engraving property
pre-research on firebacks

unfolding from the page 107 of my research on rising warmth with a few detours, this pre-research was formulated for an open-call. It is situated at 1650°C  and turns around the iron-casted firebacks production.





Firebacks are iron casted plates covering the interior of fireplaces. They raised from the practical urge to protect the walls from harsh heat emanated from the fire once the fireplaces were moved from the centre of the room to wall-sided frontal apparatus. The physical attributes of iron also offer the consequential benefits or radiating the heat accumulated back into the room.

Those fireplace back-scenes became privileged places to depict strong iconic messages: allegiance coat of arms of the house were engraved on them. Placed in the symbolic center of the building, they were brought to life by the moving lightning of the flames.

In France, right after the Revolution, a decree was signed. Every ‘contre-coeurs’ of every house of the country men- tioning the royal “fleur de Lys” had to be turned: suddenly planking against the walls their problematic iconographic content. This way, the power of those images can already be approached through this historical anecdote, through this heavy physical gesture.

Everywhere else, many plaques have disappeared because they represented valuable resources once melted back to their “original state”. And nowadays, some of those buildings hosting the firebacks became museums, switching their hot, functional, domestic fireplaces into cold and empty frames.



extra texts:

Coming from a ceramic background and amazed by the possibilities of fire I also came to question its ecological implications. considering the fireback object imply then to solve the energy consumption of my own work process, therefore already questioning the iron casting process I would instinctively go for. This production issue goes hand in hand with the obsolescence of those “plaques”: new heating systems combined with the growing restrictions of domestic fires in urban spaces make now those plaques anecdotical and purely decorative.

est-ce du design / la question de quoi produire : pourrait être une lecture, un livre, un support de communication open-source (à l’inverse de la plaque matérielle)

looking at a building and its history in particular, a former private real estate, now dealing with its museal agencies. (ICOM) https://icom.museum/fr/activites/normes-et-lignes-directrices/definition-du-musee/

(ICOM new definition of the museum) implying often a frozen in time disposal. (Foucault, heterotopie : storing eternity, about museum, https://www.franceculture.fr/emissions/les-nuits-de-france-culture/heure-de-culture-francaise-les-utopies-reelles-ou-lieux-et). Those places are cold and dead, they are made to witness the past. How do we, as contemporary designers, critically integrate this genealogy, how can we appropriate an already obsolete object ?

> again question property

“The term “heterochronia” tries to address the question of the politics of a time (chronopolitics) by looking into the relationships between language (representation, narratives), power, and temporality. This is both an epistemological question and a methodology for constructing history. Michel Foucault borrowed the term “heterochronie” from the biological language in the lecture “Des spaces autres” (1967) to interrogate the modern Western construction of time and its relationship with hegemonic historical narratives. Heterochronia does not refer to time as an abstract dimension of physics but rather to time as a social and political construction. Foucault thought of archives, libraries, and museums as “heterochronias”, political dispositifs that “accumulate time.” A museum works as a time machine that configures chronological and visual fiction (Stephen Kern). What are the times that museums are accumulating? And what other times resist conventional narratives and reject accumulation as a historical method?”
> https://www.wired.com/beyond-the-beyond/2017/03/heterochronia/
(heterochronia, Paul B. Preciado, published 14 July 2014, Barcelona)

> sur les industries PALASI, chapter “acteurs et production, propriétaires et maitres de forges (see scans)

_ Philippe Palasi, Plaques de Cheminées Héraldiques: Histoire d’un support métallique des armoires — fin XVe–XXe siècle, Préface de Michel Pastoureau (Paris: Éditions Gourcuff-Gradenigo, 2014).

Indeed connected to first industrial empire producing those metal objects / small history of industrialisation, intertwined ideology and mean of spreading infos of whose in power). notes (book heraldic, go further on Michel Pastoureau)

particular anecdote which emphasise the technical, symbolic, linguistic, politic nature

inspired by the strong gesture of turning the décor against the wall. tells a lot about the double mission of this tool. > _ David Bennett, Plaques de cheminée, the French Revolution, and the Politics of Iconoclasm

> aby warburg : pathos formel / approach anthropology from image, knowledge from senses eyes / touch / kinesthesie
> fiche du patrimoine immaterial
> the commemorative plates (bonne transition avec la mémoire)

approach
> limits between material/immaterial, process/outcome, theory/practice
> transdisciplinarity, inbetween- disciplines  

subject interests
> interest in open source, commons, hospitality
> museum context, pedagogy, archives, transmission

> fireback focused : metonymy to rethink the whole space it contains
> formally : frontal screen / interface (from circular to flat)
a research on rising warmth with a few detours
2019

This pdf is the connecting project of my MA Autonomous Design. The publication is the result of my research on heat and fire as a transformative/performative culture-producing process. It combines (art) historic and anthropological facts and fictions, imagery that was found online, my own sketches, and life experiments connecting interests and methods such as food preparation, ceramics, and material research  in relation to contemporary dynamics and discourse around artisanal production and alternative community building. It reflects on the entwinement between the chemical, technical and the cultural:  indeed, warmth was looked at as a physical phenomenon as well as a social feeling. The editorial principle follows a graph showing a rising temperature.


pdf is available
contact vaultier.clementine@gmail.com

a printed bookform on my on-going research on warmth (presented during final jury @KASK, Jun 2019)













© Roxanne Gaucherand



excerpt of a discussion about my book with Aurore. 

“    Dans le bouquin j’ai tout réorganisé par température, parce que j’avais une dose de sujets et je ne savais pas trop comment faire. Je me suis dis en fait, tout ça ça a un lien avec la chaleur, donc la température. et du coup j’ai mis des sortes de chapitres bout à bout le long de l’échelle de temperature (et que j’ai articulé dans tous les sens dans ma tête) : congélation / préhistoire - hiver / conservation - été / festivité - bbq / four …  Les limites sont progressives, entre ton toi qui est au ralenti en hiver, qui fait la fête en été, si tu rajoutes 30°C degrés de plus, tu cuis comme la viande que tu manges. j’aimais bien cette continuité de matière. ensuite viennent d’autres matières qui demande des températures encore plus hautes, et qui ont nécessité une accumulation de techniques en perpétuel evolution avec les états de savoirs, de sciences, etc des époques. donc indirectement il y a une sorte de trame temporelle : on fini avec la meilleure compréhension de l’excitation moléculaire dans la technologie du plasma qui reproduit une sorte d’éclair, température la plus haute appréciable sur la surface de la terre, qui permet de découper le métal avec une précision folle, une rapidité folle aussi et qui pousse l’industrie a se perfectionner, de la même manière que la compréhension de principes d’isolation, d’apport d’air et de combustible pour nourrir un feu a permis de faire évoluer le four alimentaire en four assez performant pour transformer l’argile en céramique pérenne (573°C).

Il y a donc un élément d’apprentissage progressif, souvent basé sur la soif de comprendre, sur l’expérimentation et le fun mais surtout donc sur la reproduction et l’imitation, basée sur l’observation de ce qui est visible dans notre environnement (reproduction d’un bestiaire en céramique par des peuplades survivant de la chasse, arrivée de la porcelaine asiatique par l’ouverture du commerce maritime jusqu’alors inconnu : on tente de reproduire la technique, observation de phénomène physique comme la pression…)

je voulais aussi attirer l’attention sur le dynamisme de toute chose, de décloisonner ce qu’on pense comme des oppositions : artisanat / industrie, technique / technologie, primitif / initié, animal / humain. qui sont pour moi plutôt à la limite des evolutions, des dynamiques, voir des perceptions de contextes différents. Les valeurs qui en découlent plus largement sont l’empathie, la solidarité, la communication, l’accueil (que je met en parallèle de phénomène physique comme la porosité, la perméabilité)

Il y a aussi un élément de progression exponentielle vers une chaleur inqualifiable, incompréhensible par nos sens corporels, qui en l’occurence est représenté par le dernier “chapitre” (disons plutôt marqueur) les éclairs : force qui vient du dessus et frappe. avec une notion imprévisible et quasi-sacré, en tout cas symbolique. Vu l’idée de progression temporelle via la chaleur, on s’éloigne petit à petit du feu premier pour aller vers des technologies évoluées, on peut aussi se poser la question de la suite ? et d’une limite ? ou d’une explosion ? d’une rupture. enfin en tout cas d’un inconnu. en lien avec la grandeur d’éléments naturels qui dépasse la condition humaine. ça replace l’humain dans un système d’échelle plus grand.”










































flying carpet
2019

This carpet is a woollen piece I designed while researching heat in relation to lightning and the formation of Earth. I was looking for a light but comfortable and welcoming apparatus for the master jury. This carpet has been thought to travel, to define a warm space within any space. It is a porous platform to host work meetings, reading sessions, geology lessons, birthday parties and other gatherings. It was made with the technic of tufting in the studio of a craftsperson based in Ghent.







© Vanessa Müller








_Foucault, of others spaces
_Bruno Munari, Circle, Square, Triangle













































































































Mud Max
2019


Mud Max is a film edited to document the 2018 event “paper kiln for clay barbecue”. It follows the building and firing of a handmade ceramic barbecue and the whole social gathering and technical transmission it involved. A story about proto ceramics exploding on the fire inside a prehistoric hut precedes the documentation. The barbecue was built and fired collectively in situ at KASK, then offered as a public device for students until it will eventually fall apart. 


image : Roxanne Gaucherand
sound : Vincent Hénaff
editing : Léo Parmentier
sound design : Valentin Mazingarbe
voice over : Alice Khampone

<3 <3 <3 <3 <3















                                      

































































































































Grille
2018



Drawn with a pen, then cut with a laser. This project started with a simple drawing made on a post-it and printed in my mind when researching on analogies between the ceramic oven and the bbq. I used the scanned version on the poster communicating the event paper kiln for clay barbecue. Then I collaborated with my family metal laser cut company in the south of France to produce the functional barbecue grid it was supposed to illustrate.