Ceramic Art Kilns
CATENARY ARCH SALT KILN MAKANDA ILLINOIS
Pictured is our favorite salt kiln used for producing pottery and sculptures at Lick Creek Pottery in Makanda, Illinois, from 1972 to 1974.
Firing a catenary arch salt kiln is an exciting but challenging process. It can produce surprising results and involves harmful gases that are crucial for glazing. Salt is added to the kiln at high temperatures to create a salt glaze. The heat breaks down the salt, sodium-chloride, producing sodium and chlorine gases. The sodium oxide then reacts with the silica and alumina in the clay, forming a sodium alumina-silicate glaze, while the chlorine gas escapes as hydrogen chloride.
We no longer do salt glazing due to the harmful hydrogen chloride gas produced.
Building the Catenary Arch Salt Kiln
Construction began with a concrete slab for the foundation. Then, high-alumina fire bricks were added to form a floor supporting the downdraft design, which features a flue exit shaft connecting to the chimney.
A catenary arch form made of 2x3 lumber and plywood supports the brick structure. This self-supporting arch is ideal for kiln construction, removing the need for additional arch support.
Two layers of high-alumina hard bricks are joined with clay mortar. Clay mortar is used because at high temperatures, the kiln swells, and brick movement could crack rigid cement mortar.
The reinforced cement cover protects against weather and helps to securely hold the bricks together.
In the image, the back wall is installed. Hard bricks are used throughout the kiln because soft insulation bricks deteriorate upon contact with salt glazing.
The chimney and front wall are completed, and the burners are installed. During firings, we close the door with a stack of bricks.
SPRUNG ARCH SALT KILN
At our first pottery production studio in Cobden, Illinois, we explored the process of building a salt kiln through a sprung arch design.
The sprung arch salt kiln was powered by two old residential oil boiler burners that had been converted for this purpose.
You can see the chimney featuring an old kiln shelf damper setup.
WOODSTOCK NY GUILD POTTERY BARN KILN
WOODSTOCK BYRDCLIFFE GUILD POTTERY KILN UNDER CONSTRUCTION
From 1980 to 1982, we were honored to be invited to build and equip a functioning ceramics studio at the Woodstock Guild Barn in Woodstock, NY. This project evolved into more than just a studio; it became a vital community hub that we collaboratively created. Thanks to the generous donations from community members, we established the original Woodstock Guild Pottery Studio, equipped with pottery wheels and an electric kiln. As passionate volunteers, we took on the challenge of constructing a sizable catenary arch kiln, symbolizing our collective dedication to the project. Introducing the first classes, Kiln Building, Sculpture, and Pottery, in the barn studio marked a significant milestone for the Guild and laid the foundation for the current Guild Pottery Studio.
CATENARY ARCH FIREPLACE
Fireplace Kiln
This catenary arch fireplace was initially designed as a kiln in our Woodstock studio. The kiln had two chambers: one as a vent, while the smaller chamber was used to fire pottery and sculpture. The kiln has been converted into a fireplace; the smaller chamber has been removed, and new brick arches have been added to contain the fire within the larger chamber.
After renovating the Great Room, we transformed it into a showplace for our work, and our studio and kiln have been relocated to a different section of the building. Additionally, our gallery space is now open for viewing by appointment only.
The fireplace is elegantly adorned with a detailed portrait of Laurel, along with sculptures created by Fred during his "Figure in Clay" classes.
Our 1899 Nubian Hot Blast wood stove that has heated the Great Room for over 40 years complimented the catenary arch fireplace.
The centerpiece of the fireplace is a clay portrait of Laurel, which embodies warmth with a smile.
Fred inspired countless students by teaching figure sculpture in clay for several years, and the nymphs at the bottom of the arch served as demonstration exercises for these classes.