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Damhwahun Jeju onggi

The most important aspect in Jeju onggi is its clay.
Approximately 70 percent of Jeju originated clay, which encompasses emblematic volcanic ash soil. The remaining 30 percent is made up of non-volcanic ash soil.
Jeju clay has a higher iron content than other onggi clay and is uniquely differentiated in that it is fired without the application of additive glazes which normally consists of ashes and medicinal soil.
The onggi including both those from both Jeju island and the mainland are described as a referred to as ‘breathing’ type of pottery vessels, which refer to the countless number of holes(e.g. air passes but water does not leak) that are only visibly observed under a microscope.
All the ceramics displayed at Damhwahun(담화헌) are delicately crafted by hand.
The entire creation cycle beginning from the early treatment procedures called ‘subi’ in Korean to throwing of the clay to shape its form, and firing the onggi are all carried out at the "Damhwahun" studio in Jeju.
The Jeju clay that is used at Damhwahun studios is obtained through self-production. In particular, the treatment process of Jeju soil called ‘Subi’ is of integral importance.
The soil is first cleared from any foreign substances such as small stones or debris, then the soil is grinded and let to sit with a protective vinyl cover for at least a month. Only after this enhancing ageing process is thoroughly done will the clay be ready to be used to create a Jeju onggi.
The ceramic artworks at Damhwahun are fired at high temperatures of more than 1200 degrees which result in ceramics with surfaces stronger than that of normal pottery.
Jeju onggi is known to soften at the human touch the more it is used, while reflecting the characteristics of its owner. Damhwahun willingly offers such sense of time and fun spirit through their work.
Norang cave ceramics using oxidation firing methods that supply sufficient oxygen to the kiln while Damhwahun's black cave ceramics use a reduction firing method which is the Korean traditional wood firing method. One exception would be that Damhwahun has its own unique method that fires the ceramics at 1200 degrees celsius (an incomplete combustion) which leaves a wood smoked finish.

정미선 — 2021.5.15 08:05 AM

담화헌의 제주옹기에 관하여..

제주옹기에 있어서 가장 중요한 것은 제주점토이다.
제주 점토의 약 70%는 전형적인 화산회토의 특성을 가지며 나머지 30%는 비화산회토의 성분을 가지고 있다.
제주점토는 다른 지역의 옹기점토보다 철분함량이 높아
잿물(재+약토)을 바르지 않고 있는 그대로 구워낸다는 점이 크게 다르다.
제주옹기와 육지옹기 모두 “숨쉬는 그릇”으로 이는 현미경으로 옹기단면을 관찰했을 때 무수한 구멍(숨구멍:공기는 통하되 물은 새지 않음)으로 이루어져 있다는 것을 말한다.
담화헌의 모든 그릇은 수공예로 제작되어진다.
제주흙을 수비하는 과정에서부터 물레를 이용해 제작하는 과정, 옹기를 구워내는 모든 과정이 제주에 있는 ‘담화헌’작업실에서 이루어진다.
담화헌의 제주점토는 자체생산을 통해 얻어지는데
특히 제주점토를 수비하는 과정이 중요하다.
하나하나 흙속의 작은 돌등 이물질을 골라내고 이를 빻아서 비닐로 덮어 흙을 찰지게 만드는데 최소 한 달 이상의 숙성과정을
거쳐야 비로소 제작이 가능한 제주점토가 된다.
담화헌의 그릇은 1200도 이상의 고온에서 구워내며 일반적으로 쓰는 도자기그릇에 견주어 그 강도면 에서도 결코 뒤처지지 않는다. 제주옹기는 쓰면 쓸수록 그릇표면이 고와지면서 주인을 닮아 가는데 시간과 그릇에 주는 재미를 담화헌를 통해 느껴 보는 것이 또 다른 재미가 있을 것이다.
노랑굴그릇(산화번조)은 가마에 산소를 충분히 공급하며 완전연소방법으로 구워내는 그릇이고
담화헌의 검은굴 그릇(환원번조)은 전통방식(장작가마)을 바탕으로 하되 1200도에서 구워지는 과정에 불완전연소로 인해 그릇의 표면에 나무의 연기를 씌우는 작업과정으로 담화헌만의 특수한 방법고안으로 인해 나온 결과물이라고 할 수 있다.

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정미선 — 2021.6.4 03:43 PM
미래학교 제주 옹기

미래학교 제주 옹기

베니스, 설치

어머니를 닮은 제주 옹기

개요

베니스 미래학교를 방문하는 사람들을 환영하는 차와 음료는 도예가이자 조각가인 정미선이 만든 컵에 담긴다. 그녀는 또한 한국관 옥상에 새를 위한 욕조를 설치할 예정이다.

옹기는 한국의 일상 생활 용품으로 김치를 발효하고 간장을 만드는 데 사용되는데, 이는 전통적으로 여성이 수행했던 작업과 밀접한 관련이 있다. 정미선이 미래학교를 위해 만든 컵은 제주도의 독특한 도자기 형태와 조각가의 손에 의해 만들어졌다. 만드는 과정은여러 사람들의 참여를 필요로 하며, 화산섬에서 구할 수있는 현무암으로 특수하게 제작된 가마를 통해 제작하는데, 최고 온도에 이르기까지 사흘이 걸린다. 각각의 결과물이 그 자체로 독특하고 고유하다. 이는 도자기를 굽는 과정 중 발생하는 자연발화와 점토 면의 다양성 때문이다.

전시 프로그램 참여자

지금/여기

Creamy Polenta, St Erasmo's artichokes, crunchy sage and Doge honey

카를로타 노벨라 — 쿠치나 세미 아쿠아티카 — 18시간 전

On Saturday 25th September the Cucina Semi Aquatica opened its online doors for a lunch and dinner cooking workshop which focused on introducing productive landscapes, existing between land and water, through the medium of food.
We cooked together via Zoom and the recording of this session will be available soon on Future School website.

On the day, we created three simple dishes - one starter, a main and a dessert - inspired by the Venice island of St Erasmo and the Liverpool and Leeds Canal.

The recipes we explores departed and took inspiration from these two very different landscapes, looking at their history and evolution across time. Although the meal featured ingredients which are very much local to these two sites, we invite everyone to recreate the recipes with the ingredients representing territories between land and water which are more local to them.

On this page you can find a list of ingredients - and guidelines on how to find local equivalents - the full cooking process and a list of utensils you might need if you plan to create the three recipes at home.

To share with us your adapted recipes, you can email carlotta@publicworksgroup.net

Thank you!

카를로타 노벨라 — 쿠치나 세미 아쿠아티카 — 19시간 전

Learning from other collaborative practices

Conversation with Rosario Talevi and Tiphaine Abenia about non-formal education, collaborative initiatives in and out of academia. What can education institution can learn about collaborative learning practices?

29th Octobre 15h-17h
Live from Future School in Venice
(link available soon)

조안느 푸젱 — 협업의 아틀리에 — 어제

Learning in Constructlab practice

Presentations from Constructlab members revolving around learnings gathered within projects. What, how and why do we learn ?

28th October 15h-17h
Live from the Future School in Venice

조안느 푸젱 — 협업의 아틀리에 — 어제

Le cours de l'eau, la cour et l'eau ©Juul Prinsen

조안느 푸젱 — 협업의 아틀리에 — 어제

Le cours de l'eau, la cour et l'eau ©Mathilde Gintz

조안느 푸젱 — 협업의 아틀리에 — 어제

BIO
Ana Betancour is an architect and Professor of Architecture at the UMA School of Architecture, Umeå University, where she was the Head of School (2015-2019). She was previously a professor in Urban Design at Chalmers University of Technology (2007-2014), and Senior Lecturer at KTH School of Architecture, Stockholm (2001-2007), and The Bartlett, UCL, London (1999-2003). Betancour was the Head of Exhibitions and Public Programme at The Museum of Architecture in Stockholm (2007-2009). She founded the A + URL/ Architecture + Urban Research Laboratory (1999-2007), and she co-founded P.H.A.B. Architects (1996-2001). Together with Carl-Johan Vesterlund, she co-founded the Urban + Architecture Agency in 2008.

BIO
Carl-Johan Vesterlund is an architect and Associate Professor in Architecture, Urban Planning and Design at Umeå School of Architecture (UMA) since 2015. Until 2019, he was a member of the Leadership at UMA, the Director of the Architectural Programmes and Master’s programmes, and responsible for the development of the new Master’s Programme in Architecture and Urban Design. Prevously, Vesterlund was Senior Lecturer at the Chalmers School of Architecture, Chalmers University of Technology (2008-2015) and guest teacher at KTH School of Architecture, Royal Institute of Technology in Stockholm (2005-2007). Together with Ana Betancour, he co-founded the Urban + Architecture Agency in 2008.

아나 베탕쿠르 — 글로컬 상상의 지도 — 3일 전

We have in our practice and teaching over many years developed a trajectory of projects investigated how global issues are affecting local conditions. By mapping, analysing and understanding responses and tactics to the global crisis in a local context, we have explored how local ways to operate could catalyse change within global transformations affecting urban and rural areas today.

As an example of this endeavour here we describe a project on the city of Gothenburg.

We have investigated transient edge conditions of harbour cities in relation to climate change, rising water levels, dynamic water conditions, flooding strategies and shifting economies. Studying the dynamics of the flooding in Gothenburg, we have explored the threats and problems the city and its built environment are exposed to, due to rising water levels. We have explored natural water edge ecologies; the logics and dynamics of ecosystems that are dependent on and profit from flooding and fluctuating water levels, imagining the riverbanks as a potential productive edge and water infrastructure system. How could this system be developed to be integrated in and become part of the city, and contribute to ways of living and working, production and recreation?

In our work and investigations of Gothenburg, a city which has undergone major changes during the past decades, have been focusing on developing alternative future scenarios and identities for the city, departing from its relationship to water. From being a significant harbour and industrial city, then turning into a city with an industry in decline, Gothenburg shows a high rate of unemployment, socio-cultural and racial tensions, a shortage of housing, and is one of the most exposed and threatened cities from rising sea levels and flooding in Sweden. The City Planning Office, in collaboration with property developers and the industry, have developed future plans for Centrala Älvstaden – an urban regeneration project for the region and the city of Gothenburg, branding, densifying and changing the structure and character of large areas of the city through 15,000 new dwellings and 40,000 new work opportunities for the north and south river-banks located in high-risk flooding zones.

Departing from the understanding of the coastal edge as a system, a productive industrial edge and an operative infrastructure, we developed propositions for an urban network – a series of interconnected cross-programmed spaces and architectural interventions – where the flooding water could be considered as a resource for the future of Gothenburg. Based on the model of a network, its physical as well as non-physical organisational pattern is an urban planning strategy in which the relationships and connections between actors, programmes, activities and spaces can be understood as both spatial and programmatic. The network is developed as a flexible series of self-sufficient spaces for fluctuating flows and uses, making it adaptable to future challenges and opportunities. Applying a wider and softer notion of infrastructure or infrastructural ecology, this added layer of intensity, enhancing the production, interaction, exchange and sharing of resources and space, could make it less vulnerable and less dependent on high technology and advanced infrastructure. Programming of spaces and architectural interventions, such as floating markets, biogas parks, waste water gardens, algae farms, and osmotic power plants, have been focusing on self-sufficiency in terms of energy and resources, local production and recycling, commonly shared, owned, used and run by local communities. Imagining Gothenburg as a city on water, where the rising water is considered a productive and common asset rather than a threat, we believe is critical for a sustainable development of the city.

아나 베탕쿠르 — 글로컬 상상의 지도 — 3일 전

Urban Networks, aerial view, Gothenburg © U+A Agency with Mathias Holmberg

아나 베탕쿠르 — 글로컬 상상의 지도 — 3일 전

Urban Networks, Gothenburg © U+A Agency

아나 베탕쿠르 — 글로컬 상상의 지도 — 3일 전

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