Целью магистерской диссертации является разработка состава массы для производства глазурованного керамического гранита. В работе исследованы свойства сырьевых материалов. Определены технологические параметры производства и разработана технология производства для производства глазурованного керамического гранита. / The aim of the master's thesis is to develop the composition of the mass for the glazed ceramic granite production. The paper investigated the properties of raw materials. The technological parameters of production are determined and the production technology for the production of glazed ceramic granite is developed.

Исследованы свойства побочных тонкодисперсных продуктов, возникающих при производстве керамической плитки, приведен обзор способов их дальнейшей утилизации, и разработана технология переработки этих материалов с целью получения новых продуктов. / The properties of fine-dispersed by-products arising in the production of ceramic tiles are investigated, an overview of ways of their further utilization is given, and a technology for processing these materials in order to obtain new products is developed.

Made available in DSpace on 2014-12-17T14:57:51Z (GMT). No. of bitstreams: 1 MaxymmeMM.pdf: 1674410 bytes, checksum: 96bf3d5d9b4ae824e79c65b37e8b9bf7 (MD5) Previous issue date: 2006-05-19 / Traditional ceramics have an important role in the economy of Rio Grande do Norte. The local industries manufacture over 50 million shingles a month, corresponding to 60% of their overall production. As a result of processing flaws, roughly 20% of the production must be discarded, since little or no use has been envisaged for such fired components. Therefore, the use of this kind of residue, especially in the composition of other ceramic materials, comes as an interesting option from the economical and environmental point of view. In this scenario, the objective of the present study was to assess the effect of the addition of fired shingle waste in the composition of porcelainized stoneware tiles. To that end, two porcelainized stoneware tiles compositions were initially prepared. Subsequently, contents from 10 to 30% of roofing tiles chamote were added to each one of them. All raw materials and grog were characterized by FRX, XRD, and thermal analysis. The ceramics were fired using natural gas for 30 min at different temperatures, i.e. 1150, 1200 and 1250?C, and fully characterized. The addition of roofing tiles chamote resulted in composition with superior properties compared to additive-free compositions. Porcelainized stoneware tiles products that fulfill required standards for practical applications were achieved / A ind?stria de cer?mica vermelha ? um dos segmentos de maior import?ncia na economia do Rio Grande do Norte. Nesse setor, o material mais produzido ? a telha, ocupando mais de 60% de todos os artefatos produzidos, com mais de 50 milh?es de pe?as fabricadas por m?s. Sabe-se que devido ? falhas no processamento, o teor de res?duos desse material no RN, pode chegar a um valor de at? 20%, o que significa mais de 10 milh?es de telhas indo diretamente para aterros, visto que estas, depois de queimadas, n?o podem ser reutilizadas no processo de fabrica??o. Desta forma, o uso desse rejeito na produ??o de cer?micas com alto valor agregado, como ? o caso do gr?s porcelanato, se torna uma op??o vi?vel. Do ponto de vista econ?mico essa viabilidade se d?, pelo fato de utilizar-se um rejeito como parte da formula??o. Do ponto de vista ambiental, a viabilidade est? em reduzir o ac?mulo desses rejeitos nos aterros sanit?rios. Desta forma, o presente trabalho tem o objetivo de estudar a influ?ncia da adi??o de descarte de telhas em formula??es de gr?s porcelanatos. Para isso, utilizou-se duas formula??es, adicionando concentra??es de 10, 20 e 30% de chamote para cada uma delas. O Chamote e as mat?rias-primas foram caracterizadas por FRX, DRX, TG, ATD e AG. As queimas foram realizadas em forno a g?s natural com tr?s temperaturas, por 30 minutos de patamar: 1150, 1200 e 1250?C. Ap?s a sinteriza??o os corpos-de-prova foram submetidos a: ensaios f?sicos de RL, AA, PA, MEA, TRF e dilatometria; an?lise mineral?gica por DRX; e microestrutural por MEV. Obteve-se para algumas das formula??es com a adi??o de chamote, propriedades superiores ?s das exigidas por normas para o gr?s porcelanato

My stoneware sculptures in my MFA final project were named Earth Divers because clay as a material is earth and clay is also symbolic of the Earth. The way that I physically dive into clay up to my elbows is a poetic performance. The sculptures were built in sections horizontally and then stacked vertically. I began the process by first making life size plaster molds of the human figure taken from live people. Earth Divers take their architectural structure specifically from the organic curves of the negative voids that are characteristic of the plaster figure molds. I built into these plaster molds a block or brick like section. I then removed the large block sections from the molds and stacked the sections one on top of the other combining the figurative and architectural structures with gothic influence. The sculptor, Stephen De Staebler, who works in a similar fashion, describes his work as, "... first laying the figure down and later standing it in a vertical position." The way of life that was lost with the manufacturing past of my family at Castone Brick is found in the use of industrial nostalgia by modeling I-beam shapes as part of the structure of the stacked sections. I also fired nuts, bolts, and washers of various sizes in the clay that build the surface of the human forms. The square nut seen in my work is no longer being manufactured and is symbolic of the passing of the industrial age in America. Finally, to build the surfaces of my sculptures I used slips, glazes, and a variety of clays on top of clay, and laid glass fragments on the horizontal surfaces to create a look of pooled water when my work was fired similar to what I have seen in the Lehman Caves in Baker, Nevada. "I believe there is a force in this world that lives beneath the surface, something primitive and wild that awakens when you need an extra push just to survive, like wild flowers that bloom after a fire turns the forest black. Most people are afraid of it and keep it buried deep inside themselves. But, there will always be a few people who have the courage to love what is untamed inside us." (Tim McGraw)

After dedicating over two years to pursuing an MFA degree focused on ceramics and sculpture, I find myself transported back to a familiar setting from my past: a tableau reminiscent of what remained in the dining space after four young children finished a meal and exited the room. Revisiting the scene recalls happy times despite the disorder. What helped maintain my sanity during the relentless repetition of the every-day-long task was the realization that every day, innocents are learning to become aware of the world around them. For my thesis exhibition, I created a tableau as a loud reminder of those messier times in my home. My exhibition features an oversized wooden toddler's chair and table, surrounded by scattered meal-time remnants exaggerated in scale predominantly crafted from ceramic. The food items are strewn about in seemingly random arrangements, creating a chaotic still life. Perhaps the disproportionate size of the furniture and the disorderliness subconsciously acknowledge the monumental challenge of caring for children, a task that once felt never-ending but has since become a distant memory. Viewers may find solace in the mundane subject matter and in the ease of recognizing the familiar elements on display.