Building materials

CeraShingle: Redefining Architectural Facades with Robotic Ceramic Printing

Studio WE has unveiled CeraShingle, an groundbreaking modular ceramic facade system that integrates robotic 3D printing with sophisticated computational design. Spearheaded by designer Yutao Chen, this initiative delves into the potential of additive manufacturing to elevate the architectural and material characteristics of ceramic cladding. The project transforms ceramics from a static, uniform surface into a dynamic and interactive building envelope.

Each CeraShingle unit is robotically produced from clay, designed to be part of a larger, interconnected system. These shingles, approximately 400x130mm and weighing just over a kilogram, are engineered for robustness, ease of handling, and straightforward replacement within scalable facade structures. When arranged with meticulous overlap, they create a multi-layered architectural surface that responds subtly to the shifting conditions of natural light. Features like pronounced ridges, intricate perforations, varied glaze applications, and distinctive geometric patterns collectively generate a play of shadows, reflections, and textures across the facade. This intelligent design ensures the system acts as a visually evolving skin, with its appearance continually transforming based on the viewer's perspective and the intensity of solar exposure.

CeraShingle masterfully bridges the gap between traditional ceramic artistry and contemporary robotic manufacturing techniques. This approach, pioneered by Yutao Chen and Yiwen Gu, enriches the inherent qualities of clay such as its tactile nature, diverse thickness, irregular surfaces, and light responsiveness, rather than replacing them. Through advanced parametric modeling, the design team meticulously controls each component's geometry, curvature, perforation patterns, surface density, and wall thickness, ensuring seamless compatibility across all modules. Robotic arms meticulously deposit layers of clay, directly imbuing the shingles with micro-ridges, smooth curved transitions, and rich textured surfaces—a level of detail that traditional mold-based ceramic production struggles to achieve. The result is components that retain the familiar visual and tactile appeal of fired clay while embodying digitally orchestrated variations.

This innovative system is crafted to be a versatile architectural skin, suitable for diverse scales and environmental contexts. Given that each shingle operates as an independent module, facade configurations can be precisely adjusted for various applications, including interior designs, temporary pavilions, or extensive building surfaces. Furthermore, individual damaged units can be replaced independently, streamlining maintenance and significantly extending the lifespan of the entire cladding system. Efficiency in material usage is a core principle, achieved through additive manufacturing which applies clay only where structurally necessary. The project also explores the use of local clay and low-temperature glazes, aiming to reduce both transportation demands and the energy consumed during firing, all while preserving the distinct surface variations and material character. CeraShingle exemplifies Studio WE's ongoing exploration into the symbiotic relationship between computational design, robotic fabrication, and architectural material systems, positioning ceramic building envelopes as adaptable, tactile, and light-responsive architectural elements.

This project is a testament to the power of integrating cutting-edge technology with timeless craftsmanship, showcasing how thoughtful innovation can lead to more sustainable, aesthetically rich, and adaptable architectural solutions. It inspires us to embrace forward-thinking design that not only enhances the built environment but also respects material heritage and environmental responsibility.

Simone Post's "She Knew She/It/They Would Melt" at Venice Biennale

Artist Simone Post's installation, titled 'She Knew She/It/They Would Melt,' transforms the historical interiors of Palazzo Contarini Polignac in Venice into a fantastical, candy-coated environment.

This captivating exhibit, presented as part of the 'Still Joy – From Ukraine into the World' event at the 61st International Art Exhibition of La Biennale di Venezia, immerses visitors in a dreamlike experience where ordinary household items and family portraits are reimagined with confectionery. Sweets, fashioned into chandeliers and framed images, evoke a sense of childhood wonder while simultaneously underscoring themes of domestic remembrance, whimsical imagination, and resilience in the face of adversity.

Post's work extends beyond simple aesthetics, using sugar as a profound medium to delve into the creation of emotional landscapes. The artist’s exploration of the inherent impermanence and fragility of candy parallels the delicate nature of joy, suggesting that happiness is a fleeting state that requires continuous nurture and rediscovery. This artistic statement is particularly poignant within the broader context of the exhibition, which features testimonies from a Ukrainian veteran and explores how joy can persist even amidst conflict and displacement, serving as a powerful emotional counterpoint to global turmoil.

The installation, while seemingly playful, is a profound meditation on the transient yet powerful aspects of human emotion and memory. Through her art, Post invites viewers to embrace the ephemeral nature of pleasure and to find strength in vulnerability, demonstrating that even in a fragmented world, softness and imagination can provide a path to navigate complex realities without succumbing to their harshness. The dissolving candy structures symbolize a resistance to hardening, encouraging a continuous pursuit of emotional openness and fleeting moments of comfort.

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Koyo Kouoh Foundation Established to Champion Global Artistic Discourse

In honor of the visionary curator Koyo Kouoh, a new foundation has been inaugurated, dedicated to sustaining and broadening her extensive intellectual, curatorial, and institutional heritage that spanned Africa and resonated globally. This Basel, Switzerland-based organization is envisioned as a nurturing ground for emerging artists, curators, and cultural thought leaders, perpetuating Kouoh's steadfast commitment to deep critical inquiry, vibrant artistic dialogue, and the creation of enduring cultural frameworks. The announcement of its formation comes at a time when the art community continues to reflect on Kouoh's profound influence, especially following her historic selection as the curator for the 61st International Art Exhibition of La Biennale di Venezia in 2026, themed 'In Minor Keys'.

The foundation underscores Kouoh's multifaceted identity, recognizing her not only as a curator but also as a formidable institution builder and a strategic cultural innovator. Her journey, which started in Douala and led to Dakar, saw the establishment of RAW Material Company in 2008. This innovative space was conceived as a hub for rigorous research, experimental curation, residency programs, and collaborative learning, operating distinctly outside conventional academic confines. RAW, often described as a dynamic laboratory, an educational institution, and a vital platform for exchange, became the embodiment of Kouoh's conviction that artistic creation and knowledge generation are intrinsically linked processes, flourishing through continuity and sustained dialogue.

RAW Material Company stands as a vivid testament to Kouoh's intellectual and political ethos, and the foundation actively supports its ongoing vitality. Beyond RAW, the foundation also acknowledges her pivotal role in shaping the Forum program of the 1-54 Contemporary African Art Fair, her co-founding of Partcours Dakar, and her instrumental work in expanding the international footprint of the Zeitz Museum of Contemporary Art Africa during her tenure as executive director and chief curator from 2019.

Among the many significant projects championed by the foundation is 'When We See Us: A Century of Black Figuration in Painting.' This seminal exhibition, co-curated by Kouoh with Tandazani Dhlakama, premiered at Zeitz MOCAA in Cape Town. It meticulously gathered a century's worth of Black figuration from diverse generations and geographies, illuminating crucial themes of self-representation, intimacy, memory, and aesthetic beauty. As the exhibition journeyed internationally, captivating audiences in cities like Basel, Brussels, and Stockholm, it became a powerful emblem of Kouoh's unique ability to craft historically rich yet universally resonant artistic narratives.

The foundation further positions 'In Minor Keys,' the forthcoming 2026 Venice Art Biennale exhibition, as a direct extension of Kouoh's expansive curatorial philosophy. Characterizing this appointment as a 'watershed moment in the broader landscape of contemporary art,' the foundation interprets Kouoh's vision for the biennale as a transformative re-evaluation of how contemporary art is perceived and discussed across different cultures and historical contexts.

The foundation's governing board is composed of distinguished figures from the fields of curating, publishing, finance, and the arts. Philippe Mall, a Swiss saxophonist and composer, serves as president, with cultural strategist Michèle Sandoz as vice president. Other notable members include curator Josef Helfenstein, Adrienne Edwards, curator and writer Kate Fowle, artist Alfredo Jaar, and banker and arts patron Cathia Lawson-Hall. An advisory board is anticipated to be announced in the near future.

Throughout the foundation's initiatives, Kouoh's frequently quoted adage, 'You have to set up your own house and build your own home as opposed to trying to get into someone else’s castle,' serves as a guiding principle for its future trajectory. Through its commitment to archives, institutional backing, publishing endeavors, fostering discourse, and forthcoming programs, the foundation aspires to continue erecting the essential structures that Kouoh believed were indispensable for artists and thinkers to thrive and endure.

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