Levantamento de Danos dos Azulejos da Capela de Nossa Senhora do Rosário do Mosteiro de São Bento de Cástris

The Chapel of Nossa Senhora do Rosário is located in the cloister of the São Bento de Cástris monastery and shows off a blue and white tile panel with 6 tiles of height, representing the scenes of the Life of the Virgin in five panels: Adoration of the Shepherds, Presentation of the Virgin in the Temple, Annunciation, Visitation and The Marriage of the Virgin. The authorship of this work is unknown and its date has not yet found consensus. The tiles are in poor condition and have been the target of repeated vandalism or attempted theft over time. During the Residência Cisterciense (Cistercian Residence), held in São Bento de Cástris in September 2013, it has been made a survey of the tile panel’s observable damages including graphic and photographic record of its condition.

Decorative tiles between Brazil and Europe: the case of the Santa Catharina factory

Abstract It was in the first decade of the twentieth century that the first white china Factory was implemented in Brazil. Fruit of the association between the Sao Paulo Aristocracy and the Italian Romeo Ranzini, this factory was responsible for producing significant amounts of crockery in industrial moulds in sao Paulo, Brazil. It was also the first factory to produce decorative tiles that would be part of the architecture of the public buildings built between 1919 and 1922 in Commemoration of the Centennial of the Brazilian Independence. Known as The Santa Catharina Factory, this factory was inaugurated in 1913 with the participation of Italian immigrants and German technologies for the development of its first manufacturing activities. As a result of a number of economic, political and social matters that started in the previous century in the city of Sao Paulo, The Santa Catharina factory played an important role in industrial development as regards the production of national white china and was used as a model for the construction of new ceramic factories in Sao Paulo. After acquired by Matarazzo industries in 1927, had closed their activities in 1937. This research is based on the identification and analysis of the first tiles produced in Brazil by the Santa Catharina Factory, which were part of the architectural decorations of the buildings built in Sao Paulo to the celebration of the Centennial of the Brazilian Independence. Designed by Victor Dubugras, The Largo da Memoria (located in the city of Sao Paulo) and the buildings located in the "Paths of the Sea" road marked the beginning of Brazilian industrialization and the emergence of Neocolonial Movement in architecture of Sao Paulo. Studies of the first national patterns of decorative tiles approach a subject poorly researched by experts in tiled studies in Brazil, although in this case these tiles have represented not only an important milestone in the national industrialization, but also have demarcated the significant changes in architectural and decorative practices in the country in the early twentieth century; RESUMÈ: C'est durant la premiere decennie du XXe siecle que la premiere usine de porcelaine blanche fut implant& au Bresil. Elle fut le fruit de l'association entre l'aristocratie de Sao Paulo et l'italien Romeo Ranzini. L'usine produisait une quantite signifiante de porcelaine sur le territoire industriel de Sao Paulo. Ce fut egalement la premiere usine a produire des carreaux decoratifs qui sont aujourd'hui visibles dans l'architecture des batiments publics construit entre 1919 et 1922, pour la commemoration du centenaire de l'independance bresilienne. Connue sous le nom de Santa Catharina, cette usine fut inaugure en 1912. Elle fut construite par des émigrés Italiens, et utilisa pour la technologie allemande pour so production. En tant que resultat d'un certain nombre de questions economiques, politiques et sociales qui ont &butes durant le siecle precedent dans la ville de Sao Paulo, l'usine Santa Catharina a joue un role important dans le developpement industriel de la production de porcelaine blanche nationale et a ete utilise comme modele pour la construction de nouvelles usines de ceramique a Sao Paulo. Apres avoir ete achete par l'industrie Matarazzo en 1927, elle cessa ses activites en 1937. Cette recherche est basee sur l'identification et l'analyse des premiers carreaux decoratifs fabriques au Bresil par l'usine Santa Catharina, qui etait une partie des decorations architecturales des batiments construits a Sao Paulo pour la celebration du centenaire de l'Independance Bresilienne. Connue par Victor Dubugras, le "Largo da Memoria" (situe dans la ville de Sao Paulo), et les batiments situes sur le "Path of the Sea", ont marque le debut de l'industrialisation bresilienne et l'emergence d'un mouvement neocolonialiste dans l'architecture de Sao Paolo. L'etude des premiers modeles nationaux de carreaux decoratifs est un sujet peut etudie par les experts bresiliens, bien qu'ils furent un jalon importante pour l'industrialisation nationale. Its ont egalement entrains des changements importants dans les pratiques architecturales, et decoratives au sein du pays au XXe siecle. Mots-cles: Ceramique - carreaux decoratifs — L'usine Santa Catharina, Bresil - Production de carreaux; RIASSUNTO: Nel primo decennio del Novecento vide luce la prima fabbrica di ceramica di porcellana in Brasile. Frutto dell'associazione tra l'aristocrazia Paulista e l'italiano Romeo Ranzini, questa fabbrica fu responsabile della produzione di notevoli quantita di ceramica di porcellana mediante stampi industriali nella citta di San Paolo, Brasile. Fu anche la prima fabbrica a produrre azulejos che avrebbero poi fatto parte dell'architettura degli edifici pubblici costruiti tra it 1919 ed it 1922, per la commemorazione del Centenario dell'indipendenza Brasiliana. Conosciuta come Fabbrica di Santa Catharina, questa fu inaugurata nel 1913, con la partecipazione di immigrati italiani e con l'impiego di tecnologie tedesche per lo sviluppo delle sue prime attivita produttive. Risultato di una serie di cambiamenti economici, politici e sociali, che ebbero inizio nel secolo precedente nella citta di San Paolo, la Fabbrica di Santa Catharina svolse un ruolo importante nello sviluppo industriale per quanto riguarda la produzione di ceramica di porcellana nazionale e fu adottata come modello per la costruzione di nuove fabbriche a San Paolo. Successivamente, fu acquisita dalle industrie Matarazzo nel 1927, vedendo poi chiudersi le sue attivita nel 1937. Questa ricerca si basa sull'identificazione e l'analisi dei primi azulejos prodotti in Brasile dalla Fabbrica di Santa Catharina che fecero parte delle decorazioni architettoniche degli edifici costruiti a San Paolo per la commemorazione del Centenario dell'indipendenza Brasiliana. Progettati da Victor Dubugras, it Largo da Mem(Via (situato nella citta di San Paolo) e gli edifici che si trovano nei Caminhos do Mar marcarono l'inizio dell'industrializzazione brasiliana e la nascita del Movimento Neocolonial dell'architettura Paulista. Gli studi dei primi modelli di azulejos nazionali affrontano un argomento poco studiato dagli esperti in azulejaria in Brasile, nonostante rappresentino un importante avvenimento dell'industrializzazione nazionale, ma segnano anche i cambiamenti di significative pratiche architettoniche e decorative nel Paese nel primo Novecento. Parole chiave: Ceramica - porcellana - La fabbrica di Santa Catharina - Produzione di ceramica .

Conservação e restauro de azulejo: metodologias de intervenção vs indicadores de compatibilidade

A escassez de parâmetros técnicos e científicos e o caráter subjetivo que em regra preside à escolha de determinado material, produto ou técnica suscitaram o interesse pelo presente tema onde se procurou aumentar as ferramentas de análise e de apoio à decisão em intervenções de conservação do património azulejar. Procurou compreender-se o azulejo a nível histórico, estético, técnico e material, estudando-o do ponto de vista físico, químico e mineralógico. Comparando o azulejo com as réplicas produzidas para intervenções de conservação e restauro estudadas, concluiu-se que as suas composições, química e mineralógica, são diferentes, embora não se verifiquem tantas dissemelhanças ao nível das propriedades físicas. As linhas orientadoras da conservação e restauro de azulejo foram lançadas por Santos Simões a partir dos anos 40 do séc. XX e, desde então, foi-se desenvolvendo um pouco à margem das restantes áreas de especialidade, mesmo ao nível do ensino. Os resultados do inquérito internacional junto dos profissionais que trabalham em conservação e restauro de azulejo in situ corroboram de certo modo este facto e, simultaneamente, permitem uma apreensão da situação atual. Constatou-se uma quase total ausência de documentação sobre intervenções realizadas, mas a análise de casos de estudo e de relatórios permitiu uma primeira sistematização da informação disponível segundo os materiais correntemente utilizados. Procedeu-se a uma identificação e tipificação de patologias decorrentes das intervenções procurando entender qual o papel que tiveram os materiais utilizados e as técnicas de intervenção no desempenho das intervenções. Os processos de reintegração volumétrica e cromática mereceram uma maior atenção, procedendo-se à simulação de todo o sistema, em contexto laboratorial, com base nos materiais correntemente utilizados. Os resultados revelam comportamento diferenciado dos materiais de origem orgânica e inorgânica, evidenciando estes últimos uma maior compatibilidade com o azulejo, mas um pior desempenho a médio/longo prazo. O reconhecimento das soluções mais ou menos compatíveis permitiu delinear uma metodologia de avaliação da compatibilidade, da eficácia e do desempenho dos materiais e das técnicas utilizadas, contribuindo também para a definição de algumas recomendações e de critérios de atuação; Abstract The lack of information found, when selecting a material, product or technique, to apply on a specific conservation treatment contributed to the interest on this topic. The historical, aesthetic and technical characteristics of the azulejo was researched by studying their physical, chemical and mineralogical properties. Comparing original azulejos with the replicas produced for conservation treatments studied, it was concluded that the chemical and mineralogical composition is different, although there are less dissimilarities in terms of physical properties. The guidelines for conservation and restoration were launched by Santos Simões in the 40s and since then, it has been developing a bit on the sidelines of the remaining areas of expertise, even at an educational level. The results of an international survey, near professionals working in conservation and restoration of azulejo in situ, corroborate this fact and simultaneously allow an insight of the current situation. It was found an almost complete lack of technical documentation about previous conservation interventions, but the analysis of existent case studies and intervention reports permitted a systematization of the available information, also considering the materials commonly used. The identification and characterization of damages resulting from interventions, was performed trying to establish a correlation with the materials used and intervention techniques. The attention focused on the study of the infills and chromatic reintegration and a simulation of the entire system was developed, in a laboratory context, on the basis of commonly used materials. The results reveal a distinct behavior between the organic and inorganic materials, showing the latter greater compatibility with the azulejos but a worse medium/long-term performance. The recognition of more or less compatible solutions allowed to outline a methodology to evaluate the compatibility, efficiency and performance of materials and techniques used, also contributing to define some recommendations and action criteria.

Lacunae Infills for in Situ Treatment of Historic Glazed Tiles

Knowledge of current conservation materials and methods together with those adopted in the past is essential to aid research and improve or develop better conservation options. The infill and painting of tile lacunae are subjected to special requirements mainly when used in outdoor settings. A selection of the most commonly used materials was undertaken and performed based on inquiries to practitioners working in the field. The infill pastes comprised organic (epoxy, polyester), inorganic (slaked lime,hydraulic lime and zinc hydroxychloride) and mixed organic–inorganic (slaked lime mixed with a vinylic resin)binders. The selected aggregates were those most commonly used or those already present in the commercially formulated products. The infill pastes were characterised by SEM, MIP, open porosity, water absorption by capillarity, water vapour permeability, thermal and hydric expansibilities and adhesion to the ceramic body. Their performance was assessed after curing, artificial ageing (salt ageing and UV–Temp–RH cycles) and natural ageing. The results were interpreted in terms of their significance as indicators of effectiveness, compatibility and durability