Le moulage en terre cuite est un procédé de fabrication qui permet de reproduire mécaniquement des objets, à l’aide de matrices. Aussi, en tant que procédé technique, la coroplathie est un exemple de fabrication et de diffusion d’images en nombre.Ma recherche est centrée sur la construction d’une typologie des statuettes en terre cuite de l’époque hellénistique, et principalement celles qui datent des IIIe et IIe siècles av. n.è. en Italie.Celles-ci se caractérisent par un renouvellement iconographique des figurines génériques, sans attribut, dont les plus emblématiques sont les représentations de femmes drapées, appelées aussi « tanagréennes ». En effet, à partir du milieu du XIXe siècle, avec l’apparition sur le marché de l’art des figurines de Tanagra (vers 1870) et de Myrina (vers 1880), le sujet a commencé à attirer l’attention des amateurs d’antiquités puis des scientifiques. Longtemps collectionnées pour elles-mêmes, ces statuettes ont souvent été désolidarisées de leurs environnements archéologiques. En Italie, c’est en grande partie par des études rétrospectives des statuettes conservées dans les musées qu’on parvient aujourd’hui à reconstituer des assemblages et des contextes de découverte (votif ou funéraire). La documentation ayant servi de matière première à cette thèse est disparate. Elle est constituée de catalogues d’objets et de notices de sites éparses dans lesquelles les statuettes sont souvent sous-exploitées. C’est toute la difficulté de cette démarche : ces figurines en terre cuite, à la fois nombreuses, répétitives et souvent fragmentaires suscitent peu d’engouement ; la dynamique de recherche s’attardant davantage sur des lots d’objets mieux conservés ou identifiés. Dans un certain sens, mon travail tente de revaloriser le multiple tant du point de vue de l’artisanat que des usages de ces statuettes dans leurs matérialités religieuses.Le terrain d’enquête de cette étude est celui de l’Italie hellénistique, indépendamment des contextes culturels (italiques, grecs, étrusques, romains) dans lesquels l’historiographie a parfois eu tendance à enfermer la petite plastique en terre cuite. En dépit de leur nombre et de leur diversité, ou plus exactement en raison de ces facteurs, ces figurines restent assez mal connues.Dans ma démarche, j’ai tenté d’échapper aux classements iconographiques et techniques habituels. Ces types tanagréens, largement constitués de figurines féminines drapées mais aussi de quelques sujets mythologiques (Eros, Aphrodite, Athéna, Hermès…) qui par des jeux d’attributs superposés personnalisent ces figurines, ont été observés et analysés en fonction de leur forme et présentés selon une typologie morphologique. Celle-ci a été conçue dans la perspective de proposer une nouvelle grille de lecture et d’interprétation afin de construire des instruments de recherche mieux à même de s’adapter à ces objets dépourvus d’apparentes significations, enchevêtrés dans une sérialité des formes d’où émergent des singularités. La forme et ses variations sont au cœur du sujet, donnant lieu à des développements sur les principales échelles de production de ces figurines et sur l’interprétation des images qu’elles ont véhiculées en fonction de leur environnement topographique, historique et culturel. / Terracotta casting is a process of manufacturing that allows the mass production of objects with the help of molds. As a technical process, coroplasty is an example of mass production and diffusion of images.My research is focusing on building a typology for terracotta figurines of the Hellenistic era, more specifically the ones dating back to the 3rd and 2nd Centuries BC in Italy. These generic figurines, with no specific characteristics, feature a renewal in statuette iconography. The most emblematic ones usually represent women wrapped in veils, also called Tanagra figurines.Around the middle of the 19th century, with the apparition of figurines from Tanagra (circa 1870) and Myrina (circa 1880) on the art market, the statuettes began to catch the attention of connoisseurs, then scientists. Collected for themselves for a long time, these figurines have often been torn apart from their archeological environment. In Italy, thanks in great part to a retrospective study of the figurines preserved in museums, we are able to re-establish connections with groups and contexts of discoveries (votive or funerary figurines).The materials gathered for the documentation of this thesis are heterogeneous. It consists of artwork catalogues and notes from various sites where the figurines are often underexposed. The main complexity of this research follows thus: the terracotta figurines, both abundant and repetitive, often incomplete, arouse little enthusiasm; all the energy in research usually focuses mostly on the group of objects best preserved or identified. In a way, my work tries to reassert the value of numbers, as much from the point of view of handicraft as from the different religious functions of the figurines.Italy during the Hellenistic era is the field of investigation for this research, irrespective of cultural context (Italic, Greek, Etruscan or Roman) from which sometimes historiography has a tendency to confine small terracotta figures. Despite their number and variety, or rather because of them, these figurines remain largely ignored. My approach tries to break free from the usual iconographic typologies and technical classifications. I tried to observe and analyze the Tanagra figurines – mostly consisting of veiled feminine silhouettes, but also including some mythologicaltopics (Eros, Aphrodite, Athena, Hermes…) personalized through an array of superimposed attributes – taking into account their shape, and presenting them according to a morphological typology. This typology has been created in the prospect of offering a new frame of reference and interpretation, in order to build tools of research better fitted to these figurines, all lacking in apparent meaning, entangled in the serialization of its shapes, from which sometimes uniqueness emerge. The form and its variations are at the heart of the topic, leading to developments on main production scales, or on the interpretation of the images they conveyed depending on their topographical, historical and cultural environment.

La valorisation de résidus agricoles, industriels ou urbains se révèle, à mesure des recherches et des avancées, un recours pertinent aux défis s’imposant à l’industrie de la terre cuite et au domaine de l’habitat. L’incorporation de résidus agricoles à travers des produits conventionnels a permis au long de cette étude une économie de ressource argileuse et d’énergie, tout en améliorant les performances mécaniques et thermiques à la base des matériaux de construction. Des matières végétales ajoutées au mélange argileux de fabrication entrainent une formation de porosité, durant la cuisson des produits, selon la libération d’espaces occupés par les particules, à des températures allant de 200 à 400°C. Les pores en formation adoptent alors les formes et les tailles de particules constitutives, en procurant une maitrise de la microstructure et des propriétés usuelles de la terre cuite. Les résidus agricoles à fines particules se décomposent au sein de la matrice argileuse et procurent, en réduisant la taille moyenne des pores, une amélioration des performances mécaniques de près de 40%. Les matières végétales à particules fibreuses suscitent en revanche une augmentation de l’anisotropie originelle de la microstructure et une amélioration notable de 40% des performances thermiques. La combustion de la matière organique assure, en prime, un apport énergétique au procédé de cuisson s’élevant à 35% des besoins en combustible et compensant un coût d’achat éventuel. L’incorporation de matières végétales au sein des produits de terre cuite apparait comme un succès sur le plan économique, environnemental et technique en raison d’une valorisation matière, entrainant une amélioration des performances usuelles, et d’une valorisation énergétique, accordant une réduction des consommations en gaz et des émissions en dioxyde de carbone. / Waste and biomass valorization appears, on a way of research and advances, as a relevant answer in the challenge offered to the clay bricks industry and housing field. Incorporations of agricultural wastes into clayey ceramic bodies accorded, along those investigations, raw material and energy savings, since improving the mechanical and thermal properties on the basis of every building material. Biomass incorporations amongst argillaceous mixtures induce a porosity formation through the firing process under a release, on a range of temperatures going from 200 to 400°C, of the material spaces previously filled by the organic particles. The porous cavities assume the sizes as well as shapes of the biomass particles and provide a microstructure control affording a functional properties command. The agricultural wastes including thin particles fade out into the clayey bodies and provide, through a median pore size reduction, an improvement of the mechanical strength up to 40%. Crops residues showing fibrous particles induce on the other hand an increase of microstructure and porous network anisotropy, leading to a tremendous improvement of nearly 40% in the insulation behavior. The biomass combustion provides a calorific contribution as well, to the industrial process of firing, surrounding 35% of the usual fuel requirements and supplies an eventual cost of agricultural wastes. Biomass incorporation into clayey ceramic appears as a success on economical, environmental and technical terms, according to the material purpose offering an improvement of the functional performances, and energy purpose assuming a diminution of gas consumptions or a reduction of carbon dioxide release.

This thesis addresses the lacuna in the study of Greek terracotta figures and figurines corresponding to the transitional period between the Late Bronze and Early Iron Ages (1200-700BC). It provides a comprehensive synthesis of all available data, with particular reference to material from recently excavated sites in mainland Greece and its islands (Euboea, the Northern Aegean islands, the Dodecanese and the Cyclades). The study is framed according to the relationship between terracotta <b>figures</b> (those made on the potter's wheel) and <b>figurines</b> (those made by hand). The observation that the technological distinction between these two types is reflected in their different and separate functions has been sustained in scholarship for the past three decades, but only for the Mycenaean period. Handmade figurines and wheelmade figures occurred in different and restricted contexts in the Mycenaean world: the former in settlements, cemeteries and religious locations, and the latter exclusively in religious contexts. It is therefore inferred that they had different socially embedded values or 'meanings'. However, the extent to which such a distinction applies to figures and figurines in the Early Iron Age has hitherto not been explored. Initial evidence indicates that by the 8th century, handmade figurines and wheelmade figures were deposited together at selected sites, suggesting that their inherent socially embedded meanings were the same, and that they represented "different levels of [financial] investment in what is essentially the same category of votive". This thesis therefore determines the levels of co-occurrence of wheelmade figures and figurines, thus identifying how distribution relates to usage. Changes are observed over time and space and between different types of functional contexts, and the meanings of these patterns are investigated. The results of this study provide a chronological and geographical overview of the distribution of figures and figurines, and also indicate that figures and figurines had consistently multivariate relevance in multiple types of contexts. The functional dichotomy of figures and figurines observed for the Mycenaean period cannot be sustained beyond 1200 BC. Moreover, study of the contexts from which the material originates indicates that the significance of secondary deposits of religious nature has been consistently overlooked, and that figures and figurines were used in an active and meaningful sense even during the act of their discard. This type of activity is a distinctive one that can be characterised and defined functionally, geographically, temporally and quantitatively. The socially embedded meaning of figures and figurines was fluid and related to an action being performed; their meaning was not linked exclusively to an aspect of the object itself, and was therefore not static.

Le regard de l'autre est ce qui fait de nous des êtres humains. L'homme se nourrit de l'homme. Voiler son visage c'est priver l'autre de son image, c'est-à-dire de son identité naturelle et culturelle. Les motifs de femmes aux visage voilé apparaissent à Athènes au début du Ve siècle sur des vases à figures rouges. Des « mantel dancers » aux femmes trônantes différentes façon de voiler son visage ont été représentées. Ces images ont été découvertes de l'Asie mineure à l'Italie et de la mer Noire à la Cyrénaïque et à l'Egypte et dont les significations sont peu connues. La prise en compte des informations fournies par les documents d'autres natures, qui présentent un programme iconographique complet (céramiques, fresques, bijoux) a permis d'isoler sept groupes autour des différentes façons d'être voilé. Ils ont été datés et contextualisés. La prise en compte de toutes les variations que présentent les motifs, ainsi que des données fournies par les documents d'autres natures ont permis de donner un sens à un matériel, parfois issu de fouilles anciennes au contexte archéologique imprécis, et surtout de faire émerger des associations récurrentes porteuses de sens. Associée à un travail sur la valeur du geste et le sens du voile dans la société grecque, cette étude a permis de lier ces statuettes, longtemps objets d'interprétations différentes (femmes mariées, danseuses professionnelles, etc.), à des cérémonies féminines post-nuptiales liées à la fécondité, ainsi qu'avec certaines pratiques de cultes de type mystérique, comme celles du culte de Déméter ou de Cybèle. / The way the others perceive us is what makes us human beings. Humans feed off each other. To veil one's face is to deprive others from one's image, i.e. of one's natural and cultural identity. Veiled women first appear in Athens in the early 5th Century on red-patterned vases. From « mantel-dancers » to enthroned women, several ways of veiling one's face have been depicted. Between the 4th century and the 1st Century BCE, earthworks reveal an important number of works dedicated to various types of veiled women, found in as many different locations as Asia Minor, Italy, the Black Sea, Cyrenaica and Egypt, the meaning of which is little known. The consideration of documents of other types, thus offering a complete iconographic program (ceramic, frescoes, jewellery) has allowed to identify seven types of veiling. They have been dated and contextualized. Considering all the variations of these patterns, as well as the data obtained from documents of other types, has allowed to derive meaning from the material – sometimes originating from old excavations with precious little in the way of archaeological context – and, particularly, to reveal recurring, meaningful associations. Combined with work on the importance of gesture and the significance of the veil in Greek society, this study allows for the establishment of a connection between those statues, which for a long time have been subject to various interpretations (such as married women, professional dancers, and so on), and post-nuptial feminine ceremonies related to fecundity, as well as with some aspects of mysteries, such as those devoted to Demeter or Cybele.

The presented work contains several chapters in the field of Romanesque tile studies. After a clear summary of the current understanding of the development of floor treatment in our area from the early to the high Middle Ages, there follows an analysis of the extensive finds of the Ostrov monastery from recent research that took place at the site. In particular, features that are characteristic and clearly unique for Ostrov tiles are addressed. These are mainly evidence of an innovative approach to tile production. In order to be able to discuss such issues at all, the tiles first had to be processed into the form of a catalog, which is included in this thesis. We consider a clear arrangement of the findings as a necessary condition for further discussion on the chronology and significance of the presumed Ostrov production center. The next chapter is devoted to new findings about the oldest relief floor tiles in the Czech Republic, which are the tiles of the Vyšehrad type. Although there has not been a major shift in the scope of the source base recently, some assumptions can still be reformulated. Briefly, these include abandoning the idea of the Vyšehrad type tiles as a homogeneous group defined by a combination of four motifs, as well as an outline of the possibility of its chronological...

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The technology of production of ceramic roof tiles on the basis of low-melting red-burning clay, namely on the basis of clay from the Sadovoye deposit of the Sverdlovsk region, is proposed. Samples of ceramic roof tiles, molded by plastic and semi-dry way, were obtained with properties that meet the requirements of Russian standards and correspond to the quality of Röben ceramic roof tiles. The production technology involves the use of high-speed burning way in the temperature range of 1150–1200 °С. / Предложена технология производства керамической черепицы на основе легкоплавких красножгущихся глин, а именно на основе глины Садового месторождения Свердловской области. Получены образцы керамической черепицы со свойствами удовлетворяющими требования российских стандартов и соответствующих по качеству керамической черепице производства Roben. Водопоглощение таких изделий составляет 6,2–6,9 %, кажущаяся плотность – 2,19–2,31 г/см3, изделия водонепроницаемы более 4 ч и выдерживают морозостойкость более 150 циклов.

Les études dédiées aux lampes en terre cuite en Gaule et dans l’Empire romain sont relativement abondantes. Depuis le travail fondateur de S. Loeschcke (1919), nous avons aujourd’hui une idée relativement précise des différents modèles qui sont apparus entre la période tardo-républicaine et la fin du Haut-Empire. Toutefois, le luminaire est avant tout considéré, de par la multitude des formes et des décors, comme un objet muséographique ou pédagogique car il représente le mode d’éclairage par excellence de l’Antiquité. En archéologie, il sert de moyen de datation au même titre que la terre sigillée ou les monnaies. Mais on oublie trop souvent que la lampe en terre cuite est d’abord un objet manufacturé, fruit de l’industrie humaine. À cet effet, elle peut fournir de précieuses informations sur l’artisanat antique et plus particulièrement, sur la manière dont les potiers ont réussi à produire un objet qui leur était étranger, sur les problèmes qu’ils ont rencontrés et les solutions qu’ils ont appliquées. L’étude des caractéristiques techniques d’une lampe permet aujourd’hui de tracer la production d’un atelier spécifique et en même temps, grâce à des cartes, d’en définir l’aire de diffusion à différentes échelles spatiales (région, pays). Enfin, l’adoption de cet éclairage artificiel, typiquement méditerranéen, parles populations indigènes, est l’un des facteurs de romanisation que l’on perçoit, le plus souvent, à travers les pratiques funéraires et cultuelles.Ce travail de recherche, novateur, permet de revenir sur ces différentes problématiques dans un espace confiné au Centre-Est de la Gaule. Les résultats obtenus nous ont permis d’identifier différentes entités productrices et leurs réseaux de distribution au cours de diverses phases chronologiques comprises entre le Ier s. av. J.-C. et le IVe s. apr. J.-C. et qu’accompagne une réflexion sur la consommation des lampes en terre cuite durant cette période. / There are quite many articles and monographs dedicated to terracotta lamps in Gaul and Roman Empire. Since the pioneer work done by S. Loeschcke (1919), we have been developing till today, abetter understanding of the lamps that have appeared between the post-republican to the Early Roman empire period. But very often, due to the various shapes and decorated medallions, the lamps are only considered as museum or educational items, because they represent the ultimate lighting mode during Antiquity. In archeology, they are used as a dating tool as well as the terra sigillata or the antique coins.However, we usually forget that the terracotta lamp is a manufactured product issued from the human work and therefore, is able to provide invaluable information on antique craft industry. Through their study, we are able to understand how the Gallo-roman potters have been adapting themselves to the manufacturing of a product they did not know, to new technical challenges and new processes. Also, thanks to the analysis of the technical aspects of the lamp itself we can track the products belonging to the same potters’ workshop as well as we can map the distributed market areas at various scales (regional, country-wide). Finally, the adoption by the local people of this lighting mode that is typically Mediterranean is a clear sign of Romanization, especially through the funeraland religious practices. This innovating study is focusing on these issues within a defined area, the East Central Gaul. The results have enabled the identification of several workshops and their distribution network during the different chronological phases from 1st century BC to 4th century AD and have also opened adevelopment on the way of consuming the terracotta lamps during this period

The subject of this diploma thesis is a proposal of the veterinary clinic in Pardubice. The object consists of 3 rectangles, where zverimex is connected to the veterinary clinic. Objects of the zverimex are veterinary clinic are designed as barrier-free. Object SO01 is partly solved as a two-storey, non-cellar. In the first part of the clinic there is a shop of zverimex with office and stock of rectangular shape. In the second part there is a reception for a veterinary clinic with a distinct entrance from where access is to of individual surgeries. In the inner part, there are offices of doctors, such as operating theaters, preparation rooms, CT, RTG, sono / endo / laparo, a laboratory connected with the infectious ward, a rehabilitation center and individual pet boxes. On the 2nd floor there are wardrobes and social facilities for the staff of the clinic with offices and day room, from where it is possible to enter the outdoor terrace. Hygienic facilities for visitors to the clinic are located in the entrance hall. For zverimex staff is designed at the back of the shop, the staff of the clinic is part of the closets in the 1st floor and 2nd floor. The construction system is a wall with a flat vegetation roof passing into the terraces on the terraces above the 1st NP, the roof above the entrance and over the 2nd NP, zverimex with the roof unobstructed. Ceiling structures are designed as pre-tensioned SPIROLL 320 mm ceiling panels. The exterior of the building of the clinic, which extends only to the 1st floor, is lined with red brick tiles and in the part of the building above which is the 2nd floor, the outside wall is lined with brick-gray cladding.

Terracotta vessels are about understanding how we can store food by using a new product solution and how we could use less energy and waste less food in doing so. This project is an attempt to minimise the energy usage in our homes but also to gain greater understanding about the food we choose to bring into our homes and what we can do to avoid throwing it away.