Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Akivaizdu, kad dėl didelės apdailos medžiagų bei pastatų funkcinės ir architektūrinės paskirties įvairovės, sunku pasirinkti geriausią fasado apdailą. Todėl baigiamojo magistro darbo tikslas yra apdailos medžiagų variantų palyginimas ir efektyvaus varianto parinkimas. Baigiamajame darbe išnagrinėtos kelios galimos apdailos alternatyvos, kurios pasižymi įrengimo technologijos paprastumu, nedidelėmis darbo sąnaudomis ir kitais privalumais. Palyginti trys gyvenamųjų, visuomeninių ir pramoninių pastatų išorės sienų (fasadų) apdailos įrengimo būdai: tinkavimas, dažymas, dengimas gatavais elementais. Išnagrinėti keli techniniu – ekonominiu požiūriu skirtingi apdailos medžiagų variantai iš kiekvieno apdailos įrengimo būdo. Naudojantis daugiakriteriniais vertinimo metodais bei programos paketu SPS_DS, nustatyti trys racionalūs apdailos medžiagų variantai. Atsižvelgiant į vieno ar kito apdailos medžiagų varianto įgyvendinimo tikslingumą gyvenamojoje, visuomeninėje ar pramoninėje statyboje pateiktos išvados bei pasiūlymai. Darbą sudaro įvadas, 4 skyriai, išvados, literatūros sąrašas. Pirmame skyriuje pateikti bendrieji reikalavimai apdailai, antrame pagrindo dekoratyviniai apdailai paruošimo technologijos analizė, trečiame apdailos įrengimo būdų analizė, ketvirtame racionalaus išorės apdailos varianto parinkimas. Darbo apimtis – 87 p. teksto be priedų, 24 iliustr., 14 lent., 43 bibliografiniai šaltiniai. Atskirai pridedami darbo priedai. / It is quite obvious, that due to broad variety of finishing materials and functional and architectural purpose of buildings, it is difficult to choose the best façade finishing. Therefore, the topic of master thesis is comparison of finishing materials, and selection of the most effective option. Several possible finishing options were surveyed in the diploma job. Such options are remarkable by its’ technological simplicity, low labour expenditures and other advantage. Three types of inhabitant, public and industrial buildings façades finishing were compared: plastering, painting and coverage with pre-fabricated materials. Several technicallyeconomically different finishing options for each type of finishing were surveyed. Multicriteria evaluation method using SPS-DS software package was used for indicating of three rational finishing options. With regard to the expedience of usage of certain finishing material in private, public and industrial constructions, conclusions and proposals are presented. Thesis consists of Introduction, 4 chapters, Conclusions, References. First chapter includes general requirements for finishing works, second – analysis of preparation of the base for decorative finishing, third – analysis of finishing installation processes, fourth – rational choice between outside finishing options. Scope of thesis – 87 pages of text w/t Annexes, 24 pictures, 14 tables, 43 references. Annexes attached separately.

Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.

Esta pesquisa apresenta uma investigação sobre a argamassa de cal e as ripas de juçara (Euterpe eudulis), materiais empregados no forro em estuque da edificação Vila Penteado, seguindo as diretrizes propostas pelas Instituições de preservação de edificações e de monumentos de valor histórico e artístico. Esta edificação foi tombada pelo CONDEPHAAT - Conselho de Defesa do Patrimônio Histórico, Artístico, Arqueológico e Turístico do Estado de São Paulo e pelo CONPRESP - Conselho Municipal de Preservação do Patrimônio Histórico, Cultural e Ambiental da Cidade de São Paulo. Um conjunto amplo de técnicas foi utilizado para caracterizar a composição e a microestrutura da argamassa original, bem como o estado de conservação dos materiais. Os resultados destas análises serviram de subsídio para a elaboração de uma proposta de reconstituição parcial do forro. O desempenho desta proposta foi avaliado em laboratório, sendo o corpo-de-prova mantido por 30 dias em câmara de carbonatação após a preparação e a aplicação da argamassa. A avaliação da compatibilidade térmica dos materiais originais e novos, quando submetidos a ciclos de aquecimento e resfriamento, foi utilizada como indicador de desempenho do método de restauro. Além disso, foram realizadas avaliações da resistência de aderência do sistema, conforme especificado na NBR 13528 (ABNT, 1995). Estes resultados mostraram que a argamassa original pode manter sua funcionalidade ao longo dos anos, desde que se opte pela técnica de intervenção correta e que a fragilidade do sistema de forro em estuque está nas ripas de suporte. Esta avaliação permitiu a elaboração de uma proposta de restauro para o sistema de forro da edificação Vila Penteado. / This research presents an investigation on the base-lime mortar and Juçara (palm tree Euterpe eudulis) laths which were the materials found in the stucco ceiling of the building, Vila Penteado. The guidelines followed in this study were those set fourth by the Institutions of maintenance for buildings and monuments with historical and artistic value. This building was declared a heritage by CONDEPHAAT – The Council for the Defense of Historical, Artistic, Archeological and Tourist Patrimony of the State of São Paulo and by CONPRESP – The Council for the Preservation of the Historical, Cultural and Environmental Patrimony of Sao Paulo City. A broad set of techniques was used to characterize the composition and the microstructure of the primitive mortar, as well as the condition of the materials. The results of these analyzes were useful in proposing a partial reconstitution of the ceiling. The performance of this proposal was evaluated in laboratory conditions by keeping the specimen in a carbonation chamber for thirty (30) days after application, to accelerate curing. The thermal compatibility and adhesion strength resistance of the primitive and new materials were tested after subjecting them to heating and quenching cycles, and the results were used as indicators of the proposed restoration method´s performance. These results showed that the primitive mortar can remain serviceable for many years as long as the correct intervention technique is employed, and the fragility of the ceiling system is in the supporting laths. This evaluation allowed for the elaboration of a proposal for restoring the ceiling system of the Vila Penteado building.

This thesis analyzes a series of stucco reliefs that decorate the piers of House D of the Palace of Palenque, a Classic Maya city in modern Chiapas, Mexico. Each of the five extant piers of House D depict pairs of individuals facing each other and engaged in what appears to be ritual performances associated with dance and sacrifice. I rely on an iconographic analysis of the reliefs of House D and on a reading of the architecture in relation to the surrounding built environment in order to reconstruct ancient patterns of viewership. I argue that the reliefs of House D of the Palace present a royal narrative where myth and history are fused, and that this combination is validated through ritual performance. The integration of mythical and historical narratives is transmitted through the ruler's enactment of past events that take place in a watery environment signifying the mythical origins of the city of Palenque. This performative narrative at the same time reproduces and perpetuates the actual ceremonies that took place in and around the building, specifically in the monumental stairway and in the ceremonial plaza that flank the building on its western margin. The dynastic messages embedded in the narrative of the piers, and its incorporation into the performances associated with the building, serve to promote the military accomplishments and the political legitimacy of a new ruling dynasty, initiated by the king of Palenque K'inich Janab Pakal, who is the main figure portrayed on the reliefs. / text

Esta pesquisa apresenta uma investigação sobre a argamassa de cal e as ripas de juçara (Euterpe eudulis), materiais empregados no forro em estuque da edificação Vila Penteado, seguindo as diretrizes propostas pelas Instituições de preservação de edificações e de monumentos de valor histórico e artístico. Esta edificação foi tombada pelo CONDEPHAAT - Conselho de Defesa do Patrimônio Histórico, Artístico, Arqueológico e Turístico do Estado de São Paulo e pelo CONPRESP - Conselho Municipal de Preservação do Patrimônio Histórico, Cultural e Ambiental da Cidade de São Paulo. Um conjunto amplo de técnicas foi utilizado para caracterizar a composição e a microestrutura da argamassa original, bem como o estado de conservação dos materiais. Os resultados destas análises serviram de subsídio para a elaboração de uma proposta de reconstituição parcial do forro. O desempenho desta proposta foi avaliado em laboratório, sendo o corpo-de-prova mantido por 30 dias em câmara de carbonatação após a preparação e a aplicação da argamassa. A avaliação da compatibilidade térmica dos materiais originais e novos, quando submetidos a ciclos de aquecimento e resfriamento, foi utilizada como indicador de desempenho do método de restauro. Além disso, foram realizadas avaliações da resistência de aderência do sistema, conforme especificado na NBR 13528 (ABNT, 1995). Estes resultados mostraram que a argamassa original pode manter sua funcionalidade ao longo dos anos, desde que se opte pela técnica de intervenção correta e que a fragilidade do sistema de forro em estuque está nas ripas de suporte. Esta avaliação permitiu a elaboração de uma proposta de restauro para o sistema de forro da edificação Vila Penteado. / This research presents an investigation on the base-lime mortar and Juçara (palm tree Euterpe eudulis) laths which were the materials found in the stucco ceiling of the building, Vila Penteado. The guidelines followed in this study were those set fourth by the Institutions of maintenance for buildings and monuments with historical and artistic value. This building was declared a heritage by CONDEPHAAT – The Council for the Defense of Historical, Artistic, Archeological and Tourist Patrimony of the State of São Paulo and by CONPRESP – The Council for the Preservation of the Historical, Cultural and Environmental Patrimony of Sao Paulo City. A broad set of techniques was used to characterize the composition and the microstructure of the primitive mortar, as well as the condition of the materials. The results of these analyzes were useful in proposing a partial reconstitution of the ceiling. The performance of this proposal was evaluated in laboratory conditions by keeping the specimen in a carbonation chamber for thirty (30) days after application, to accelerate curing. The thermal compatibility and adhesion strength resistance of the primitive and new materials were tested after subjecting them to heating and quenching cycles, and the results were used as indicators of the proposed restoration method´s performance. These results showed that the primitive mortar can remain serviceable for many years as long as the correct intervention technique is employed, and the fragility of the ceiling system is in the supporting laths. This evaluation allowed for the elaboration of a proposal for restoring the ceiling system of the Vila Penteado building.

Problematik med moderna putsfasader rörande hållbarhet har på senare år uppenbarat sig. Trots modern byggnadsteknik är skaderisken idag större än den var med äldre byggnadsteknik. Sprickbildningar, missfärgningar, mikrobiella angrepp, frostsprängningar, mögelangrepp m.m. är alla exempel på skador som kan uppstå. Rapporten syftar till att identifiera risker och problem med dagens putsfasadkonstruktion, samt undersöka hur dessa problem kan avhjälpas byggnadstekniskt och arkitektoniskt.   Projektet avgränsas till fasader på nybyggda flerbostadshus i svenskt klimat. Fokus ligger på att undersöka putsade fasader. Vägguppbyggnaden avgränsas till utfackningsväggar av regelkonstruktion då det är en vanlig ytterväggskonstruktion.   Underlaget till rapporten baseras på litteraturstudier, tekniska rapporter och rådgivning från handledare och yrkeskunniga experter. Fördjupningsstudier görs inom putsfasader för att reda ut det bästa lösningsförslaget för hållbara putsfasader.   Resultatet av rapporten pekar på att det inte finns en enkel lösning till problematiken. Förebyggs ett problem uppstår ett annat. Det finns dock vissa parametrar som bör tas i anspråk. Ytterväggen bör tvåstegstätas för att förebygga mögelrisk i konstruktionen. Grovkornigt putsbruk bör användas för att förebygga sprickbildning och eventuellt minska adsorption. Vattenavvisande detaljer i det arkitektoniska formspråket bör finnas för att minska vattenbelastningen. Ytfärgen bör vara oorganisk och alkalisk för att ytterligare förebygga uppkomsten av mikrobiella angrepp.   För vidare studier föreslås att putsprovväggskonstruktionen konstrueras och testas i praktiken. Faktorer som kornstorlek, vattenavvisande detaljer, adsorption bör vara fokus. Konstruktionernas RF i ytskiktet studeras därefter för att ge en idé över vilken konstruktion som förebygger skador effektivast. / In recent years, sustainability problems with regards to contemporary stucco facades have revealed themselves. Despite modern construction techniques, the risk of damage today is greater than it was with older techniques. Damage such as cracks, discoloration, microbial attacks, frost damage, mold, etc. are all examples of risk factors.   The report aims to identify the risks and problems of today's plaster facade construction, as well as explore how these problems can be remedied through constructional and architectural solutions.   The project is constrained to facades of newly constructed apartment buildings in the Swedish climate. The focus is to examine the plastered facades. Wall construction is constrained to pre-fabricated wall panels of regulatory structure as it is the most common exterior wall construction in Sweden.   The basis for the report is based on literature studies, technical reports and guidance from supervisors and skilled experts. In-depth studies have been performed on plaster facades to find the best recommendations for durable plaster facades.   The results of the report indicate that there is no simple solution to the problem. However, there are some guidelines that should be followed. The outer wall should be “two way sealed” to prevent the risk of mold in the construction. Coarse plaster should be used to prevent cracking and to reduce adsorption. Water repellent details should be implemented to reduce the water load on the walls. The surface paint should be inorganic and alkaline in order to further prevent the development of microbial attacks.   For further study, the report suggests that a stucco sample wall structure is tested in practice.   Factors such as particle size, water repellent details and adsorption properties should be the focus. The RH in the surface layer should thereafter be studied to give an idea of which structure that prevents damage most efficiently.

Work of Jan Jiří Schauberger in Moravia This Diploma thesis treats about the life and work of Jan Jiří Schauberger, a baroque artist, who came from Austria, but worked and lived in Moravia, where he created many statues, as well as wooden or stucco sculptures, particularly in the interiors of churches. Among his best known and also the first work in Moravia belong riding statue of Caesar's fountain placed in Olomouc, erected in 1725. For the rest of his artistic life concentratedd his work primarily for sacral objects. He died relatively young as in his roughly 44 years in 1744, the exact date of his birth is unknown but is widely placed of about 1700. The first chapter is devoted to detailed criticism of literature related to the topic. Second, extensive chapter deals comprehensively with the life and work of sculptor. In the third chapter the author reflects on J. J. Schauberger's personality, in the next as about the artist. And last, the great part, is divided into several subsections depending on the material that was used for each major works, which the author discussed in detail in further sections. At the end the summarizes his findings.

Technique décorative antique plébiscitée par l’art romain, le stuc connaît une véritable renaissance à Rome durant le XVIe siècle. À partir d’un intérêt pour une esthétique antiquisante, les artistes modernes ont intégré le stuc à des problématiques plus précises concernant le dialogue entre les arts et l’exploration des frontières implicites et explicites délimitant l’art et son espace de réception. Le stuc est en effet employé à la Renaissance aussi bien en architecture (pour les moulures et ornements, pour recouvrir la brique et donner une allure « marmoréenne » aux édifices), en peinture (pour servir de support à la fresque et y intégrer le relief) et en sculpture (pour l’exécution de reliefs figuratifs et de figures allant jusqu’à la ronde-bosse, intégrées le plus souvent à un décor peint). Loin d’opposer ces disciplines, le stuc les relie en s’emparant de leurs modes d’expression pour les faire cohabiter au sein du décor et, ce faisant, permet aux artistes d’adopter un point de vue réflexif quant à leur pratique, orienté vers l’investigation des moyens et natures de la représentation. Cette introspection se double, comme un corollaire, d’une investigation des effets de l’art et de sa capacité à convoquer le spectateur, à l’impliquer et l’intégrer au sein de la représentation afin de rendre plus mouvantes et fluctuantes les limites du décor. À partir d’une position « ornementale », voire « marginale », nombre de figures de stuc exécutées à Rome dès avant l’âge Baroque semblent vouloir offrir à la notion de frontière une application très originale, où les questions du simulacre et de la transgression se trouvent subtilement investies et convoquées. / As an ancient decorative technique favoured by Roman art, stucco is given a genuine renaissance in Sixteenth century Rome. Modem artists’ general interest in Antiquity includes more precise considerations regarding the possible functions of stucco in the dialogue between the arts, and explorations of the frontiers separating art from its beholder. Indeed, stucco is being used during the Renaissance in architecture (for the moulding and ornaments, to coat brick walls and give it a "marmoreal" appearance), in painting (as an intonaco for fresco) and in sculpture (to make figurative reliefs and free standing figures, generally combined with mural paintings). Far from opposing the arts, stucco connects them by taking possession of their modes of expression to make them work together inside the decorative systems and, doing so, gives the artists the opportunity to adopt a reflexive point of view regarding their practice, looking toward the investigation of the nature and means of representation. This particular introspection is also a research on the effects of art and its ability to convoke the beholder, to make him part of the representation and make more ambivalent the boundaries of decoration. From an "ornamental", even "marginal" position, numerous stucco figures executed in Rome before the Baroque age give the concept of aesthetic frontier an original instance, where simulacra and transgression are ingeniously summoned.

The Maya of Central America developed a complex society: among their many achievements they developed a writing system, complex calendar and were prolific builders. The buildings of their large urban centres, such as Copan in Honduras, were decorated with painted stucco, moulded masks, carving and elaborate murals, using a range of coloured pigments. In this study the paints used on the buildings of Copan and some ceramic sherds have been investigated, non-destructively, using micro-Raman spectroscopy, micro-ATR infrared spectroscopy, environmental scanning electron microscopy with energy dispersive X-ray analysis (ESEM-EDX) and FTIR-ATR imaging spectroscopy. The paint samples come from four buildings and one tomb covering three time periods in the four hundred year history of Copan. The main pigment used in the red paint on these samples was identified as haematite, and the stucco as a mixture of calcite particles dispersed throughout a calcite-based lime wash stucco. The composition and physical nature of the stucco changed through time, indicating a refining of production techniques over this period. A range of minor mineral components have been identified in each of the samples including rutile, quartz, clay and carbon. The presence and proportion of these and other minerals differed in each sample, leading to unique mineral signatures for the paint from each time period. Green and grey paints have also been identified on one of the buildings, the Rosalila Temple. The green pigment was identified as a celadonite-based green earth, and the grey pigment as a mixture of carbon and muscovite. The combination of carbon and mica to create a reflective paint is a novel finding in Maya archaeology. The high spatial resolution of the micro-FTIR-ATR spectral imaging system has been used to resolve individual particles in tomb wall paint and to identify their mineralogy from their spectra. This system has been used in combination with micro-Raman spectroscopy and ESEM-EDX mapping to characterize the paint, which was found to be a mixture of haematite and silicate particles, with minor amounts of calcite, carbon and magnetite particles, in a sub-micron haematite and calcite matrix. The blending of a high percentage of silicate particles into the haematite pigment is unique the tomb sample. The stucco in this tomb wall paint has finely ground carbon dispersed throughout the top layer providing a dark base for the paint layer. Changing paint mixtures and stucco composition were found to correlate with changes in paint processing techniques and building construction methods over the four hundred years of site occupation.