"Off the Grid" Glass and Ceramics Kiln

Excerpts from an article that will appear in Ceramics Monthly by Fred Herbst, a teacher at Corning Community College. He writes an interesting blog called the Firing Log.

January 2010, Fred Herbst:

"The first collaborative wood-fired glass and ceramics trial run took place in snowy November 2006 and was highly successful. Over the next few firings, it became evident that the design of our anagama was not ideal for expanding the scope of this research collaboration. We agreed that a new, purpose-built hybrid kiln design was needed. After much discussion with friends and fellow woodfire potters Liz Lurie, Julie Crosby, and Simon Levin, my concept for a new design firmed up. After completing the initial CAD drawings, I worked with Gibbs and Lewis Olson, gaffer at the Corning Museum of Glass to develop the unique glass working elements on this kiln. These features include the large side openings used for gathering molten glass and reheating pieces during the forming process, blowpipe heaters, and a wood-fired annealing chamber.

[...] A final critical goal was to make glass blowing as practical as possible “off the grid.” Contemporary glass blowing relies heavily on the use of gas furnaces and equipment to keep the material molten 24 hours a day. This hybrid kiln allows for the use of renewable waste wood fuels in order to fire periodically – saving huge amounts of energy and resources. Construction of the new Corning Wood-Burning Furnace began in November 2007 with a mix of new and recycled refractory materials, and it was fired for the first time in August 2008.

[...] The interior space is approximately 8 feet deep, 4 feet tall, and 27 inches wide. This allows room for three stacks of ceramics, glass melting crucibles, and space for reheating glass.

[...] Through our collaboration, we’ve discovered many similarities and new possibilities for hybrid techniques for glass and ceramics. However, there is a major technical difference. That difference is expansion, contraction, and the cooling cycle. If hot glass is cooled too quickly it will shatter or crack. Blown glass pieces must be annealed or slow cooled from approximately 900 degrees to ambient temperature over a span of many hours. In our experiments with applying molten glass to ceramics while in the kiln or loading pieces with glass frit in place, we have discovered that the glass stays attached to the surface. However, it will end up crazed just like normal glaze crazing since the expansion and contraction of the glass and ceramic body do not match.

[...] The summer of 2009 brought about a new era for the Corning Wood-Burning Furnace. On June 11th, hundreds of people attended a firing and glass blowing demonstration as part of the Glass Art Society international conference.

[...] Now nicknamed the “Glassagama,” this design proves that cutting-edge research and 16th century technology are not mutually exclusive."

Photos of the project here:
http://www.anagama-west.com/photogallery/main.php/v/fred_herbst/

Herbst, F. "The Glassagama: Ceramic and Glass Artists work together to conserve resources." Ceramics Arts Daily.com. January 13, 2010. http://ceramicartsdaily.org/firing-techniques/kiln-plans-and-diagrams/the-glassagama-ceramic-and-glass-artists-work-together-to-conserve-resources/?floater=99