Clay House succeeds in revealing the potential of bricks and ceramics in architecture, focusing on the specific qualities of the material—above all thanks to the connection between academic research and the collaboration with Cihelna Kadaň, which provided manufacturing facilities for the student teams. “Working with students and their instructors is, to me, a very beneficial interweaving of the worlds of imagination and the real processes of manufacturing building ceramics,” said Dušan Grmolec, director of Cihelna Kadaň. The brickworks not only offered the possibility of production itself, but also expert consultations. “Some participants came to us only for consultations, others used raw materials from our portfolio, and some realized their works directly in our factory,” he added.
Teams were assembled across studios, bringing fresh perspectives and alternative approaches. “Collaboration between students of ceramics and architecture introduced a new perspective on the use of ceramic materials in architectural contexts. The architects contributed experience with scale and spatial planning, while the ceramicists brought deep knowledge of material and processing techniques. This led to discovering diverse forms and functions for ceramic elements,” note Milan Pekař and Tereza Sluková (Studio of Ceramics and Porcelain) together with Imrich Vaško and Shota Tsikoliya (Studio of Architecture III). Working in groups, students analyzed architectural components such as walls, roofs, columns, stairs, and sources of heat or water.
The result is a model of an ideal ecosystem of the house as a living organism, in which each element fulfills its own role. Individual projects gather around archetypal architectural elements—columns are inspired by the human spine, walls form the protective skin of the house, and windows open it toward the landscape.
All ceramic components—from standard bricks to 3D-printed columns—are united by the search for new approaches that connect material, architecture, and sustainability. “The students pleasantly surprised me with their inventiveness, sense of order, diligence, and desire to achieve an exceptional result,” confirmed Grmolec. According to the director, these are elements with real application potential; they will not remain on paper or only in an exhibition setting. “We consider all student proposals feasible and, after consultations with representatives of the Kadaň municipal administration and a group of architects, we want to continue with their realization,” he added, noting that placements in public space are already being discussed.
Some elements—such as a brick for safe construction of children’s playgrounds—are already part of the brickworks’ portfolio. “We plan to use other shaped pieces for the design of exposed brickwork in the field of facing ceramics. Roof tiles, given our production focus, are not planned for market introduction for now. We’re letting other forms ‘mature’ for one of the exceptional projects we deliver,” the director outlined, adding that he looks forward to working with new cohorts of students.
A remarkable example of combining inspiration from the human body with contemporary digital technologies is the Vertebra column, produced by 3D printing. “The design fuses historical tradition with modern technology and underscores the psychological dimension of architecture. Thanks to its articulated interior and integrated light source, the column functions not only as a load-bearing element but also as an atmospheric object that enriches its surroundings with distinctive aesthetic qualities,” explain students Johana Hnízdilová, Michal Hanousek, and Jan Novák of the spine-like column.
The wall—as a key spatial element and bearer of boundaries—is addressed by Structura, a set of five organically shaped bricks. Compatible with standard masonry units, they allow far greater variability in wall solutions. “A wall built from these bricks gains articulation, new functions, and a sense of movement,” say authors Sára Huclová, Jolana Drozdková, and Jakub Čižmárik.
Biotopization of the roofscape is the goal of Michal Šourek and Stela Kučerová, who designed relief ceramic tiles that retain water and support spontaneous vegetation, contributing to natural cooling of the building and the surrounding urban environment. “Our innovative ceramic roofing enables changes to the city’s microclimate. The tile’s considered shaping holds water on the roof, where gradual evaporation cools the surroundings and offers refuge to local plant species. The aim is to transform urban roofs into living, resilient ecosystems that help mitigate heat and support biodiversity,” the students explain.
Other notable proposals include Ignis, a ceramic hearth for liquid ethanol fuel; Contuum, a column inspired by speleothem layering; and Breath, a series of perforated bricks. In April, the Clay House project was presented at Milan Design Week, featuring a structure evoking the archetype of a castle, based on the Palladian plan of Villa Rotonda.
The Academy of Arts, Architecture and Design in Prague (UMPRUM) has a long tradition of collaborating with companies. Last year, for example, students upcycled offcuts from TON’s bentwood chair production into interior accessories, and the Glass Studio worked with Czech brand KLIMCHI, which adopted student tableware designs into its range. Industry collaborations are coordinated by UMlab, UMPRUM’s creative laboratory, whose partners include major brands such as Škoda, Baťa, Plzeňský Prazdroj, and Preciosa. The school also partners with public institutions; for the State Printing Works of Securities, students designed proposals for new Czech banknotes and identity documents.
