Mel Jacobson [email protected] www.21stCenturyKilns.com © 2010 Mel Jacobson 21st Century Kilns contents Contents 1 Make a Plan ................................................... ...............3 2 Basic Kiln Building Steps .........................................21 3 Kiln Stories: Flat-Tops ..............................................59 4 Kiln Stories: Arch-Tops ............................................77 5 Kiln Stories: An Arch-Top Soda Kiln ......................91 6 Kiln Stories: Kilns with Movable Tops .................111 7 Kiln Stories: Abernathy Style Kilns ......................123 8 Kiln Stories: Car Kilns ............................................133 9 Kiln Stories: Small Wood-Fired Kilns ...................143 10 Kiln Stories: Large wood-fired Kilns ...................173 11 Kiln Stories: A Gas/Electric Kiln ...........................189 12 Firing Safety Tips for Gas Kilns .............................193 13 Firing Tips for Gas Kilns ........................................201 14 Electric Kiln Setup and Firing ..............................217 Foreword by Nils Lou When potters gather in groups of two or more, fuel solutions that demand researching unique the subject of kilns and firing and clay bodies firing practices, some even invented in ancient and glazes often flavors the conversation. It’s as times. The re-emergence of wood firing is an if “real” life is centered on mud and how to important development having, perhaps, the play with it, harden it and change it from one longest history of any fuel for pottery making. state into another. We are fascinated with the As fossil fuels become less available—as they alchemy that describes our addiction/profession. eventually will—reliance on renewable carbon/hydrogen energy forms will become I am particularly interested in the premise of necessary. Wood is just one possibility. Methane this book because it addresses the extraordinary gas production from established landfill opera- creativity of clay folk in solving the rigors and tions is already in the works. Co-generation of dilemma of constructing a custom firing energy from recycling organics, like tires, will solution while establishing the smallest possible play a part. Solar energy has been used in footprint in the carbon environment. These are limited form to fire small kilns. Surprisingly, only some solutions to the infinite number of natural gas may develop as a considerable ways kiln architecture can be interpreted and resource as technology is finding creative ways expressed. They should especially interest to extract it from difficult geologic sources. readers who are presently considering “building their own.” In the compendium that follows we find both traditional and unconventional solutions for Mel Jacobson has gifted us with this compila- building and firing one’s own kiln. These are tion of firing practices and kiln designs innovative designs that will inspire and surprise. demonstrating the wide and creative range of All are successful to some degree—the success approaches and solutions to urban/suburban may be that of simply accepting the limitations constraints on fuel-fired kilns. While bureau- of the design as the process is experienced when cratic regulations are less obstructive for rural the first product emerges. potters, they face their own limitations—with 21st Century Kilns foreword As potters embark on the idea of building their own kilns they often begin by exploring and Contributing researching existing designs. Some start with the idea of stacking bricks—an architectural AUTHORS approach. Some begin by anticipating what fuel is available and how to use it efficiently, i.e., Bob Anderson how to focus the heat where you want it. Reg Behrends Others may think first about what they want Kerry Brooks the product to become and work backward Bill Burgert Ellen Currans from there. It’s not just heat being controlled, Tim Frederich but atmosphere—and carbon. These are all Bob Fritz valid approaches—they tend to reflect the indi- David Hendley vidual nature of the kiln designer/builder. John Hesselbreth Halldor Hjalmarson John Neely has postulated that all the kilns we Arnold Howard potters fire on any given day introduce less Mel Jacobson carbon dioxide into the atmosphere than one Robert Klander airliner making a cross-continent trip. But even Pat Lindemann so, our judicious use of carbon-based fuel does Nils Lou count. We can be stewards of our profession by Carol Marians Bill Merrill learning how to efficiently monitor combustion Steven Mills to more precise needs. Kilns with carbon black Hank Murrow that tattoo their exteriors still proliferate. It is Ted Neal not a sign of an educated potter. It should Fred Paget embarrass us. The kilns illustrated here in Mel’s Diana Pancioli book inspire me—I hope they will inspire you. Vince Pitelka Donovan Palmquist While the book is about kilns, we must realize Betsy Price it is also about the magic that transpires when Ron Roy clay is heated. Molecules of carbon, oxygen, Bill Schran hydrogen, silica, aluminum and numerous Marcia Selsor Stephani Stephenson others are stirred, agitated and metamor- Chris Trabaka phosed—all by simply heating the ceramic in a Michael Wendt controlled atmosphere and managing the Kurt Wild process. Put in the BTUs, stir and exhaust with Tom Wirt a taste of control. That’s all there is to it. 21st Century Kilns Recognition Special recognition is given to Nils Lou of better, more efficient kilns and pottery tools. Oregon. His years of working with kilns and The generosity to share new information and to his wonderful book, The Art of Firing, has been help those coming into ceramics is the key to an inspiration to many potters, including this the next generation of potters. author. Nils has been a close friend for years. It is also critical that I mention Feriz and Alice We fought the early fight to bring soft brick Delkic. It is with great love and fondness that kilns to the attention of potters. The work of we remember how Alice cared for potters and Iowa potter and teacher Jim McKinnell was wanted to help them by having ITC thermal very important to all of us. Jim was a pioneer in coatings be a part of our kilns. We salute Feriz the use of soft brick in the 1950’s. Jim was the and remember Alice with every new kiln built. first to create a flat-roof kiln. Nils refined that Nils and Feriz have been the teachers of science idea, and when he invented the basic welded and engineering that have made me a better angle iron brackets for the corners of his now potter and a person who understands the famous “Minnesota flat-top,” a new kiln was modern kiln. born. The use of those brackets with the concept of a smaller flue and a tight firebox and Joe Koons has been my faithful friend and a life chimney has given the world a very fine func- long student of glaze. His leadership and tioning kiln. It is easy to build and easy to fire, passion for Chinese Glazes has led me to and when built to his specifications it will fire wonderful projects and collaborations. We fast and with attainable economy. work together, share ideas and take huge leaps in understanding how pots, glaze and fire come Fred Olsen has also paved the way to open the together to make great art and craft. My life is minds of potters to the great potential of very rich with Joe in it. building kilns that fit the potter and the style of pots that a potter wants to make. We would Thermodynamics and the science of fire are also like to thank J.T. Abernathy for his innova- what kilns are about. They are not about tive thinking and his concern to help many have “feelings, wishing, or kiln gods;” they are based 21st Century Kilns recognition on good engineering principals. A well-designed and perfectly functioning kiln will save the acknowledgement potter time, energy and money. We hope this Special thanks to Cindy Thompson of book will help potters find that perfect balance Greatapes for her amazing work formatting and of building kilns and firing them with perfec- editing this book. David Hendley and Bill tion. Schran scanned the manuscript for errors and This book contains many thoughts, ideas, and added comments and suggestions to complete plans. Each is the result of a potter who wanted this work. And of course, thanks to the many to control his or her firing, or a person who is that added their help, stories, and film to create an expert in a phase of pottery production. a very unique picture of kiln construction and And, of course, this book has ideas from many firing. who have worked diligently to update, make This book would not have been possible new, and approach ceramics as an ongoing, without the help and support of Jim Woelm, changing craft. owner of Greatapes. Jim and I have been At times the reader may encounter duplication friends since grade school. He is a gem. of thought or ideas, and that is okay. We hope that there is a consistency of information. With so many ideas, you will have to sort through About the DVD the book to find what is right for you and what will work in your location. Most of the infor- and Website mation in this book comes in suggestion form. You should be able to adjust plans for size and The DVD contains videos of many of the kilns shape and adapt things to suit your specific presented here. It also contains a pdf of this needs and location. book. We invite you to copy plans, download and Additional information and resources on kiln print material as you need it. Just keep in mind building and firing can be found at the that you cannot duplicate for sale anything in companion website: 21stcenturykilns.com this book. It is for you, and you alone, to use and copy.