[Clayart] Nobody understands kilns

[Thatpotteryguy]

 It isn't just inspectors and local government officials. THEM I can deal
with - I'm on so many boards and commissions and blue-ribbon panels at the
city and county level there's no elected official in the state,
Congresscritter and Governor included, who won't take my call.

(I STRONGLY recommend serving some time on your local Public Art Commission
or volunteering to serve on a Zoning Board or something like that. Get
known and get good with The Authorities - it pays off in countless ways.)

On April 1, we had a 100ft-tall tree fall on the house and studio. Two and
half months later, with a hole in the roof and massive damage to the house,
I'm still waiting for a settlement...

The studio was more or less pancaked, and the gas kiln (a 40-year-old
California Kiln soft brick, about 17cu ft) took hit from a branch as big
around as my thigh that broke loose and hit the top of the door. It
completely shattered the brick in the top third of the door and damaged the
arch badly enough it's starting to deflect in the front.

For all intents and purposes, the kiln is destroyed. It's not safe to fire
without completely replacing the entire arch and all the door brick, and
it's unlikely that's feasible without entirely re-lining it.

Despite the fact that the kiln is specifically listed in the policy, and
listed at -replacement value-, not -actual cash value-, the insurer is
declining to cover it because a) it's not clear to them how the damage
occurred (because the outer jacket of the kiln doesn't show any significant
marks - it's old and corroded and it's impossible to tell where thr branch
struck) and b) the kiln is old enough it's entirely depreciated.

I'm still fighting with them over it, but it willbe a long time before I
get anything out of them for the kiln or most of the studio contents,
because while the language of the policy is clear enough to me, as a
potter, the adjuster and the adjusters supervisor and his supervisor DONT
UNDERSTAND what any of it is. What they see is that it's expensive, much of
it is no longer made, and some of it is virtually impossible to replace. So
they find it very easy to say "no" to coverage.

The moral of this little tale is that very few people who aren't potters or
glass artists or blacksmiths will have the first clue about kilns or other
studio equipment. Sometimes that's good, sometimes it's not. The OTHER
moral is don't insure your studio or your home with Farmers - they WILL
screw you on any large claim , and you'll need to retain a public adjuster
and an attorney to fight them. I learned too late they are famous for this.

Frustrated in Maryland,

Rob Van Rens


From: mel jacobson <melpots at mail.com>
> To: clay art <clayart at lists.clayartworld.com>
> Subject: [Clayart] salt and soda
> Message-ID:
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>
> Vince, of course makes valid points. But, I always make error
> on the side of caution.
>
> I don't know where anyone lives, neighbors, local environmental agencies.
> I don't know how much money can be spent.
> I caution people to do diligent research.
>
> If a neighbor calls the city, your kiln will be shut down.
> Almost no government official understands kilns.  Smoke and vapor only
> bad. If you make the smoke or vapor, you bad.
>
> Often getting a permit just means they know where to find you if there
> is a complaint. It is a tall mountain to climb. I have fired kilns for
> years
> with no smoke or vapor. Here are some common explanations.  "this is a
> high class
> BBQ. This is a high class meat smoker.I bake bread in this oven."  I have
> designed
> kilns for folks that have spring loaded stacks. Set the stack, fire the
> kiln. Then
> take off the stack and hide it in the garage.  "Just a natural food
> preparation
> oven."  Leave a half baked pizza inside the kiln when unloaded.
> mel
>
>
>
>
>
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