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In the countryside outside of, New York, (BVTC) has an impressive industrial operation—a potter’s studio on steroids, with dust and clay scattered around a relatively calm factory. Since 1996 “Rusty” Raymond Conners has spent his days by the window and among his plants, carving intricate designs in the capitals of columns and the faces of tiles. BVTC started in 1889 as a flower pot business, and has since morphed into one of the leading-edge facade manufacturers in the world, producing a range of baked-clay cladding products that are being used by everyone from to to. How did this transformation take place? In the last five years,. In 2011, Omar Khan, associate professor and chair of the Department of Architecture at the University at Buffalo School of Architecture and Planning (UB/a+p), and Mitchell Bring, a researcher and adjunct professor, realized the potential in Boston Valley’s operation. Bring has been working with some former students of UB/a+p to incorporate the latest in digital documentation, design, and fabrication technologies to help BVTC remain at the forefront of the terra cotta industry.

What started as a couple of interns is now a whole team of digital designers and fabricators. The digital documentation team uses 3D scan data to enhance more traditional techniques of reproducing historic buildings in preservation projects, such as Louis Sullivan’s Guaranty Building, or New York’s Woolworth Building, which the company is working to restore at the moment. In order to make the process the most efficient, designers use CAD to rationalize the component parts that make up any large ceramic assembly. In a small corner of the factory stands a digital fabrication shop, now led by UB/a+p alum Peter Schmidt. They work with mesh editing software, a 5-axis CNC router, and a 5-axis CNC hot wire cutter to make models that are then translated into molds for the traditional methods such as hand pressing, ram pressing, or slip casting. Some worried that these new tools would cut into the work of the skilled craftspeople, such as the sculptors who hand-finish many of the more intricate pieces.

However, once implemented, these artists found that they actually had more time to focus on the part that they really enjoy—sculpture—because many of the mundane tasks were cut out of the process. John Ruskin would be proud. In addition to making traditional techniques more efficient, BVTC and UB are working together to think about how digital technology can allow more experimentation with clay-based building systems. This was the basis for Architectural Ceramic Assemblies Workshop, a week-long conference at UB/a+p, where architects, engineers, artists, and other leaders in the industry came together to share ideas and discuss what might be the future of clay and terra-cotta. The conference was a collaboration of Alfred State University, Albright-Knox Art Gallery, UB/a+p, and Data Clay, an art collective that is pushing the boundaries of digital craft and ceramics.

This gorgeous program was designed by @cheddacheesey with awesome photography by @ericrosso. So many people worked tirelessly behind the scenes including our incredible stage manager Joe, stage hands @arora_ananya, Amit and Jacquisha, and our fabulous MC @prajuchaubal. It was a smashing success with a nearly sold out audience. We featured a diverse range of dancers and performances (as you can see from the program) including @shakti.dance.movement, @kennyendotaiko, @madame.x.hawaii, @emmapealcbc, @lunavelour ladies from @cherryblossomcabaret, Dave Gupta, UH manoa dance students, and of course principal dancers @sumohajmin @sai.bhatawadekar and @nadamcc. A heartfelt THANK YOU to everyone who contributed to a spectacular month celebrating Bollywood at the @honolulumuseum, and in particular to our second annual showcase, Essence: A Celebration of Women. Filjmi s barunom sobti na russkom yazike mp3.

Keynote speakers were Jason Oliver Vollen, architect and principal of High-Performance Buildings at AECOM in New York; Willam M. McCarthy, ceramics professor at Alfred State University; and Neil Forrest, ceramic artist and educator at Nova Scotia College of Art and Design in Canada. Morris Adjmi leads the team in developing “BIO CLAD” at Ceramic Assemblies at the University of Buffalo. “While many architects design with industrially-produced ceramic components, they may have limited material understanding of clay, and most artists and designers trained in ceramics may have few opportunities to explore the medium at a scale beyond the object,” says Bill Pottle, international sales and marketing manager at Boston Valley Terra Cotta, who helped organize the gathering.

“By attending this workshop, they will have the opportunity to collaborate and deepen their understanding of and experience with the potential for terra-cotta in the architectural setting.” Experiments in Clay What does clay have to offer? What characteristics are unique of clay, and what can it offer that other materials cannot? To explore these questions, the group of nearly 20 broke off into three groups, each with a balance of engineers, architects, artists, and researchers. Throughout the week in the top floor of UB/a+p, they combined their broad collective knowledge with computers, 3D printers, clay, and a range of drawing tools to experiment with clay. Muljtfiljm v formate fla in march. Developing BIO CLAD at Univeristy at Buffalo. On the final day, the four groups presented the findings of their charettes and pin-ups.