Grog makes clay porous and is used for objects which are not intended to hold water. Grog also prevents warpage and is, therefore, very useful for tile making and for sculpture. 20% is a good proportion of grog in a clay mixture.
(Muriel Pargh Turoff, How to Make Pottery and Other Ceramic Ware, New York: Crown Publishers, 1949, p. 13.)
Once you have the clay, you can make the tiles.
In this method of tile making, a wooden form is used that has the dimensions desired for the finished tiles. It is put together by
I I 42 24-8 SOFT TILE AND BRICK
nailing four strips of wood to a smooth piece of board. The strips should be i inch wide and their height may vary from inch to 24 inch, depending on how thick you wish the finished tiles to be. It is a good plan to put a piece of oilcloth on the base board before nailing down the strips. This will keep the board from warping. . . .
Roll out a slab of clay. . . . Then cut from the slab a piece that will fit comfortably into the form and roll it down with a rolling pin. Do not roll the pin all the way across the surface of the clay, but work from the center outwards to all four sides. . . . Let the tile dry until it is leather-hard j then separate it from the form by running a knife around its edges. . . .
Clay tiles should be allowed to dry very slowly, and for this reason should be put in a cool place. If they dry too quickly under heat, they are apt to crack or warp. The edges have a tendency to dry more rapidly than the center and usually should be dampened from time to time to prevent this. (Joseph Leeming, Fun With Clay, Philadelphia and New York: J. B. Lippincott Company.)
To fire soft tiles and bricks, it is not necessary to build real kilns. They can be fired in open pits much like those which primitive potters used to fire their pottery. This type of open pit firing is described in detail by Daniel Rhodes, in Kilns: Design, Construction and Oferatio?iy Philadelphia: Chilton Book Company. Briefly:
Dig a shallow pit about 14 to 20 inches deep, and several square feet in area. Line this pit (bottom and sides) with branches, reeds, twigs, etc. Place the tiles and bricks to be fired on the lining, so that they are compactly piled with just a tiny bit of airspace between them—(they can be criss-crossed). ... If you use old tiles to line the pit, it will keep the heat in even better; and air holes low down at one end will help combustion. . . , Put some fuel in between stacks and over them. Then light the fuel in the pit, and allow it to burn slowly—which it will to begin with because not much air can get to it. Pile more fuel on as the fire burns up to a level above the pit. After the entire pit and its contents reach red heat, allow the fire to die down, and cover the top of the fire with wet leaves, dung or ashes to retain the heat. After the fire has died down, and the embers cooled, the tiles can be removed.
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| A simple kiln. |
CONSTRUCTION
Therefore:
Use bricks and tiles which are soft baked, low fired—so that they will wear with time, and show the marks of use.
You can make them in a simple mold from local clay, right on the site; surround the stack with twigs and firewood; and fire them, to a soft pink color which will leave them soft enough to wear with time.
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| The soft pink color helps to create warm colors (250). Before firing, you may want to give the tiles some ornament (249). . . . |
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complete the building zvith ornament and light and color and your own things.
249. ORNAMENT
250. WARM COLORS
251. DIFFERENT CHAIRS
252. POOLS OF LIGHT
253. THINGS FROM YOUR LIFE
II4S
| I 3 SUBCULTURE BOUNDARY* |
|---|
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75
| 249 ORNAMENT** |
|---|
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I 146
. . . once buildings and gardens are finished; walls, columns, windows, doors, and surfaces are in place; boundaries and edges and transitions are defined—main entrance (iio), building
EDGE (160), CONNECTION TO THE EARTH ( 168) , GARDEN WALL ( 1 7 3) > WINDOW PLACE (l8o), CORNER DOORS ( I 96) , FRAMES AS THICKENED EDGES (225), COLUMN PLACE (226), COLUMN CONNECTION (227), ROOF CAPS (232), SOFT INSIDE WALLS (235), sitting wall (243), and so on—it is time to put in the finishing touches, to fill the gaps, to mark the boundaries, by making ornament.
*£* *■%
All people have the instinct to decorate their surroundings.
But decorations and ornaments will only work when they are properly made: for ornaments and decorations are not only born from the natural exuberance and love for something happy in a building; they also have a function, which is as clear, and definite as any other function in a building. The joy and exuberance of carvings and color will only work, if they are made in harmony with this function. And, further, the function is a necessary one —the ornaments are not just optional additions which may, or may not be added to a building, according as the spirit moves you—a building needs them, just as much as it needs doors and windows.
In order to understand the function of ornament, we must begin by understanding the nature of space in general. Space, when properly formed, is whole. Every part of it, every part of a town, a neighborhood, a building, a garden, or a room, is whole, in the sense that it is both an integral entity, in itself, and at the same time, joined to some other entities to form a larger whole. This process hinges largely on the boundaries, ft is no accident that so many of the patterns in this pattern language concern the importance of the boundaries between things, as places that are as important as the things themselves—for ex-
1147
ample, subculture boundary (13), neighborhood boundary
(15), ARCADES (119), BUILDING EDGE (l6o), GALLERY SURROUND (l66), CONNECTION TO THE EARTH ( 168) , HALF-OPEN WALLS (193), THICK WALLS ( I 97) j FRAMES AS THICKENED EDGES (225), HALF-INCH TRIM (240), SITTING WALL (243).
A thing is whole only when it is itself entire and also joined to its outside to form a larger entity. But this can only happen when the boundary between the two is so thick, so fleshy, so ambiguous, that the two are not sharply separated, but can function either as separate entities or as one larger whole which has no inner cleavage in it.
In the left-hand diagram where there is a cleavage that is sharp, the thing and its outside are distinct entities—they function individually as wholes—but they do not function together as a larger whole. In this case the world is split. In the right-hand diagram where there is ambiguous space between them, the two entities are individually entire, as before, but they are also entire together as a larger whole. In this case the world is whole.
This principle extends throughout the material universe, from the largest organic structures in our surroundings, to the very atoms and molecules.
Extreme examples of this principle at work in manmade objects arc in the endless surfaces of objects from the so-called “dark ages” and in the carpets and tilework of Turkey and Persia. Leaving aside the profound meaning of these “ornaments,” it is a fact that they function mainly by creating surfaces in which each part is simultaneously figure and boundary and in which the design acts as boundary and figure at several different levels simultaneouslv.