Mar 31, 2018
‘The Ode To The Rock’ - by Innriinnri - DesignMarch 2018 ____
Arthur and Puff are everywhere … Facebook | Stampsy | Tumblr | Soundcloud | Pinterest | Instagram
seen from Philippines
seen from India
seen from United States
seen from Kuwait
seen from France
seen from Georgia
seen from Canada
seen from Israel
seen from China
seen from Germany
seen from Taiwan
seen from United States
seen from Switzerland
seen from United Kingdom
seen from Australia
seen from United Kingdom
seen from China
seen from Philippines
seen from Sri Lanka
seen from United States
‘The Ode To The Rock’ - by Innriinnri - DesignMarch 2018 ____
Arthur and Puff are everywhere … Facebook | Stampsy | Tumblr | Soundcloud | Pinterest | Instagram
Vulcan Clay 🪨🌋🏺
A novel volcanic clay body derived from basalt.
The material’s ecological characteristics were developed through collaboration between artisans and scientists. It combines in-depth material research with design vision to create functional objects while promoting renewed geological resources.
From the “know” to the “know-how,” a relationship between the artisan’s workshop and the scientist’s laboratory is created.
* @icelanddesignandarchitecture * European Institute of Ceramic Arts @ieac_guebwiller * French National Centre for Scientific Research @cnrsMaterials Laboratory is2m @uha68 * @culturemoveseurope from the @goetheinstitut
On the wheel: @anne_gloria.lefevre Video: @alexandre_costes_
Vulcan Clay.
A Plate taking shape on the potter’s wheel, crafted from our volcanic clay body made of red basalt scoria. The clay is soft and fine, allowing for smooth and precise hand manipulation.
Vulcan Clay
The concept presented here was initially driven by an intuition: granite and basalt are volcanic rocks. If clay can be derived from granite, an attempt was made to develop a clay from basalt, borrowing the technologies of ceramists to shape and fire it.
The research presented reveals the development of a new clay inspired by the recipe for porcelain but distinct from it, where the minerals in basalt replace the traditional ingredients, allowing us to transform that stone into ceramics—a new material.
From there, a series of empirical and heuristic tests was undertaken to create a preparation method for volcanic clay called « Vulcan Clay » (as a tribute to the Vulcan team of Katia and Maurice Krafft).
The work includes sourcing, analyzing, and preparing the ingredients and firing techniques to obtain a genuinely volcanic ceramic with 50% to 75% of basalt.
As intuition was confronted with practice, it became necessary to engage ceramists and scientists to understand precisely what happens and how, to guide the material. Navigating in the unknown continues, with back-and-forth exchanges between « know » and « Know-how »—between the artisan’s workshop and the scientist’s laboratory—creating a loop. This dialogue allows for joint progress towards innovation. It is up to independent creators to investigate and reclaim ceramic clay recipes. This project is an opportunity to bring together scientists and artisans to promote a material with ecological capabilities.
Partnerships:
@honnunarmidstod @ieac_guebwiller @cnrs @uha68 @goetheinstitut
On the wheel @anne_gloria.lefevre
Video by: @alexandre_costes_@cindyrunli
©️innriinnri ©️rphlcsts
« Substance » Crushed down to a few micrometers, the slurry is mixed with fundamental clay minerals to obtain a new clay body.
« Matter before material » This chosique interpretation allows us to free the substance from “antropo-functionnalism” and to explore it as it is. ->hylomorphism
“Eutexie” Ferric iron is considered a powerful flux in glaze recipes. Here, for a clay body, the iron in the basalt’s hematite catalyzes the fluxing role of feldspar. It also plays a fascinating role under heat during firing: •Red iron oxide (Fe₂O₃) partially dissolves into feldspars once they start to soften—around 900°C—and accelerates their fusion. •From about 1200°C onward, Fe₂O₃ gradually forms black magnetite, then iron monoxide, releasing oxygen in the process: 3Fe₂O₃ → 2Fe₃O₄ + ½ O₂
Inside the kiln, there will thus be a mixture of CO and CO₂. The monoxide tends to oxidize; lacking fresh air, it will seek oxygen in trivalent iron compounds present in all clay bodies. Red iron oxide becomes a powerful flux once it loses some of its oxygen. In doing so, it speeds up the transformation of the clay.
Using red scoria is a way to control the firing temperature of our composed clay body. Additionally, crushing appears easier than other lava stones, simplifying achieving the right granulometry. . Photograph of a scoria quarry in Iceland 📷 @ontkvc
Oxidized landscape. The 100-meter-high cinder cone formed from accumulated scoria during a fountain-type eruptive phase. Such accretion. The basaltic scoria turns red due to oxidation, prolonged contact with the air, and the residual heat of the growing mound. 4FeO + O₂ → 2Fe₂O₃
Here, in the Vestmannaeyjar islands, stands Eldfell Volcano, which erupted in 1973.
Otherworldliness overcame me upon reaching the summit. The foggy Icelandic weather displaced us into a red, Martian ambiance.☄️
Sampling fresh lava from the eruption site Litli-Hrútur July2023⛰️🌋⛰️
innriinnri places value on taking time to meticulously source unique materials and conduct deep research on them.
“Matter before material”
This approach stimulates a new design process for innovation, ensuring that every material choice is relevantly sustainable.
“Earth matters” @philipfimmano about the studio in @hadesignmag nr.09-2019
Understanding that 90% of Iceland’s surface is composed of basalt, innriinnri partners the hand’s power and the designer’s vision with the availability of raw Icelandic materials. The potential to explore pure rock through green energy expands the current state of handcraft in Iceland by designing with local material, rather than working with imported one. . . . 📸Photography credit: @cindyrunli . ©️innriinnri .