Some time ago, before I became an architect, I was introduced to a book called, “Architecture Without Architects”. I suspect some have heard of this book. It was actually a catalogue from an exhibition at the Museum of Modern Art in 1964-1965. The author, Bernard Rudofsky, discusses the art of building as a universal phenomenon. He found in “primitive” architecture an applied intelligence to uniquely human modes of life.
I was drawn to the work in this book because I found simplicity and directness in many of the forms with a sense of structural strength in the materials used. Many of them have inspired my clay work and over time have contributed to basic underlying themes in my work in architecture as well.
Over time my aesthetic relative to ceramics has evolved from Asian influenced pottery to forms that express elements of buildings and humans. This includes aspects such as roof edges, overhangs, feet, heads, ears, shoulders, etc. In pottery many of these terms have always been used to describe portions of pots. In my case, I have slowly pushed these elements to be more obvious references. The images will hopefully show what I am describing.
For the most part, my pots have remained pottery to the degree desired by the owners of them, and how they are used in daily life. Notwithstanding, I've had a desire for a more obvious connection to architecture and to newer human forms. Because of this, my work has moved toward a sculptural expression. Some time ago I started to make a connection with the ceramic work and my practice of architecture. Since architecture is inherently a collaborative venture, a designer does need a willing client and project circumstances to express an idea beyond solving the basic needs of daily life. I would select the Freeman house as the first time I connected clay ideas and my practice of architecture. By this time my strongest influences were mid-western farmhouses, which is vernacular architecture from where I live. The Freeman project was the prefect site and client for this sensibility to be expressed.
Another example of the clay influences melding with my architecture is expressed in my own house. Here my approach was to replicate pots I had been making that I called house pots. I did this by designing a tower element into the house. This actually goes back to the first influences of Italian towers from “Architecture Without Architects”. The composition of the building has also been expressed in clay work that has come after the project was completed. The aesthetic of two media has integrated into a holistic expression.
I speak about this as if it might be obvious and linear in the planning and progression of the work. It actually has not been a straight path at all. Much of what I have described has happened in starts and stops and a lot of steps backward before moving forward with a design. For me at least, it seems normal to have vague thoughts slowly reveal ideas over a longer period of time before they are actually made into something concrete, or in other cases molded from clay.
Wayne has enjoyed decades of award winning experience in architecture accompanied with his creative outlet of pottery. Along with a command of aesthetics Wayne also has a wealth of experience with the technical aspects of projects. You can see examples of this in some of his prior blog posts. If you'd like to see more about Wayne, stop by his profile page!