Crafting with Earth

Sean Ronnie Hill in Conversation with Adam Weismann of Clayworks

Sean Ronnie Hill:
Adam, it’s great to be speaking with you. At RISE, we’ve long admired your work with Clayworks—our Birch & Clay Refugio, Douglas House and Herbert Paradise projects wouldn’t be what they are without your plasters. To kick off, can you tell us what led you and Katy to clay in the first place?

Adam Weismann:
Thanks, Sean. It's always a joy to connect with architects who really get what we’re about. The path started over two decades ago in the Pacific Northwest. Katy, my wife, and I were learning natural building—cob, straw bale, earth plasters—and we saw just how powerful these traditional materials could be. When we came back to the UK, we started restoring old cottages in Cornwall. That’s where Clayworks was born: out of a desire to bring clay into contemporary buildings in a way that felt relevant and modern.

Sean:
It’s clear the soul of the material remains intact, even in the most refined interiors. That’s what drew us to Clayworks for the Birch & Clay Refugio—the walls had to do more than just enclose a space. We wanted texture, breathability, and a sensory stillness, and your clay plasters delivered all of that. Visitors often ask what the walls are made of because they seem to invite touch. That tactile quality—how intentional is that in your process?

Adam:
It’s hugely intentional. Clay has a depth and softness that synthetic materials simply can’t replicate. When we design our finishes, we’re trying to evoke nature—the randomness of sediment, the quiet movement of a tide retreating. And because clay is hygroscopic, it breathes with the building. It moderates humidity, absorbs toxins, and actually improves indoor air quality. It’s not just decoration—it’s a living surface.

Sean:
That living quality is something we felt again on our Herbert Paradise project—a deep retrofit of a 1950s house, upgraded with EnerPHit principles. We used Clayworks plasters in the bedrooms and circulation spaces, where it really supports the low-energy design. You can feel the internal climate is more stable—less dry in winter, less clammy in summer. The plaster is part of the building’s performance, not just its aesthetic.

Adam:
That’s exactly the shift we hope to encourage: materials that are not just beautiful, but that work with the building and the people inside it. It’s part of a new architecture—one where the materials have agency.

Sean:
Right. And in Douglas House, a home for a family with chemical sensitivities, we needed finishes with absolutely no off-gassing. Clayworks was a natural choice. The peace of mind for the clients—knowing their children were sleeping in a space without hidden toxins—was priceless. I think a lot of people still don’t realise how compromised indoor air quality can be.

Adam:
It’s a big issue. We spend 90% of our lives indoors, and yet most walls are sealed with petrochemical-based products. Clayworks plasters contain no VOCs, no cement, and we publish third-party sustainability data to back that up. But it’s not just about health—it’s also about how a space feels. Our surfaces age beautifully, and patina is part of the story.

Sean:
You’ve also made clay into something that speaks to contemporary design. On some of our newer projects we’re exploring pigmented surfaces and custom textures, and there’s an elegance in what you offer that doesn’t shout “rustic”unless you want it to.

Adam:
That’s been a key focus—bridging traditional materials with modern interiors. We work with architects and designers on everything from ultra-minimal to wabi-sabi. Clay is infinitely versatile, if you understand it.

Sean:
One of the most poetic applications we’ve seen is through your personal work with Claymoon Studio. Can you talk a bit about the crossover between architectural plaster and your art practice?

Adam:
Sure—Claymoon is where I allow the material to guide me, rather than the other way around. It’s deeply meditative. I work with earth pigments, clay, charred wood, ancient stones, natural fibres, and light. It started as a response to the Skyspace installations by James Turrell—spaces that shift your perception and awareness. The goal with Claymoon is similar: to slow people down and draw them into the material’s essence.

Sean:
There’s something timeless in that. At RISE, we always say our projects aren’t just buildings—they’re invitations to live differently. Clay, used well, supports that idea. You touch it. You live with it. It grounds you. And from a sustainability perspective, it fits our ethos perfectly—low embodied carbon, recyclable, biodegradable. We’re seeing more clients actively ask for healthier materials now.

Adam:
That’s the tipping point we’ve been waiting for. Once people experience a clay interior, it’s hard to go back to painted drywall. We’re not offering a trend. We’re offering timelessness, rooted in nature.

Sean:
It’s been a pleasure speaking, Adam. Thank you for helping make our projects not only look better but feel better. Here’s to building a future that breathes.

Adam:
Thank you, Sean—and thank you for using the material with such care and vision. You’re helping people experience it in its best light.

Crafting with care

At RISE, we believe architecture should do more than shelter—it should breathe, respond, and connect. Working with materials like clay isn’t just a design choice. It’s a commitment to healthier spaces, lower carbon, and timeless beauty. These surfaces don’t just age well—they live well.

Thinking of designing a low-energy home with natural materials?

Let’s talk about how clay, craft and careful design can shape a more grounded future.

→ Email us at architects@risedesignstudio.co.uk
→ Or call the studio on 020 3947 5886

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