n
Penland Line
BUILDING THE FIRST CLASS STUDIO
THE HOMOSOTE HUT
Bill Boysen, who designed the first glass studio, wrote this
reminiscence in 1987. He is now a Professor in the School of
Art and Design at Southern Illinois University at Carbondale.
Bill returned to Penland in 1977 at Bill Brown's invitation to
teach the first summer session in the second studio, which
had been completed that spring.
Looking back on the events of that summer of 1965,1 still
feel fortunate to have been asked to design the first glass
studio at the school. In retrospect, it is probably a classic
example of being in the right place at the right time. I had
just finished my first year at the University of Wisconsin/
Madison and I felt honored that Harvey Littleton had
enough confidence in my technical ability to recommend
me to Bill Brown for what was an historic occasion.
As a native of the west coast, I knew little of Penland,
North Carolina, let alone a crafts school located some
where near there. I can remember the long drive up the
hill, twisting through what seemed to be an endless series
of switchbacks and hairpin curves. I can remember, too,
the tremendous feeling of accomplishment breaking into the
opening and seeing the Lily Loom House and the dining room
nesded in the lush green of the mountainside. In addition to
the almost picture book environment, one of the things
that first impressed me about Penland was the open and
friendly atmosphere: a genuine zeal for the sanctity of each
others’ artistic pursuits and an overall sense of good-
natured cooperation amongst ego-free artists and teachers.
A good deal of the credit for the success of the first
glassblowing studio must go to Harvey’s program ^^t
Madison, Wisconsin. Much of what was learned there
technically was acquired first-hand, by doing, with modi
fications when necessary to correct an obvious miscalcu
lation. We were encouraged to be problem solvers, to
make adjustments and alterations in direct response to an
observed phenomenon.
Anyway, back to the challenge at Penland. Following the
social formalities of introduction to those already on the
hill, we walked up behind the ceramic studio and kiln. Bill
Brown pointed to what was little more than an open air
shelter enclosed to some degree by sheets of homosote
building panels. The floor was loose dirt and required
cement blocks for the foundation of the furnace and the
annealers. Everything was built on the spot and problems
were creatively solved using local resources and talent.
As the studio began taking shape, feelings of excitement
and anticipation were expressed by those visiting the site.
I built a “one brick” day tank capable of producing 75-80
pounds of molten glass. I brought three or four hundred
pounds of 475 marble cullet with me, the same composi
tion we were using at Madison. The glory
hole was a refractory-lined metal drum
mounted on stacked cement blocks. Both
were top-fired with venturi burners 'a la
Labino and carved burner blocks. The three
top-loading annealers were controlled by elec
tric range switches according to recorded
pyrometer readings.
THE FIRST DEMONSTRATION
X
Bill suggested we schedule an ev^ng demonstration to
officially open the studio, and I must ^mit to a good case
of stage fright as we climbed the hill toward the infant
studio that seemed to spring up overnight. After all, I was
the glass person; I built the studio, surely I knew all there
was to know about blowing, right? Wrong! My only
comfort was I knew more than most of the spectators.
To this day I can remember my own amazement when,
following the transfer, I decided to open a rather ordinary
bowl form into a roundel to conclude the first piece with
a clumsy description of “crown glass.” The punty stick was
right on center and as I rotated the rod in the glory hole
cavity, I tried to comment on the crown glass procedure.
The bowl form began to open faster than anticipated and
as I withdrew the rod and piece from the hole, the rim
nearly caught the edge of the roundel, so close I thought I
was going to lose the piece. But, no, the roundel flattened
so beautifully that the crowd sensed a little of the magic that
fascinates us all. Applause and cheers filled the night’s
recesses and I handed a blow pipe to Bill Brown for the
second piece of the evening.
-Bill Boysen
Construction of the annealer in the first glass studio in 1965
First CAS Conference at Penland in 1971
A Living Treasure in Our Midst
Pioneer artist in the studio glass movement, Penland
Trustee, neighbor and friend, Harvey Littleton, was
chosen as the 1993 North Carolina Living Treasure by the
Institute for Human Potential at the University of North
Carolina at Wilmington (UNCW).
Harvey is recognized as the originator of vitreographs,
prints made from sandblasted designs on glass plates. He has
“taught everyone else” in studio glass—including Dale
Chihuly, the 1992 recipient of the National Living Treasure
Award—said Dr. Gerald Shinn, professor of philosophy
and religion at UNCW and director of the Institute, in the
announcement of the award.
“The purpose of the living treasure is to recognize talent
and master craftsmanship in North Carolina,” said Shinn.
This is the seventh year the award has been presented. The
Living Treasure Award was presented to Harvey at a
banquet in the University Center Ballroom in Wilmington
on October 29.
Harvey’s most recent honors also include a Diploma of
Honors from the Glas Museum of Frauenau, Germany, an
election to the Western North Carolina Creative Arts Hall
of Fame, the Distinguished Alumnus Award of the Uni
versity of Michigan School of Art, and the Lifetime
Achievement Award from the Glass Art Society.
The Littleton Studio is a short distance from the Penland
campus and students have always been welcome. In fact, a
field trip to his studio is often a part of glass classes.
Considered the father of the studio glass movement in
America, Harvey developed a glass program at the Univer
sity of Wisconsin/Madison. At Bill Brown’s request, he
sent one of his first students. Bill Boysen, to design
Penland’s first glass studio in 1965. He has been one of the
driving forces in the recent decision by the Board of
Trustees to build a new glass studio.