"Crystallised"

#9814934

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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#9814948

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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#9814956

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
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#9814958

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
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#9814960

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
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#9814962

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
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#9814964

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
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#9814966

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
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#9814968

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
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#9814970

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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Commercial use is not permitted without prior authorization.
Please contact us for more information.

#9814972

27 March 2023

This is an old Japanese technique of making for the Japanese Tea Ceremony. The host and the guests alike would design and from the dishes and cups for their Enjoyment Ceremony. This ritual was part of their social contact and a way of communication among themselves. The same feelings are experienced today when in contact with Raku ware. The forms are uninhibited and natural, while still being robust and simple without appendages so that they are resistant to thermal shock. They fired on an open fire not exceeding 1000?C. The ceramics are taken out of the kiln at this temperature, and this is how the cracking is created. Due to this fact, Raku ceramics are not for water use. The clay remains porous and receptive to the magical absorption of smoke after it has been adorned with crystallized glass colored with metallic acids. The presence of silver nitrate make the random, uncontrolled striations that are characteristic of Raku. Even though Raku was used as a form of expression it also has the ability to be used to satisfy modern demands and applications, as microsculptures , drown wall hanglings and big flat items.

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#7118576

23 September 2021

Michael Lee-Chin Crystal addition to the Royal Ontario Museum in Toronto, Ontario, Canada on August 20, 2011. Designed by Daniel Libeskind, the Deconstructivist crystalline-form is clad in 25 percent glass and 75 percent aluminum sitting on top of a steel frame. The Crystal's canted walls do not touch the sides of the existing heritage buildings, save for where pedestrian crossing occurs and to close the envelope between the new form and the existing walls. The Architectural Opening of the 'Michael Lee-Chin Crystal' was controversial. Public opinion was divided about the merits of its angular design. The Royal Ontario Museum (ROM) is a museum of world culture and natural history in Toronto, Ontario, Canada.

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#7118578

23 September 2021

Michael Lee-Chin Crystal addition to the Royal Ontario Museum in Toronto, Ontario, Canada on August 20, 2011. Designed by Daniel Libeskind, the Deconstructivist crystalline-form is clad in 25 percent glass and 75 percent aluminum sitting on top of a steel frame. The Crystal's canted walls do not touch the sides of the existing heritage buildings, save for where pedestrian crossing occurs and to close the envelope between the new form and the existing walls. The Architectural Opening of the 'Michael Lee-Chin Crystal' was controversial. Public opinion was divided about the merits of its angular design. The Royal Ontario Museum (ROM) is a museum of world culture and natural history in Toronto, Ontario, Canada.

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#7118580

23 September 2021

Michael Lee-Chin Crystal addition to the Royal Ontario Museum in Toronto, Ontario, Canada on August 20, 2011. Designed by Daniel Libeskind, the Deconstructivist crystalline-form is clad in 25 percent glass and 75 percent aluminum sitting on top of a steel frame. The Crystal's canted walls do not touch the sides of the existing heritage buildings, save for where pedestrian crossing occurs and to close the envelope between the new form and the existing walls. The Architectural Opening of the 'Michael Lee-Chin Crystal' was controversial. Public opinion was divided about the merits of its angular design. The Royal Ontario Museum (ROM) is a museum of world culture and natural history in Toronto, Ontario, Canada.

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#7118582

23 September 2021

Michael Lee-Chin Crystal addition to the Royal Ontario Museum in Toronto, Ontario, Canada on August 20, 2011. Designed by Daniel Libeskind, the Deconstructivist crystalline-form is clad in 25 percent glass and 75 percent aluminum sitting on top of a steel frame. The Crystal's canted walls do not touch the sides of the existing heritage buildings, save for where pedestrian crossing occurs and to close the envelope between the new form and the existing walls. The Architectural Opening of the 'Michael Lee-Chin Crystal' was controversial. Public opinion was divided about the merits of its angular design. The Royal Ontario Museum (ROM) is a museum of world culture and natural history in Toronto, Ontario, Canada.

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#7024018

2 September 2021

Michael Lee-Chin Crystal addition to the Royal Ontario Museum see at night in Toronto, Ontario, Canada, on October 19, 2015. Designed by Daniel Libeskind, the Deconstructivist crystalline-form is clad in 25 percent glass and 75 percent aluminum sitting on top of a steel frame. The Royal Ontario Museum (ROM) is a museum of world culture and natural history.

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