Assignments for signature glazes

" Redefining the traditional: Translators are individuals or companies that can interpret the language of the architect into the language of the building . Drawings are technical communications but few designs are conceived without emotion.  Christine Jetten is ceramic translator, she is able to bring the necessary ceramic technology to produce the architect's vision."
Annabelle Flier, SCIN

Ceramics can be both structural and ornamental with a scale that varies from small to very large.The material integrates well with other materials and contributes to the building’s identity. Ceramics is a material that allows one to think in human terms. Combined with the haptic qualities makes it incredible important for the life in our cities.

In the nineties SCJ started with the idea to free the glaze from its perception as a simply color applying material. The goal became over the years to create glazes that are a vibrant medium to use in contemporary architecture. Pushing it beyond our expectations that are related to what we already know, thus creating unique visual qualities that cannot be mimicked by any other material.

Glazes in context

View all work

Assignments for signature glazes

With my approach SCJ is adding a third generation of architectural glazes to the existing collection, that hasn’t been researched before in this context: The first generation includes glazes that mimic stone such as marble, granite and limestone.  The primary focus of the second is to add one or more colors to a building using matte, glossy or semi-gloss glaze surfaces. 

The 3rd iteration includes glazes that have a particular surface which responds to varying light conditions and is capable of having multiple readings. This includes glazes with a lustrous surface, with unusual textures, one that responds specifically to the texture of the clay unit, pooling of glazes or the bronze- and metal-like potential. On top of this SCJ's goal is to create glazes that are not a substitute for other materials, that are look-a-likes . The 3rd iteration is a new generation of architectural glazes in an approach that hasn’t been researched before.

glaze research and development

fundamememtal research

Architectural glazes

I try to take myself out of a set way of approaching the technique. Often my research starts with a sensation while strolling around or investigating materials en techniques. First there is my passion for to create unknown surprising visual qualities that also work well on a larger scale. I am searching for new approaches that can serve as a starting point for future research. Unique visual qualities that cannot be mimicked by any other material. Christine’s design process starts with visual references and experimentation, and ends with the ‘recipe’ for the glazing being transferred to a manufacturer. “My design process often starts with aparticular image that captivates me”, she explains. “The reflection of sunlighton snow, the colours of autumn leaves, the movement of the ocean.” Christinecollects photographs of these images in a series of small reference books she keeps in her studio. “Sometimes I flip through my reference books, and I always see something different.”

Fundametal research


Studio Christine Jetten uses harmful particulate matter in the production of circular ceramic glazes for tiles.

In collaboration with partners ENS Clean Air Solutions and tile factory De Albarello B.V., the first results have been achieved. When used as street furniture and cladding, tiles and brick with a glaze that includes particulate matter, can be reintroduced into those areas where many inhabitants or visitors to a city like to spend time.’ This serves three purposes. Not only does it clean the city by harvesting particulate matter from the air, it also considers aspects such as raising the quality of public space and – equally important – circular ceramics make a significant contribution to enhancing the awareness of sustainability in the living environment.

Fundametal research



For the sake of participation of visually impaired and blind people in public life, I design surface typologies in combination with the tactile value of glazes.

"  You need support literally and figuratively. The whole day long. Constantly looking for direction. You have to have direction because then you will get from A to B."

" Walls are so similar - then I think I'm somewhere and then I'm somewhere else."

Circular and Tactile projects