Implementa����o de um processo industrial de colora����o de granito

O presente est��gio foi desenvolvido na Britafiel. Um dos projectos em que a Empresa se encontra envolvida �� o STOCO, pretendendo implementar �� escala industrial um processo de colora����o de pedra gran��tica natural para fins decorativos. Foi neste projecto que se enquadrou o est��gio. O tema do est��gio centra-se no processo de colora����o de granito tendo como principal foco a implementa����o de um processo industrial de produ����o de granito colorido. O projecto STOCO nasce da necessidade de complementar a actividade da empresa com produtos de maior valor acrescentado para valoriza����o da mat��ria-prima de base, o granito. STOCO, resultante de Stone Color, �� o nome dado ao projecto e ao novo produto que �� granito colorido, sob a forma de brita. Pretende-se obter um produto amigo do ambiente e com boas caracter��sticas: manter a textura natural da pedra gran��tica e assegurar uma boa resist��ncia a factores agressivos. Estudos pr��vios de qualidade e de toxicidade mostraram que o produto STOCO desenvolvido at�� ent��o apresenta um bom comportamento face a agress��es climat��ricas e que n��o compromete a vida das esp��cies usadas nos testes (peixes). Em rela����o aos lixiviados e res��duos da pedra colorida STOCO, estes n��o apresentaram qualquer problema ambiental, sendo considerado um produto amigo do ambiente. �� data de in��cio do presente trabalho estava em funcionamento um equipamento prot��tipo de produ����o de granito colorido (100 kg/partida), sendo a instala����o e o arranque da unidade industrial (3 ton/h) concretizados no in��cio de 2014, j�� no decorrer deste trabalho. Os objectivos cumpridos no ��mbito deste trabalho foram ent��o a implementa����o de uma linha industrial de produ����o de brita colorida, avalia����o t��cnica do processo e do custo industrial de produ����o associado ��s mat��rias-primas. Neste relat��rio �� descrito o processo inicial adoptado e apresentam-se as altera����es efectuadas para melhoria do processo produtivo. Resolveram-se problemas como: defini����o e instala����o de equipamentos complementares para a entrada e a sa��da da brita no equipamento industrial; p�� excessivo na brita; cheiro intenso a g��s e elevado ru��do; adequa����o do sistema de pintura; e secagem incompleta da brita. Alguns destes problemas n��o foram totalmente resolvidos, mas sim minimizados. O equipamento industrial necessita ainda de altera����es em diversas ��reas, que foram identificadas e para as quais s��o feitas sugest��es de melhoria. Conseguiu-se ainda fazer alguns testes para uma poss��vel substitui����o de alguns constituintes da tinta. Os componentes que entram na composi����o base da tinta aquosa, s��o de modo simplificado: ligante, pigmento, solvente e aditivos. Os constituintes que mais encarecem a tinta, e consequentemente o processo em causa, s��o o ligante e o pigmento. Os estudos efectuados precisam de ser aprofundados, na tentativa de melhorar o processo minimizando os custos de produ����o. Formalizaram-se os procedimentos escritos de produ����o STOCO tanto para o prot��tipo como para o processo industrial e elaborou-se uma ficha t��cnica de produto para a brita colorida STOCO.

The materials, technique, conservation treatment and after-care of interior de um convento

Disserta����o apresentada na Faculdade de Ci��ncias e Tecnologia da Universidade Nova de Lisboa para a obten����o do grau de Mestre em Conserva����o e Restauro, especializa����o em pintura sobre tela

Fractais - Aplica����es em Engenharia

Num universo despovoado de formas geom��tricas perfeitas, onde proliferam superf��cies irregulares, dif��ceis de representar e de medir, a geometria fractal revelou-se um instrumento poderoso no tratamento de fen��menos naturais, at�� agora considerados err��ticos, imprevis��veis e aleat��rios. Contudo, nem tudo na natureza �� fractal, o que significa que a geometria euclidiana continua a ser ��til e necess��ria, o que torna estas geometrias complementares. Este trabalho centra-se no estudo da geometria fractal e na sua aplica����o a diversas ��reas cient��ficas, nomeadamente, �� engenharia. S��o abordadas no����es de auto-similaridade (exata, aproximada), formas, dimens��o, ��rea, per��metro, volume, n��meros complexos, semelhan��a de figuras, sucess��o e itera����es relacionadas com as figuras fractais. Apresentam-se exemplos de aplica����o da geometria fractal em diversas ��reas do saber, tais como f��sica, biologia, geologia, medicina, arquitetura, pintura, engenharia eletrot��cnica, mercados financeiros, entre outras. Conclui-se que os fractais s��o uma ferramenta importante para a compreens��o de fen��menos nas mais diversas ��reas da ci��ncia. A import��ncia do estudo desta nova geometria, �� avassaladora gra��as �� sua profunda rela����o com a natureza e ao avan��ado desenvolvimento tecnol��gico dos computadores.

Application of ionic liquids and enzymes for the removal of proteinaceous layers from polychrome of works of art and evaluation of the cleaning effectiveness

Disserta����o Apresentada na Faculdade de Ci��ncias e Tecnologia da Universidade Nova de Lisboa para obten����o do grau de Mestre em Ci��ncias da Conserva����o, especializa����o em Pintura

Treatment of a nineteenth century male portrait in oil including the characterisation of materials, technique and a study of the lead soap aggregation in the paint composite

Disserta����o para obten����o do Grau de Mestre em Conserva����o e Restauro

Mansfield and Lewis: impressionism and vorticism in the short story

The affinities of the short story with the style of painting dominating the period in which it is produced have often been debated by critics. The effects of the application of impressionist and vorticist principles in painting turns out differently in Katherine Mansfield and Wyndham Lewis��� short stories structure and strategies, according to their conceptions of Art and Life and to his career as a painter.

Long-term characterization of air lime mortars with ceramic waste

Due to their exposure to environmental conditions, outer coatings composed by render and painting system are usually the first construction elements to deteriorate and require intervention. A correct conservation and rehabilitation of these materials is fundamental once they provide protection to other fa��ade materials. It is known that old mortar renders were essentially air lime based mortars. To maintain the integrity of the whole wall-render elements, the image of the building and to avoid accelerated degradation, conservation and rehabilitation must be implemented with compatible mortars. As that, lime based mortars would be preferable. It was also common, in ancient renders, the incorporation of ceramic residues, which is, nowadays, an abundant material, especially in Central Region of Portugal. The reuse of these materials has great relevance once their landfilling causes serious environmental issues. In an attempt to combine the environmental and technical advantages of the use of ceramic waste in mortars��� production for rehabilitation purposes, a research has been developed at the University of Coimbra, in cooperation with Nova University of Lisbon, on the long term behaviour of air lime mortars with ceramic residues. In this paper the most significant up to one year results of an experimental campaign with air lime mortars with 1:3 and 1:2 volumetric proportions and ceramic residues are presented.

O Ressurgimento da Pintura Decorativa nos Interiores Palacianos Lisboetas: da Regenera����o ��s V��speras da Rep��blica

Esta tese procura defender a ideia de que foi a vinda para Portugal, nos anos 30 do s��culo XIX, dos arquitectos, cen��grafos, e pintores decoradores de origem italiana, Cinatti e Rambois, que permitiu o retomar do fio perdido da pintura decorativa no Pa��s. Na d��cada de 1830, dava-se, assim, in��cio a uma nova etapa, na qual se concretizam uma s��rie de encomendas de decora����o de interiores que procuram satisfazer uma burguesia emergente, que assim sublinha o seu status social ao restaurar e transformar pal��cios antigos, ou ao mandar construir novos pal��cios e palacetes, que ir��o ser profusamente decorados por uma nova gera����o de pintores-decoradores. Era inaugurado o ressurgimento da pintura decorativa em Portugal. Esta disserta����o tem tamb��m como um dos seus objectivos principais dar a conhecer e divulgar o patrim��nio ��mpar que constitui a pintura decorativa, para assim o poder depois proteger, num Pa��s em que o ���fachadismo��� faz escola, permitindo-se que os interiores sejam demolidos, e em que as artes decorativas s��o ainda t��o esquecidas ou menosprezadas Este trabalho constitui ��� esperamos- uma primeira aproxima����o cient��fica ao estudo de todo um conjunto de edif��cios de valor patrimonial inestim��vel e �� realidade que albergam no seu interior.

The brushstroke and materials of Amadeo de Souza-Cardoso combined in an authentication tool

Nowadays, authentication studies for paintings require a multidisciplinary approach, based on the contribution of visual features analysis but also on characterizations of materials and techniques. Moreover, it is important that the assessment of the authorship of a painting is supported by technical studies of a selected number of original artworks that cover the entire career of an artist. This dissertation is concerned about the work of modernist painter Amadeo de Souza-Cardoso. It is divided in three parts. In the first part, we propose a tool based on image processing that combines information obtained by brushstroke and materials analysis. The resulting tool provides qualitative and quantitative evaluation of the authorship of the paintings; the quantitative element is particularly relevant, as it could be crucial in solving authorship controversies, such as judicial disputes. The brushstroke analysis was performed by combining two algorithms for feature detection, namely Gabor filter and Scale Invariant Feature Transform. Thanks to this combination (and to the use of the Bag-of-Features model), the proposed method shows an accuracy higher than 90% in distinguishing between images of Amadeo���s paintings and images of artworks by other contemporary artists. For the molecular analysis, we implemented a semi-automatic system that uses hyperspectral imaging and elemental analysis. The system provides as output an image that depicts the mapping of the pigments present, together with the areas made using materials not coherent with Amadeo���s palette, if any. This visual output is a simple and effective way of assessing the results of the system. The tool proposed based on the combination of brushstroke and molecular information was tested in twelve paintings obtaining promising results. The second part of the thesis presents a systematic study of four selected paintings made by Amadeo in 1917. Although untitled, three of these paintings are commonly known as BRUT, Entrada and Coty; they are considered as his most successful and genuine works. The materials and techniques of these artworks have never been studied before. The paintings were studied with a multi-analytical approach using micro-Energy Dispersive X-ray Fluorescence spectroscopy, micro-Infrared and Raman Spectroscopy, micro-Spectrofluorimetry and Scanning Electron Microscopy. The characterization of Amadeo���s materials and techniques used on his last paintings, as well as the investigation of some of the conservation problems that affect these paintings, is essential to enrich the knowledge on this artist. Moreover, the study of the materials in the four paintings reveals commonalities between the paintings BRUT and Entrada. This observation is supported also by the analysis of the elements present in a photograph of a collage (conserved at the Art Library of the Calouste Gulbenkian Foundation), the only remaining evidence of a supposed maquete of these paintings. The final part of the thesis describes the application of the image processing tools developed in the first part of the thesis on a set of case studies; this experience demonstrates the potential of the tool to support painting analysis and authentication studies. The brushstroke analysis was used as additional analysis on the evaluation process of four paintings attributed to Amadeo, and the system based on hyperspectral analysis was applied on the painting dated 1917. The case studies therefore serve as a bridge between the first two parts of the dissertation.

Portugal

In 2014, the wind energy sector achieved a maturity status within the Portuguese power system. While it still experienced some additional capacity deployment (222 MW), after 15 years of intense deployment Portugal reached 4, 953 MW of installed wind power capacity by the end of 2014. Wind power represents 25% (considering only mainland Portugal) of the total operational capacity and 42% of renewable energy capacity in the country. In 2014, Portuguese wind parks produced 12.1 TWh maintaining a wind energy contribution of 24% of the annually electricity consumption. This high wind penetration was influenced by the favorable wind conditions observed in the first three months of the year over central and northern regions of mainland Portugal that also correspond to the largest concentration of installed wind capacity.

O Marqu��s de Sousa Holstein e a forma����o da Galeria Nacional de Pintura da Academia de Belas Artes de Lisboa

Neste trabalho definimos e desenvolvemos algumas ideias centrais sobre a Galeria Nacional de Pintura da Academia de Belas Artes de Lisboa, da forma����o do seu acervo a partir de 1834, com a extin����o das ordens religiosas, at�� �� abertura do Museu Nacional de Belas Artes e Arqueologia, em 1884. Em an��lise est��o 50 anos de esfor��os empreendidos por v��rios agentes, com destaque para o marqu��s de Sousa Holstein, vice-�����inspetor da Academia, em prol da organiza����o, conserva����o, exposi����o, estudo, promo����o e divulga����o do seu acervo, assim como do seu enriquecimento por meio de transfer��ncias, aquisi����es ou doa����es que est��o na origem do mais relevante museu p��blico de arte nacional.

Al Berto : Pelas imagens que o espelho te devolve

Disserta����o de Mestrado apresentada ao ISPA - Instituto Universit��rio

Analysis and Treatment of a male portrait in oil and a study of the size layer with reconstructions from Vibert���s recipe (1892)

This thesis project concentrated on both the study and treatment of an early 20th century male portrait in oil from Colec����o Caixa Geral de Dep��sitos, Lisbon, Portugal. The portrait of Janu��rio Correia de Almeida, exhibits a tear (approximately 4.0 cm by 2.3 cm) associated with paint loss on the right upper side, where it is possible to observe an unusually thick size layer (approximately 50 microns) and an open weave mesh canvas. Size layers made from animal glue remain subject to severe dimensional changes due to changes in relative humidity (RH), thereby affecting the stability of the painting. In this case, the response to moisture of the size layer is minimal and the painting is largely uncracked with very little active flaking. This suggests that the size layer has undergone pre-treatment to render it unresponsive to moisture or water. Reconstructions based on late nineteenth century recipes using historically appropriate materials are used to explore various options for modifying the characteristics of gelatine, some of which may relate to the Portrait���s size layer. The thesis is separated into two parts: Part 1: Describes the history, condition, materials and techniques of the painting. It also details the treatment of Janu��rio Correia de Almeida as well as the choices made and problems encountered during the treatment. Part 2: Discusses the history of commercial gelatine production, the choice of the appropriate animal source to extract the collagen to produce reconstructions of the portrait���s size layer as well as the characterization of selected reconstructions. The execution of a shallow textured infill led to one publication and one presentation: Abstract accepted for presentation and publication, International Meeting on Retouching of Cultural Heritage (RECH3), Francisco Brites, Leslie Carlyle and Raquel Marques, ������Hand building a Low Profile Textured Fill for a Large Loss������.