural goals.� Thus changes

in technology have had very significant impacts oii the history ofceramics.

Apart from fUnctioiial objects, the opulent characteristics of clay also lend it

to become a substance for art. Traditionally many ceramists have been

devoting their energy to the artistry of craft of producing consummate forms

from clay. Marcel Duchamp, however, proposed that art is essentially a

product of the mind. His proposition has led many ceramists to rethink their

art in relation to the role of the artist's intellect. As the art of clay is very much

a tactile and visual experience, many ceramists have begun to probe into the

mental process in the creation of a ceramic art product.

We certainly camiot deny that in contemporary sculpture, there are materials

more appropriate for expression than clay. I have also experimented with

other materials. At the end I found myself more attached to clay after each

experiment. The experience compels me to take a closer look at clay as a

medium. In the process I have become more aware of the technical aspect as

well as the cultural context of the art of clay.

1 Ceramics Monthly, March 1986, p.27

1

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Despite the lack of a comprehensive account of the history of contemporary

ceramics, some writers have attempted to analyse the development of

ceramics in a systematic way. Ceramics is usually divided into different

categories such as real objects, functional vessels, figurative, installational

and architectural works. Some people categorize ceramics employing images

of architecture as architectural ceramics. We often find in this category

drawing and painting of buildings on the surface of work, decoration of

buildings using ceramics, small model of houses and ruins, top-view of

interior. This is only a superficial way of looking at both architecture and

ceramics. It is not necessary to identify the criteria of architectural ceramics.

The relationship between the two should be evaluated in a more genuine sense

to provoke discussions which are more stimulating and meaningfbl. The

thesis tries to study ceramics from the perspective of architecture through the

three aspects of space, time, and materials. Architecture is used as a tool

through which ceramics can be read in a different perspective, which in turn,

can minimize the hermetic atmosphere of the ceramics world. It is hope that

we will be able to recognize, after all, that ceramics should be more than

vessels and a vessel itself is more than a convex container that embodies a

convex volume inside.

Both architecture and ceramics are branches of knowledge gathered from

studying the relationship between materials, space and time reference.

Architecture concerns about using physical law to bind materials into a

structure. This structure in tiinis articulates space, which is the essence of

architecture. Ceramics is a material-based medium and the main concern lies

in the manipulation of the material itself. Through the activity of art creation,

space is generated. The time reference exists within the cultural context,

historical context and the physicality of the material. The considerations of

Kant's theory of time and space being the sensibility of human beings here

acts as a basic framework for analyzing the topic. The characteristic of space

and time being homogenous and extending infinitely is essential as it is the

2

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central thought which directs the discourse. It is important to realize that

space and time act as the a priori through which the appearance of thing-in-

itself is perceived. The concepts of space, time and materials link architecture

and ceramics together.

The discourse of space in ceramic works in Chapter One develops around the

relationship between the inter and outer space of a vessel form. Here, vessel is

considered as any form dealing with the principle of articulation ofamovable

volumetric space. The chapter seeks to investigate the possibility of

establishing a kind of in-betvveenness, an alternative space as the focus in the

contemporary perspective.

As a continuation of Chapter One, Chapter two attempts to challenge the

identity of ceramics in the contemporary art world when the functional

purpose is taken away and the concept of space will be vigorously challenged.

Considering the characteristic of clay as a media of art. Chapter Three and

Four investigate the kinds of ceramic works that are site-specific and are with

specific emphases on the value of time. Through such investigation, it is

hoped that opportunity could be provided for considering the media from a

point of view that is free of the constraints of conventional and cultural

burden.

3

t

Chapter One

SYMBIOSIS OF INSIDE AND OUTSIDE ----- Transformation of

vessel

According to Kant, our awareness is closely related to our spatial experience.

This spatial experience is in tiim directly related to the experience we have

inside and outside an architectural form. From the moment we were bom, we

spend our lives in a state of comfort or discomfort on a scale of sensibility that

stretches between "claustrophobia" and "agoraphobia". We are inside or

outside or on the "threshold" between the two. There are no other places to

be.2 Our lives are surrounded by architectural structure and inevitably the

spatial experiences in architecture influence our sensibility. Leaving one

space means entering into another. This is especially true when we consider

Kant's theory that space is homogenous. There is only one space that exists,

we do not have different kinds of space as the outside of space is also space.

Space is a totality being divided. In architecture, this dividing line happens to

be the wall. Walls divide the homogenous space into different partitions which

we call the "interior" and the “exterior’,，or the “inside，’ and the "outside".

The general difference in the role of the interior and the exterior lies in the fact

that the interior is functional while the exterior is decorational. However, we

must bear in mind that the exterior is the pre-requisite of the interior. The

evaluation ofthe space inside a building is thejob of the user while that of the

exterior is left to the passers-by. The emphasis oii the former rather than the

latter is enhanced by the flinctional aspect of architecture. In a city, most of

our daily activities are performed inside a building.

-Colin St John Wilson, Architectural Reflections, 1992, p.6

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Apart from the ftmctional aspect, the sheltering effect also provides a

psychological remedy to the detachment that every human being experiences.

According to Freud, we experience the "oceanic feeling", a kind of fusion with

the mother in the infancy state. It is the state where we feel great security.

After such a stage of embodiment, there is a sudden change to the contrary of

exposure or detachment - of an othemess in which the infant becomes aware

of both its own separate identity from the mother and from all other objects

out there.3 We are constantly oscillating between these two positions or

modes of experience in life. There is no real existence except within these

three states. People, when they grow up, constantly seek for the feeling of

being embodied to try to recover the pain caused by detachment. Such

psychological needs are often manifested in the architectural principles. The

sheltering effect of architecture is embodied by the interior of an architecture.

The interior, which is an already divided part of the homogenous space, is

further sub-divided into partitions. Apart from the fUiictional aspect, these

sub-divisions give us a further sense of security and privacy. Thus space is

organized into a hierarchy to provide the point of reference. Such division

brings about order and influences our ways of perceiving space around us.

The famous test of the carpenter's effect is a good example to demonstrate

how we are affected by the subtle straight lines surrounding iis by the interior

of architecture.^

In the context of ceramics, vessels share the similar manipulation of space. It

is about the embodiment of an interior space by a physical shell, or the

division of a homogenous space by a ceramic wall. No doubt that vessel

which at the very beginning means pot is strictly functional. With the

containing and pouring mechanism, the interior is emphasized. Here，the

3 ftid., p.6 4 People living in modern society with interior ofarchilectiire composed of vertical and horizontal plates are unable to recognise that the two lines with opposite arrow shape at the ends are of the same length; while aboriginal people, who live in huts of round wall can easily tell that their length are the same.

5

«

word "vessel" is used in order to minimize the mere functional characteristic

o f a container. When function is the main concern, the reading of a vessel is

limited from perceiving the interior from the top and ends in the ceramics shell

that embodies the space within.

Containing, in fact, is a flinction as well as a complex concept that is related to

the cultural background. Dead bodies are usually arranged in a position like

the embryo in an egg in the Chinese as well some western cultures to

symbolize a returning to the ultimate the position from which human are

bom. In the Jomon period of Japanese history, a baby's dead body was

arranged in a ceramic container as in those days, making pot was the job of

woman. This metaphorical interpretation of the vessel is an example showing

how the transcendence of the concept of containing can be perceived from a

contemporary point of view. One of the important qualities of a good teabovvl

is an interior of enormous space. The concept of space here is again

metaphorical. In the philosophy of tea, it is usually understood as the space of

the mind. The development of this kind of philosophical point of view among

the Japanese people can be traced to the philosophy of the tea ceremony.

Teabowl, on the other hand, is no more than an ordinary object in daily life.

The elevation of the perception of space within the teabowl to such a

transcendental level is not provoked by the bowl itself but from a larger

cultural context. When vessels as containers are mass produced in factories,

hand-made ceramics began to take on a different meaning they are works

of art with aesthetical value. One group of people still cling to the traditional

aesthetic pot, while the other continue to question and create a diversity of

work. Among the latter group of ceramists, there are some who are in-

between, that is, they use the historical context of ceramics to challenge the

identity of the media itself.

Wayne Higby's landscape vessel intents to ignore the function of vessel (fig

1). The painting inside suggest that this vessel is not for containing (fig 2).

6

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m^^^m H H H H I H H B ^ ^ ^ ^ ^ ^ H I I H H B E ^ S Fig. 1 ‘ Landscape bowls, Wayne Higby

7

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8

Besides, he is also trying to stretch the limit of manipulating space in vessel.

Illusion is created so that the interior space interacts with the exterior in a

dynamic way. This interaction gradually brings the inside and the outside

together to become one. The extenuation continues during the process when

the audience reads the vessel. In architecture, walls provides protection, but

at the same time defme the interior from the exterior. Intermediary zones have

come to be regarded as an important means to reduce the feeling ofalienation

that has been created by modern architecture's rejection of exterior space and

the complete separation of urban space into public and private. ^ The

extensive use of glass wall in construction accounts for the fact that it helps to

integrate the interior with the exterior (fig 3). The analogy of the glass wall in

ceramics would be the landscape on the surface of Higby's vessel. The

validity of the landscape lies in the fact that it is not an ornament on the

surface but has merged into and become part of the bowl, pait of the in-

between of the exterior and interior. One cannot imagine tearing off the

landscape like tearing off a colour transfer omament from traditional

decorative pottery. Under scrutiny, however, the interior and exterior ofmost

glass wall buildings are not interpenetradable. Only those who are inside the

building can penetrate into the exterior because they are entitled to the

surrounding sceiiery from inside. Those who are on the outside, however, can

only see reflection of the exterior world. Thus the interpenetration only works

one way. (fig 4). It is the virtual image of replica that we are aware of. In the

case of Higby's landscape, if we are looking at the landscape as we do with

painting, we will not be able to appreciate the artist's intent and the symbolic

meaning of the artwork.

The real symbiosis lies in the participation in human activities. Unlike the

glass wall, the street serves to a certain extent as a transportation space.

Sometimes it is an extension of private space, and at other times a community

space. The street exists as a space with a variety of contents,

5 Kisho Kurokawa，Rediscovering Japanese Space, John weatherhilK 1988, p.21

9

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11

bearing multiple meanings because of its pluralistic nature.^ The virtue of

street, or plaza, lies in the fact that it involves human participation. If the

street is considered to be more on the public side, and that the function of

mutation is not flilfilled, the hedges in front of the lattice doors of the urban

houses ofKyoto (fig 5) create an intemiediary space between street and home

by not shutting off completely from the outside, but allow inside and outside to

interpenetrate7 People walking through the lattice doors experience the in-

betweenness andthus the feeling of alienation is reduced. Here, Higby's work

plays an active role in arousing the audience's awareness to confront the

discourse of space in traditional vessel. Has he chosen another art form to

communicate his concept of illusion, the conventional use of a vessel as a

container would not have been so skilfully challenged. Occasionally, when

the audience move to a particular spot, there appears a perfect piece of

landscape, regardless of the volumetric sense of the vessel. At other point, the

object return to its ordinary state as a vessel (fig 6). Ambiguity of the in-

betweemiess is created and it is this ambiguity which brings about most of the

greatest poetic intensity. As in architecture, the virtue lies not only in the fact

of the elimination of alienation, but also in the “less clear-cut but warmer and

richer zone of reality", one that could not be apprehended through "dualistic

thinking’，, but through the concepts of“intennediary zones and intermediary

nature，，.8

6 fl)id., p.20 'n>id.,p.21 ^ft id. ,p. l9

12

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13

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m m

Chapter Two

THE CRISIS OF IDENTITY -——The magic ofteapot

When the container function is taken away and the space within is being

challenged, there comes the identity crisis of the vessel arises. Ceramists

continue to investigate the possibility of the form of a vessel by employing

methods other than throwing, and produce vessels with angular exterior or

very unconventional interior. "The fact that pots are three-dimensional has

misled people into making claims for not-so-useful pots being sculpture." ^

People still consider vessel as round and shiny and has an upright figure.

Vessel of other forms are considered to be sculpture or simply things other

than vessel. No matter how peculiar the form a vessel bears, according to

Alison Britton, the degree to which its existence depends on "containing",

actual or suggested, and on the expression of one particular material,

disqualified it from the broad concern of sculpture. "'' This suggests that

ceramics is generated by volume. This idea of “volume” in ceramics, in fact,

has its root in the cultural context of vessels as a functional object for

containing. Aii open-top vessel obviously suggests a volume, as this opening

gradually narrows, closes and the vessel being sealed, the volume inside can

still be articulated,

111 the encounter of a sealed form of ceramics, the physicality, which goes

alongside with its cultural context, suggests that the inside is not a mass but

space, not empty space but a space that is occupied by a volume pushing

towards the surface by which it is enclosed. The convex shell of vessels is

perceived as elastic, and not hard, which can sustain pressure from within and

get swollen. The unique generation by volume, as suggest by Paul Mathieu, is

a "characteristic essential" of pottery. ' ' This kind of encounter cannot be

9 Peter Dormer, The New Ceramics - trends + traditions，Thames and Hudson. 1991,p.8 ' 'n)id. ,p.9 n Ceramics Art and Perception, 1995 Issue 22, p.44

15

experienced in the media of wood, stone and bronze. Part of the traits of

identity of ceramics lies in the physicality of the material as well as its cultural

context. In architecture, however, except for the window and door, there is no

other place that can give hints to the hollow inside. Although one knows by

common sense that the inside of a building must be hollow, this sense of

hollowness can never be perceived unless one enters into the building.

The word ‘‘volume,，mentioned above means the displacement of space and

only bears a meaning within a boundary. Volume, on the other hand, can also

provoke another meaning through semantic ambiguity. The volume in a book,

which is also an object that 'contains, transports, preserves, and transmits

knowledge”，are activities intrinsic also in pottery. '" Here volume is not

interpreted in a physical sense and this illuminates the contemplation of the

identity of ceramics from another perspective.

In the case of a teapot, the idea of the mechanism of pouring in and out is

evident iii the presence of the spout and lid, and its relationship with people in

the presence of the handle. The appearance of a teapot can easily be

recognized by the three traits. Imagine these three traits are taken away

from the body o f a teapot, can the fragments still survive as a teapot? Patrick

Hilferty has been making teapots that attempt to challenge some ceramics

conventions, (fig 7) There are two assertions of ceramics that Hilferty defies

against: that ceramics is about an informed volume, and that the vessel is a

metaphor for the body. '"' These two assertions are part of the basis that

constitutes the identity of ceramics. Inspired by the fact that the structure of

bridges and towers could neither displace nor enclose a volume, they could

still define a volume, Hilferty uses architecturally derived skeletal

construction in constructing teapots, (fig 8) By employing the architectural

i2ftid.,p.45 �Ceramics Momhly, Jaiuiary 1994. p.55

16

•4i- — - . • -

… _ ^ ^ ^ p — … ―

: : _ :

: : — r ^ ^ y n ^ ^ H : r _ - : : : : : : E : 3 s i E 5 E s s 5 F ^ ^ ^ t ^ ^ ^ E H B B S E 3 ^ i ^ ^ 8 B j :_:

一 - 一 � = ^ ^ i M ^ M i 一 - — --• 广 J - - ~i^l|j^^^^Bpi|jlj||y^lj|^^j|^|^^|^|J^^PI^^^ JB^S^Bs^irr^^

r ^ ^ g g ^ P ^ J

: • z ^ ^ ^ ^ ^ M : — ^ ^ ^ ^ ^ ^ 二 - - - … - _ 9 ^ ^ ^ Q ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ m i i ^ i : : : - - : : : . - - -

- … - - - ) , ^ j p | p i l ^ ^ ^ j [ | | | ^ � : . _ . _ - ' _ _ : . . _ _ _ . '

. • : _ : . _ - . : : . : : , 、 , ^ ^ ^ ^ ^ ^ ^ 穩 _ : _ _ . _ 、

Fig. 7 Copper Green Coffeepot, Patrick Hilferty

17

零 广 ’ 、 二 、 ^ ^ , 二 二 ^ > _ > ^ " 、 ^ 第 ‘ ‘ * 、 1 於 。 “ - ， - 运 、 货 _ ^ ^ ^ 1 二 4 4 色 丄 : 、 , 4 仏 ^ ^ 考 气 一 一 , : 鲍 '

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A ' , " “ ‘ ' ： : ) > • 7 ^ 1 7 ^ ^ s ' ' , 一二-‘言^ ^ , - ,

nt ^ . . ~,« - « •» •- - “ "• *• 4 、， _ 、- •

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: “ 1 j '“ r-4, , - • — . 一 t- 外 - • ‘ - ‘ -i- “�-Vf^,-r^. r-.-- -• 2 t" ., - ^ ' \ ^ ^ - " ' " . 广 ： 、 — 》

“ ？ 》 , ’ 〒 : : ： ： 靈 ， 等 " ， • ^ B m ( ' 、 ：

_ � . ' # ^ s J i i J ) ^^Jm ^ ^ ^ … ’ , ; … . ._ _ _ 二/二 "-^m^^^^^WM^^L - — _ ^ ^ ^ p i | | | | | | | | ^ : � ; ‘ ‘ ' -

^ I ^ - ^ t ^ H H H B - ^ ^ H i ^ - \ ’ ^ ^ l l M ^ ^ ^ ! : ; : � ,

^ - ： - . . - i : " ^ H I H H H ^ b % :

: ] , ^ ^ ^ ^ ^ ^ ^ H I ^ ^ . : : : . . . i ‘ , . - ^ ^ ^ P 3 I P ^ ^ : - - " ' - , , ; : : : > 、

. > - 』 - ？ - ^ 」 ‘ ， ^ i •• (, . * . ^ ‘'-'" ‘ 一 , •« ‘ � 'r ^ - ^ V r^ - “ ’ t ,^ ‘ , , , ^ ,媒 省’广 • •* ，〜知 ^ 斗，‘r ^ -V • ‘ ‘ * � i ^¾ „ s ‘

. � ' \ . ..% , .' ‘ ^ � ^r t. ‘ . " > , • ‘ ‘‘ ‘. • .' , ‘ '•. 1 . . ‘ 二 广 ' _ _ _ „ -r - ~ ， -T- - - ^ 1'L - -“

：： - : : . — . - - — , | - , … ‘ ” ： > ^ ” 《 . ：^ - ‘ 、 ； 「 / . 、 ^ . , - . ' ‘ ” .,

〜 ― *^ -^ - * ^ ~~ 一 * ^ 卞 - - -_^ ^ — — I ^ T ‘ ‘ ^ fA V . ‘ ‘ i lk - ) “ ^ f ！ - ‘

Fig. 8 Teapot (white), Patrick Hilferty

18

structure, he deliberately imposes the negation of space that should originally

be embodied. These teapots can no longer perform the function of a teapot

although they possess all the traits as a teapot. This results in a teapot that is

contradictory within itself, an object that could signal its identity and at the

same time questions the criteria on which that identity was based. ' The

skeletal construction that happens to be in the teapot, fulfills its function as it

offers support to the lid, the spout and the handle, (fig 9) However, there

comes the question of its own identity as an element of architecture that exists

in an irrelevant situation. Hilferty's teapots are the results of playful wits and

solemn contemplation. By magnifying the gap between a vessel's prescribed

functional purpose and its defining traits, he has very powerfully aroused a

thought-provoking debate about the physical and metaphysical qualities of a

ceramic vessel.

In the case of a skyscraper, we cannot help feeling that it rises although we

know that all architecture has only colossal dropping weight in reality, (fig 10)

It is the shape that persuades us that it rises athletically upward. It is the top

part that signifies the height and becomes the identity of the high-rise. Instead

ofpaying attention to the power of gravity, people are usually more attracted

by the ever uprising gesture of a building. It is interesting to notice that, in

architecture as in ceramics alike, visual identity is most effective and essential

in capturing people's attention. No doubt that in the process, many of the

valuable criteria that deserve notice are ignored. It seems that what we aim at

are fragments as they are more easily grasped even without the constrains of

context. Most of the time it is this kind of identity that remains.

14 Ceramics Monthly, Jamiary 1994, p.55

19

«

p B a

r - j l H i f t i i E i M i i i P H B P P i l ^ ^ ^ M ^ B ^ B H ^ ^ ^ 二 = - | H H H ^ B ™ l H I B

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r Fig. 9 Teapot (Turquoise), Patrick Hilferty -. - - •. .. • ————— - — • — ——— - — -•- -• • -• -••• — — "'" - ““. "““ —

20

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Chapter Three

SITE-SPECIFIC WORK - -- The giant in nature

When we consider architecture as a means to divide the homogenous space

into the exterior and the interior, we in fact are anchoring our perspective from

the angle ofthe building itself. When we consider the whole city as a form of

architecture, buildings become displacement of the space and this external

space fomis the relationship between architecture. Unlike art forms such as

painting and sculpture which can probably be contained within a glass box,

architecture, once situated in a place, is not movable. If we consider

architecture as an art form, it is one of the earliest form of site-specific art. In

the old days, industrial building materials were not popular and transportation

was poor, the material for the construction of architecture was limited to local

building materials. Geographical conditions such as the likelihood of

earthquake influenced the style of architecture of a particular area.

Vernacular architecture is a result of such consideration. Based on the above

reasons, it seems that this site-specific property is only an unavoidable

outcome of the constrains of material, geography and physical law. If we

consider architecture as an art form which is not strictly functional, the

necessity of being site-specific can actually be elevated to a higher level of

human creativity and respect for the environment. A building is not “self-

siifficient or self-contained", it both “influences and is influenced by what

surrounds i t,，” This mutual communication should be considered in its

physical and social context. When the architecture fail to fulfill this

relationship, the effects vary from indifference to alienation and even outright

hostility.i6

In the old days, when architecture is mostly surrounded by natural landscape,

buildings or other forms of human construction became the minority.

15 Michael H. Mitias, Philosophy and architecture,VIBS, 1984, p.24, Arnold Berleant, Architecture and the Aesthetics of continuity i6ftid.,

22

People's respect and care for nature make nature the priority concern. It is the

task for human beings to incorporate architecture into nature and make

architecture part ofnature. Macchu Picchii in Peru is an exemplar of the idea

of architecture being integrated into nature .(fig 11) The dependence on

natural environment signifies a mentality not of imposing power over an alien

world，but ofharmony with a place that is part of themselves. 口 Nowadays,

scientific technology and industrialization have separated human from nature.

The ignorance about nature is enhanced by the abuse ofauthority to conquer

nature. The distance between human and nature is further established by the

man-made landscape called “city”. This shelter is a hermetic world that

allows all the human activities to be carried out within. Human beings

gradually lose touch with nature. The way that people construct a place ” 18

represents his attitude to nature, ranging from "assertion to the adaptive".

What is needed now, according to Amold, is a reconceptualization of the

world that comes to terms with this continuity of human and nature. The

significance ofnature to architecture, according to Seidler, lies in the fact that

nature holds certain truths which, if properly handled, provide opportunities

for “richness”，"longevity" and "validity".�9 Frank LloydWright, who wrote

The Natural House in 1954, proposes the use of integrating nature into the

construction of a building so that the material and the style blend

harmoniously with the surrounding environment, (fig 12) In the pursuit of

nature in a non-natural environment, architecture is viewed as “like” nature in

that it is similar to a natural organism in the call for “harmony, character, and

unity", or because its shape and structure are based on natural forms which

blend with nature, or "imitate natural processes or outcomes"——especially

the nature that organizes things, reacts to environmental forces, gravitational

forces, undergoes the "mysterious process called growth, flowering, and

17 ftid., 18 Peter F. Smith, Architecture and the Human Dimenwion, the Pitman Press, 1979, p.l31 19 Paul-Alan Johnson, The Theory of Architecture, Van Nostrand Reiiihold, 1994, p.90 .

23

“ ... . . . - - . - --- '.-.-. • . • • • • ‘

一 -- • • •• _

^ ^ ^¾ : 國

B B n H H H i H H I ^ H H B H i i B H H H H i H i ^ H H H H Fig. 11 City of Machu Picchu in Pem

24

_ ^ ^ ^ ^ ^ ^ I ^ S H l ^ ^ ^ ^ ^ ^ ^ H H I E

^ ^ M

| ^ ^ ^ H H | | ^ H

-_. ^ J J J p ^ ^ H | l ^ ^ ^ ^ H | H | ^ ^ ^ ^ B . . . H ^ ^ & ? ^ . ^ d i H H H H I H H H H I i l ^ H H H H H I

Fig. 12 Fallingwater House by Frank Lloyd Wright

25

seeding", then "eventually decays only to start all over again, has been labeled

organic architecture". " It is suggested that organic architecture, in general

context, comprises of natural form that seems to have been derived from

circumstance and environment as if they may have been a by-product of

nature's growth forces.(fig 13)

Distinct from other kinds of media, ceramics, which is clay, has a strong

linkage to the earth. There is obviously a strong affmity of the media to

nature. Akiko Fujita's work bring clay back to nature. It involves building

interlocking architectural structure on a natural area and firing them on site,

(fig 14) The firing method she employed is the most primitive one. The

craftsmanship of the artist is reduced to the minimum and the main concern is

the idea of teamwork, a distinctive characteristic of architectural

activities.(fig 15) Although architects tend to control things , the source of

human intervention in organic architecture, as suggested by Paul-Alan

Johnson, is minimized. ' Fujita constructs her works, as an architect does, by

not leaving any personal marks. Referring to the idea ofrelationship between

human activities and nature as notion of complementation or completion,

Aristotle stated that art imitates nature(in the sense that its processes are

analogous to nature's), it can also be said that it "completes nature" in that it

brings about forms that are inherent in nature's materials but which nature

itselfdoes not produce."^ Fujita's work is fired and left in the natural setting .

These peculiar dwellings sit and await the natural force to once again

demonstrate its power on, and thus the circle completes.

Fujita's works have aroused very controversial debates. Some critics refuse

to admit her works into the category of architectural ceramics because they

are not fiinctional. Others reject her works as sculpture because they are too

° Hatje 1963 :220 - 221 21 Paul-Alan Johnson, The Theory ofArchitecture, Van Nostrand Reinhold, 199, p.89 22 ftid., p.93

26

‘ ‘ . ‘ ‘ ..

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1 ^ . , -n “ '"V ^ ,： t-iA ^^i.p"" %-y% 1 J i^m LLi^Xx, :. ” 一 h _ , , ,.4i-.. ^ . . ^ _ . ou, ^ ^ ^ . . „ : ^ . « ^ 1 ^ ^ | j m

: , _ _ : : ^ ^ 飞 ： ： ； ^ 亡 . : m ^ # _ — 一 ― t 豕 - 泰 ^ ^ ; 一 篇 歡 — i : - - 一 • 遍 _ 嘲 ： _

- • 塾 : - 一 ： ： ？ 一 ： 一 — : ? ： 孟 “ ， 一 ： 劇 ！ ： 嘲 _._

： ： ^ m

； ― . N ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ® ， M : — — : _ — 1 ^ ¾ ^ , ^ ¾ ' - : 、 ; 輪 塞 & 】 ^ ^ ^ | ^ | 遷

Fig. 13 T^iesin West, Scottsdale, Arizona, Frank Lloyd Wright

,、 • .

27

’， .

wg^^M ^ s

^X^m fe^Hb_

^ ^ ^ ^ ^ ^ H ^ H | ^ H H H E — H B I ^ ^ ^ M ^ ^ ^ g g | ^ B ^ ^ ^ H B p i ^ m i ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ B i P f f f ^ ^ ^ ^ ^ ^ B I H i B S B

� B B I ^ H ^ H ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ S |

M ^ n Fig. 14 Tower ofYodorogi, Japan, Akiko Fujita

28

;--. ‘ . . " - -

}、 .：- . . , - , . -:..

‘ • . . ; • • - , . a " - ' • ^ : ; : ^ - : ; ¾ ¾ - ¾ ¾ ' ' " - ^

I ^ ^ ^ ^ ^ ^ .: | H | U 2 ^

^ ^ m ^ ^ ^ ] ^ i ^ u i

B B ^ ^ ^ ^ ^ . : •

t^m -' . j ‘ �• SSmSSB^^ i ^ ^ ^ f f _ . « Fig. 15 The house ofworms, Canada, Akiko Fujita

29

huge in size. These two, however, are not the main concerns of the work's

position in the categories. Size and space affect our perception of an

artwork's identity. Size is the size of the work. ‘The realm of an artist who

works close to his objects creates forms to be touched and examined at close

range, and influence us within a range of about seven times our height.

Beyond that, the scale ofarchitectiire begins to comprehend the structure” '^

It will be noticed that, when the work is moved into the museum, it changes

dramatically from architectural, as proposed, to sculptural. Space, the second

criterion that affects our perception of identity, means space of the

environment, both physical and cultural. Here museum is legitimate in

making hypotheses that the exhibits inside should not be functional.

Whatever the original purpose of an object or intention of its creator is its

reception and significance is “ultimately prescribed by the environment it is

presented" .'^ The environment has a strong effect on the identity of the work.

As in architecture, appearance of a place becomes part of the content of the

work to such an extent that the work is not only inseparable from its site, but

is not really definable at all apart from it. " It is interesting that Fujita places

her work both in a site-specific and a museum context, and the juxtaposition

leaves an arena for people to coiitemplate about the status of the work as well

as the role of museum, (fig 16) Museum, when considered to be an

architecture ’ divides the interior and the exterior. It provides an arena for

aesthetical dialogue. The space is not neutral as it is influenced by tradition

and the "prevailing perception of what constitutes art". " At the same time,

the exterior, which bears the notion to be discarded, is space that inherits

potentials of possibilities without constrain of bureaucracy. Here, site

specific ceramic art is particularly powerful in challenging the status of

museum in comparison to the medium's origin as a site in nature.

23 Forrest Wilson, Structure: the essence ofarchitectiire, Studio vista 1971, p. 18 24 Ceramics art and perception, 1995 issue 22, p.40 25 Allen Carlson, Existence, Location, and Function: The Appreciation of Architecture 26 Ceramics art and perception, 1995 issue 22, p. 6

30

I •

_ _ , . . . - • - - -.- . '• ‘ • • •“ ‘

_ M ^ l i | ^ | B U j J g g | g g j ^ ^ | P ^ " ^ ^ : 細

^ M M i ^ ^ ^ , S 3 i ‘ . _ • . • ‘ - ' ^ . ^ 广 ““ ^ ~ : - 4 一 ‘ : . 4 ¾

^ ^ ^ ^ ^ ^ ^ ^ ^ ^ M l i � —

j , : r ; ! ^ B f l B ^ I ^ J

: : : : h ' : ^ ^ w m ^ ^ b ^ ^ ^ i s i ^ ^ ^ H - , I ^ H ^ ^ ^ ^ ^ ^ i ^ ^ H ^ K H ^ H 哪 ^ ^ ^ ^ •

.:::..…. 0 ^ ^ ^ ^ * j | | H ^ B S ^ ^ ^ ^ ^ ^ 9 ^ H | B ^ ^ ^ K J y ^ 'a5f £/JL»- zhms^:si:^ - -: : " : — — - ^ a ^ ^ ^ g ^ ^ ^ ^ ^ W ^ ^ ^ ^ ^ ^ p 3 f c f c M ^ ^ ^ ^

• - m i ^ ^ ^ ^ ^ ^ ^ ^ nn ^ ^ ^ ^ i Qi iiii ^ ^ p i ^ ^ ^ ii ^ ^ ^ m ^ ^ 22 i ^ ^ ^ ^ ^ ^ ^ ^ pi ^ ^ ^ m ^ ^ ^ ^ i ^ i

niijijjjiPjjiymi iij B jijpmi[j^jPjHPjiimj[j PBi!Rift~fr�.^^^^ ¾¾! ¾!¾ ¾¾^!^¾^^¾¾!^^^^^^¾¾ ¾¾^^^^¾

...-.. ^ ^ ^ ^ ^ ^ ^ ^ ^ m ^ ^ i ^ ^ m ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ i

Fig. 16 City, Sao Paolo Gallery, Brazil, Akiko Fujita

31

The possibility ofsite-specific work in nature has its limitation in two ways:

the weakness ofthe materials in building relatively large scale works, and the

limitation ofnatural area available. Moreover, the convcntionally handy size

ofceramic works somehow legitimizes ceramics to be placed in the museum

or inside a shelter. The attitude towards the museum, however, needs not be

too negative. Despite the constrains as a place for exhibition, museum bears

its own identity which can be manipulated by the exhibitors in a useful way.

Instead ofhaving museum imposing criteria on the art work, perhaps we can

revert the order and let the artwork decides. The Place.Product exhibition in

the Ipsvvich Regional Art Gallery successfully transformed the gallery hall

from a static enclosure into a zone of intense activity for the process-based

exhibition to be carried out.(fig 17) Site-specific installation, developed over

a series of artist's residencies in the gallery, was deliberately juxtaposed

against display cabinets containing ornaments and domestic items while

museum houses art exhibits, process-based exhibitions are usually not

permitted.

Like parasite ’ which can “turn hostility into hospitality and exchange outside

for inside""^ a ceramic work can exist as a parasite. Paul-Alan Johnson

compares Harry Seidler's architecture with martial art which is "defiant ofan

opponent but uses the opponent's strength”. ' A successful piece ofceramic

work should act as a parasite which uses the strength of the place to restate the

nature ofthe medium and the identity of the work. Perhaps Charles Simonds’

small architectural structures that hide themselves all over the place in alleys

and staircase in New York are the cleverest manipulation ofthe media as well

as the most economic way to reiterate its naturc.(fig 18)

-^ Diller + Scofidio. Para-sile. 1989 28 Paul-Alan Johnson. The Theory ofArchileclurc. Vvan Noslrand RcinliolcL 1994, p.91

32

_ • . - -- - - — • — -_ — - - --..-- - — .‘.

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" ' ' ' ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ H p H ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ H ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ H . - • - - - . . -

Fig. 17 Place Product InstaUation, Ipswich Regional Art GaUery Maree Bracker

33

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Chapter Four

METABOLISM ——Regeneration and process

According to Kant, time is homogenous. Time and space are the a priori

installed inside human beings when we were born. They are the preconditions

for perceiving the outer intuition ‘ Time divides thoughts and space formats

matters. It is the matters we perceive that allow us to have a glimpse oftime

and space. Basically there is only one dimension of time and that the past,

present and fliture exist at the same base of our sense intuition. Every object

bears an age value once it exists in space.

Metabolism is a biological term describing the change and growth, life and

death a creature undergoes in its lifetime. The principle of metabolic

movements is to introduce this regenerating, metabolizing process into

architecture. Kisho Korokawa, one of the founders of the metabolism group,

expresses conviction that a work of architecture should not be frozen and

static once it is completed but should be apprehended as a process that

"evolves from past to present and from present to fbtiire” " Regeneration

which transcends the format of time is the spirit of the philosophy of

metabolism. They try to incorporate the past, present and future into one

single space of architecture. This illuminates a linkage between Kant's

philosophy of homogenous time and the philosophy of Korokawa's

architecture. In the low-cost housing project in Peru, the group sought a kind

of architecture that would grow, change and regenerate by stimulating the

people living in it to participate and create a self-aid system. The metabolism

concept actually found its origin in the past. The Ise Shrine has continued to

be rebuilt every twenty years for many centuries.(fig 19) Though the intent is

to reproduce the shrine exactly upon each reconstruction, there are gradual,

unavoidable changes in details. We therefore cannot regard the present shrine

29 Kisho Kiirokawa, rediscovering Japanese space, John Weatherhill, inc., o f N Y and Tokyo, 1988 p . l4

35

i ^ | ^ ^ H = : ; : ^ K M ^ H i l : H H

……-……^^^^^^^^^^H^^^^^^^^^^^^^^^^HB'. •• ^^H'； | p H j ^ ^ ^ ^ H ^ ^ ^ H B

| | P ^ ^ ^ ^ ^ ^ ^ S g P ^ ^

^ B m p f f l H ^ H S ^ ^ ^ H I ^ ^ ^ ~'^^B- c-'：. ^ ½ ¾ ¾ ! ^ ¾ ¾ Fig： 19 [se Shrine, Inner Shrine, Japan

36

as an exact copy o f t h e original. Yet, it is the aesthetic principles that are

being transmitted through generations and have survived over a thousand

years. It is an exemplar of the present being found in the past and enclosed in

the image ofthe future. ^ Although one of the practical reasons to rebuild the

wooden shrine is that wood cannot survive for an extended period oftime, the

strength ofmaterials is only relative to time. Consider the Parthenon, people

fall into a romantic relationship with the ruins because many people can only

comprehend history via some concrete matters or historical remains. It is

essential to realize that the value of history is not preserved only in visible

relics but rather in the invisible spiritual heritage. And the vestige oftime can

be evident and transcend beyond the material level.

In the material world, there is no doubt that the vestige of time seems only to

be evident in the appearance of change in matter. Clay, being a material that

has gone through evolution for thousands of years, bears a strong historical

reference. It exists alongside with the existence of human beings. The

analogy ofclay to the idea ofmetabolism lies in the fact that clay is a material

that can be recycled during the process of being manipulated. When clay is

recycled, it is put back into the earth, being regenerated and reused. During

the process of recycling, the things that are abolished are the marks left by

human bemg. Fire, which does hann to most matters, turns clay into

ceramics. Considering the physicality of ceramics, many people think that fire

etemalizes clay. However, when fire enables clay to attain permanence, it at

the same time is reducing clay to a dry and solid form which is no longer

capable of changes in shape and texture.

During the sixties, a lot of artists employed unfired clay in the construction of

their work. Influenced by Abstract Expressionism, these works sought to

reject the permanence in art. George Geyer and Tom Mcmillon's work

manipulate unfired clay and let time imprint its marks on the work, (fig 20)

30 n) id . ,p . l3

37

l^^^^^^^M^^^^^^^^^^M

^^roro … . 一 ' ^ ^ « . .'• • < : . ' ' H j h V H ^ ‘ . '^mSit^.^^

^ t 4 F ^ I ^ " ^ ^ ^ ! ^ ^ ^ & ^ ® ^ ^ ^ ^ ^ ^

' ^^^^^^^^^^^^^ ] p ^ ^ ^ ^ ^ ^ ^ ^ 麵 .

Fig. 20 . • ，

Si5f-line erosion, George Geyer andTom Mcmillin

38

Their emphasis on allowing natural phenomena to alter form and surfaces has

its roots in the ritual of pre-technological society.^' The challenge of

permanence is especially prominent in the media of clay, which has

traditionally been fired to become relatively permanent, (fig 21) John Ro lo f f s

landscape sculpture consists of structure made of ceramic fiber blanket built

on site, (fig 22) It is fired on site, acts as a land kiln itself and performs the

complete synthetic procedure of ceramics. After firing, what is left is mark

left by glaze material place beneath. Again, it demonstrates impermanence

and immortality at the same time. Roloff wants to develop, as he remarks，“ a

poetic relationship between the kiln, its content and the firing." These are the

interlocking and inseparable elements of the process.'" Geyer and Mcmillin,s

work seeks to use clay to perform the ritual of metabolism’ where no marks of

the authority is left. The identity of clay is justified in itself. For Roloff, there

is a strong sense of predicting the fUture, which is not only an inevitable

extension ofthe present. The body of the land kiln is fired off, while the marks

of human beings are deliberately left through a manner different from the

traditional one. Here, the visible mark of the glaze, together with the invisible

vestige of the bumt body, demonstrate to iis the past, present and the flitiire.

31 Elaine Levin, the History of American Ceramics, Harry N. Abrams. Inc., NY 1988, p. 282 ‘ 32 John roloff, interview with Elain Levin, Oakland, California, October, 1986

39

V , • ‘

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.. • ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ 2H2Q2li i ^ | ^ ^ ^ ^ ^ ^ ^ | ……—•.…… “ “ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ n ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Q [ j m p u ^ Q ^ ^ ^ ^ ^ ^ Q ^ m j ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ _

^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ I H ^ ^ ^ ^ ^ i ^ ^ 3 l t H H I ^ H I ^ ^ ^ ^ ^ ^ ^ ^ 9 B ：… ^^^^^^^^^^^^^^^^^^^^^^^^Hi^^^mHH^^^H^^^Hm^^S^^^^^^Hl^^^^^SMyHHMHMilflMHIHI^I

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Fig. 21 Rammed earth sculpture. Continental Shelf, Tom Mcmillin,

- - ,

40

. ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ | ^ ^ H s B H H | ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ H .. ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Q m ^ ^ ^ ^ ^ ^ ^ i ^ ^ ^ ^ Q ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^

^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ l ^ ^ ^ * ^ 3 K f j ^ ^ ^ ^ H M ^ ^ B ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ B

^^^^^^^^^Bk'^WmBm3IKK^^^^M ^ ^ ^ ^ ^ ^ ^ ^ ^ Q ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ m ^ ^ ^ i ^ ^ ^ ^ m ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ i ^ ^ ^ ^ ^ ^ ^ ^pmQHmm ffl ^ ^ ^ ^ i — - — p i ^ ^ i n m ^ ^ ^ ^ ^ ^ ^ ^ m ^ ^ ^ m m ^ ^ ^ ^ p p g m ^ m i m ^ ^ i ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ " " ^ " " i ^ ^ ^ ^ ^ ^ ^ m p -“

mg[ H ^ ^ Fig. 22 ^ Ancient shoreline/Island for Lanonton, John Roloff

41

CONCLUSION

Pluralism is a characteristic ofar t ofthe 20th century. More than ever before

artists are employing new types of techniques and manifesting an ever- wider

vocabulary of materials available to ait. It is a fact that we are living in the

trend of constantly renewing the fashion of art which we are supposed to

influence or rather, be influenced. Under such a situation, however, the clay

communities still sustain its fraternity. One of the reasons for such cohesion

is the unique potential for expression of clay. Once an artist establishes a

habit ofmanipulating clay, he does not feel any need to turn to the others, as

clay is so stable and secure.

Wlien we read leading magazines of ceramics, we find that most of the

writings are confined to meaningless, banal appraisal, technical information

and autobiography Artists are invited to write about his own work, yet they

usually tend to write about their own life. There lies underneath the crisis of

creating a hermetic atmosphere. No doubt that clay is a material-based

media. The importance of manipulating the material is evident in most

ceramic works. Technique, which is one of the major concerns ofceramic ait.

has developed into a kind of professional knowledge within the community.

This kind of knowledge further reinforces the already established opacity of

the clay world. Most critics refuse to write about clay work as they are not

willing to get in touch with the technical area, which they are not familiar

with. The ceramic community is becoming increasingly isolated. This lack of

academic critique results in a retardation of the growth of ceramic work.

Sometimes ceramic works are blamed for concentrating too much on the

narrow technical matters and relying too much on tricks and effects. The

enjoyment of discovering tricks and personal knowledge of a particular

material is a common experience in all forms of art, but this seems to be more

conspicuous in ceramics. The major concern should be whether this kind of

42

material concern can be sustained long enough to a meaningful depth. Simple

material concern can be as legitimate as some heavy cultural topics.

Constant stimuli and challenges are responsible for providing the energy one

needs to work towards a meaningful depth. External stimuli are necessary at

the beginning of every stage as they generate momentum that enables one to

contemplate and challenge his own self. This is the ultimate goal towards

which a mature artist should be working if one believes that art creation is

autonomous.

In the thesis there are two central issues. The first issue is the cultural and

historical aspect ofceramics itself. The long history of ceramics may become

a barrier to the development of ceramics. When one takes for granted what

has been established, one is not aware of the importance to contemplate about

what had been done and what could be done in the future. Ceramics needs the

reflective thinking about its origin, media and identity. The examples quoted

show how the media raises question about the presence of its owii self. Clay

serves as a means to its own end. Artists challenge it and at the some time

make use of it to bring about its own future.

Another issue is the physical materiality of clay. For most of the time,

ceramics means objects rather than experience. One of the reasons being that

ceramic works tend to be relatively small, domestic and intimate. This always

results 111 a mere aesthetic admiration of the finished art work. A lot of

valuable properties of the material itself are buried. We cannot deny that most

of the time, the process is actually much more important than the product as

the artist leani, develop and grow only during the process of creation. It is

vital for the artist to realize his own working process, and that this process is

being shown to the audience. Whether an object can be regarded as an artwork

or not does not lie on its size. The value of the piece of artwork is not always

43

directly proportional to its colossal magnitude. The origin as well as the

process of creation matter most.

Here architecture provides a format for looking at clay systematically by

filtering out all the irrelevant materials. There is an obvious relationship

between ceramics and architecture. However, the major concern is that if

architecture is a tool, how can this tool be successfully manipulated to provide

a new perspective in rethinking about ceramics.

Effective ceramic works “accept and exploit the nature of the medium", its

materiality, its conspicuous plasticity, its tactile quality, its emphasis on the

surface , in fact its “literal opacity". "^ Although the emphasis in recent years

on theory-dominated and non-visual art further alienates ceramics from the

main art stream, we should hold the belief that only working with different

ways can the wholeness of art be completed.

After Peter Voulkos' clay revolution in the fifties, the ceramic world needs

another revolution ——not a revolution that forces the ceramist to be at the

mercy ofnew trends without contemplating what one should do, but a way of

revolving in which inspiration is constantly brought in from time to time and

introduced to the other side of the sphere.

33 Ceramics Monthly, February 1986, p.30

44

BIBLIOGRAPHY

Allsopp, Bruce, Art and the Nature of Architecture, (London Sir Isaac

Pitman & Sons, ltd. 1952)

Baird, George, The Space ofAppearance,{ massachucetts institutes 1995)

Benjamin, Andrew , Architectiire.Space.Painting, (Academy Group Ltd,

1992)

Burham, Jack, BeyondModern Sculpture, (George Brazillar, 1982)

Clark, Garth, American Ceramics, (1876 to the present ) (revised

editionAbbeville press 1987)

Diani, marco;Ingraham, Catherine, Restructuring ArchitceUiral Theory,

fNorthvvesteni University Press, 1989)

Dillar + Scofidio Pratt Journal of Architecture, On inakmg, Pratt Journal of

Architecture, 0^ew York Rizzoli, 1992)

Dormer, Peter, The New Ceramics, trends + tradtiof% (Thames and Hudson

Ltd, London 1986)

Foster, Michael, The principles of architecture — style, structure, and

design, (Phaidon Press limited, 1983)

Hertz, David Michael FrankLloyd Wrighl, In Word cmd Form,{G.K.U^W &

Co.,1995) Hough, Michael, Out o/"P/acc^(Yale University Press, 1990) Johnson, Paul Alan，The Theory ofArchUecliire, (Van Nostrand Reinhold,

1994)

Kelly, J.J., The Sculpture Idea, (burgess publishing company, 1970)

Kurokavva, Kisho, Rediscovering Japanese Space, (John weatherhill, inc.,of

NY and Tokyo 1988)

Levin, Elaine, The History of American Ceramics, (Harry N. Abrams, Inc.,

publishes, NY 1988)

Mitias, Michaek H, Philosophy and Architecture, (Editions Rodopi B. V.,

Amsterdam - Atlanta, GA 1994)

45

Moeninger, Kay; Macnaiighton, Davis Mary; Lynn, Drexler Martha;

Revolution in Clay, (Trustees of Scripps College, Claremont, California.

1994)

Rose, Gilbert J., The Power of Form, (International Universities Press, inc.

1992)

Ross, Michael Fraiiklin, Beyond Metabolism:The new Japanese

ylrc/77Yec/1<re,(Architertural Record Books, 1978)

Scott, Geoffrey, 1924 The Architecture ofHi_nism: a study in the history

oftaste, (London, Architecture Press second edition 1980)

Smith, Peter, F., Architecture cmd the Human Dimension ’ (the Pitman Press,

bath, 1979)

Snodgrass, Adrian, Architecture, Time cmd Eternity vol. l,(Pradeep Kumar

Goel, 1994)

Trancik, Roger, Finding Lost Space, (Van Nostrand Reinhold, 1986)

Ven, Comelis an de ,Space in Architecture, (Van Gorcum, 1987)

Wilson, Colin St. John, Architectural Reflections, studies in the philosophy

and practice of architecture, (1992)

Wilson, Forrest, Stnictiire:the essence of architecture, (Studio vista 1971)

Zevi, Bruno, architecture as space fNew York: Da Capo Press, 1993)

REFERENCE

Artist Statement of Patrick Hilfeity, 1996

Ceramic Art and Perception, 1995 issue 22

Ceramics Monthly, January 1994

Ceramics Monthly, Febiirary, 1986

46

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