Architectural Terracottas Research Articles

Exploring the Coroplasts’ ‘Techne’ in Greek Architectural Terracottas from Sicily: an Archaeometric Approach

The study intends to support the archaeological questions about the technological choices related to the manufacturing of an important class of archaic artefacts—the fictile roof revetments of the temples—in the Greek colonies of Sicily, unveiling the possible relations among raw materials, decorative and firing techniques and functionality of the architectural terracottas. By applying a multidisciplinary and a multimethodological archaeometric approach, the aforementioned questions have been addressed, explaining the technological expedients employed by the coroplasts in the manufacturing of the roof revetments, and suggesting interesting mobility schemes of both raw materials and ‘techne’ (know‐how) throughout the island.

Study of Architectural Ceramics of the Qal’a of Bani Hammad

In order to define with precision, the physicochemical characteristics of the architectural ceramic exhumed from the Qal’a of Bani Hammad’s site (inscribed on the UNESCO’s World Heritage List in 1980), our study was conducted on a set of ceramics. The first analyses were focused on the color of the glazes, by optical absorption spectrophotometry (also called optical absorbance spectroscopy), on the texture by X-Ray diffraction, and on the elemental composition of the various constituent stages of these glazes and their terra cotta, by scanning electron microscopy and X-Ray fluorescence. Indeed, the study combining optical absorbance spectroscopy and X-Ray fluorescence enabled us to determine the origin of the monochromic green coloring of the glazes in some samples. This coloring can be attributed to the presence of the Cu2 chemical element; but these glazes darkened due to the high iron content they contain. This could be explained by an intentional addition of iron, in tin-opacified leaded glazes, baked in an oxidizing atmosphere and put on a limestone-rich marlacious paste.
 The chemical and mineralogical analyses of all shards show that their paste is calcareous. This dataset will be exploitable for re-creation experiments. It also represents a first exploitable referential system, for potential comparisons with other samples belonging to other Algerian sites and different periods of time.

Morgantina Revisited: An Architect’s Recollections

The ancient Greek site of Morgantina in central Sicily is well known to students of architecture, city planning, numismatics, and other related fields in Classical Studies. It was first settled on the Cittadella hill in the Bronze and Iron Ages. The arrival of Greeks in the early sixth century BC resulted in the creation of a settlement also on Cittadella with a shrine (naiskos) decorated with brightly colored architectural terracottas and with houses. Imported Greek pottery found within the settlement and in the tombs bears witness to extensive trade, and Morgantina also minted its own coins.

Chance and Tradition in the Architectural Ceramics of Assemble

The London-based architecture and design collective Assemble make two kinds of “architectural ceramics”: clay-based objects that ornament buildings, and domestic wares produced as part of larger architectural projects. The collective started the Granby Workshop for the production of unique objects for the home in 2014 and ceramics also feature in contracted architectural projects. This essay positions Assemble’s use of ceramics between the traditions of studio pottery and machine-based ceramic manufacturing. Through discussion of a few recent examples it reveals how the collective are realizing the commercial and pedagogical potential of the medium.

Architectural details and monumental buildings at Borysthenes

Borysthenes encompasses a small number of sites belonging to the period of Greek colonization of the Black Sea region, where monumental buildings with architectural decoration appeared during the 6th century BC. Specific order details are cut from stone; architectural terracotta, imported from Miletus, was also found. They are connected through their common stylistic identity with the Asia Minor architectural school of the Ionic order. These details are attested mainly as constructive parts of monumental altars, and less so as possible parts of temples and other public buildings. The excavations from the last decades permitted to conclude on the existence of the temenos and the public centre included in the regular city plan from the second half of the 6th century BC at Borysthenes. Correlation of architectural details and monumental buildings is still under discussion.

Chemical durability of lead-bearing glazes in sulphuric acid solutions — Laboratory experiments performed on Zsolnay architectural ceramics from Budapest (Hungary)

ABSTRACTThis study aims to simulate the long-term deterioration of architectural glazes exposed to open air in a highly polluted urban environment. A laboratory experiment—a 14-day long accelerated weathering test—on glazed roof tiles has been performed to reveal the damaging influence of contacting acid solutions originating from dissolved gaseous pollutants, mainly SO2. The studied tiles are made by the Hungarian Zsolnay factory and applied on two buildings in Budapest in the 19th and 20th century. The ceramics were covered mainly by lead glazes in the construction and lead-bearing alkali glazes in the renovation periods.The solution of pH2 induced a greater dissolution, especially of alkali and alkaline earth metals (up to 2886 ppm), but less lead (up to 21 ppm) from the lead glazes of the construction periods. Newly formed lead sulphate (anglesite) on the corroded glaze parts precipitated on some lead-bearing alkali glazes, with moderate dissolution of alkali and alkaline earth metals (up to 396 ppm) accompanied by higher amount of lead (28–39 ppm). Based on the results, the main determining factor in the durability of glazes is mostly their chemical composition and less their preliminary degradation state.

Düver Atlı-Griffon Levhası nın İkonografisi, Tarihlendirilmesi ve Kültürel Kimliği Üzerine Düşünceler

Research on the Duver Rider-griffin tile a gei­son-sima-spouted tile forms the major part of the au­thor’s PhD dissertation at the Istanbul University with the title, Duver Architectural Terracotta Revetments. Unfor­tunately, these architectural terracottas from Yarisli Golu, Yarim Ada in Pisidia have been ripped out of their archae­ological context from 1960 onwards due to repeated illegal excavations. This material has been the subject of the au­thor’s post-doctoral research, which aims to re-establish the context of these terracottas within the Duver Settle­ment History Research Project. This paper presents sever­al conclusions from field survey results and from a detailed analysis of all the terracottas today scattered in many col­lections, mainly in the USA and Europe, as well as those in Turkish museums. First, the tile’s function as an architec­tural element in the roofing system, its position on the structure, and the roof genre to which it belongs have been identified. Three figures on the plate have been individu­ally examined; stylistic comparisons have been made in the light of the other existing examples and the iconogra­phy of the scene has been re-interpreted. Furthermore, this paper discusses the production workshops and en­deavors to cast a clearer light concerning the dating that has been proposed by various scholars for these architec­tural terracottas and on the question of cultural identity.

Innovaciones en la producción de ambientes lumínicos cerámicos: entre técnicas artesanales y procesos digitales

El material cerámico ofrece excelentes oportunidades como material de construcción energéticamente eficiente, sin embargo sus propiedades se han investigado muy escasamente en combinación con un comportamiento medioambiental activo. Respondiendo a criterios de optimización de la iluminación natural, trabajamos con procesos paramétricos digitales de fabricación, así como con herramientas de simulación energética para confeccionar prototipos experimentales a escala real de componentes arquitectónicos cerámicos. Nuestra investigación tiene tres objetivos principales: explorar soluciones para la optimización en el uso de la luz natural fabricadas con un material de bajo impacto como la cerámica; investigar metodologías proyectuales que miren a cómo los procesos de producción arquitectónica cerámica actuales pueden mejorarse gracias a la incorporación de técnicas digitales de fabricación y diseño, y comprometernos con la materialidad de la cerámica a través de trabajo en colaboración con artistas y técnicas artesanales. Un aspecto crítico de nuestro trabajo es probar la compatibilidad e interoperabilidad de diferentes plataformas informáticas y técnicas de diseño como fases del proceso de producción (optimización de la búsqueda de forma) en tiempo real. Este artículo presenta el desarrollo, construcción y resultados analíticos de tres de los métodos de producción experimentados durante los tres primeros años de este proyecto.

Testing terracotta in the United States: early testing practices and modern conservation

ABSTRACTCracks, spalls and efflorescence are unsightly, but what do they say about the service life of a terracotta unit? And what analytical tests can we perform to help us define its life span? Unfortunately, in the case of architectural terracotta, determining if a deteriorated unit has nearly reached the end of its useful life is not entirely straightforward. Simply looking at the surface of a terracotta unit does not provide sufficient information to characterize its durability, nor does repairing the surface guarantee its survival.The large-scale manufacturing of architectural terracotta in the US began in the 1870s. By 1876, magazines such as American Architect and Building News marketed terracotta as a good, ‘durable’ material for use on cornices. Within two decades, however, concerns about the performance of the building material were raised with respect to glaze adhesion, spalling, and physical strength.Extensive research was undertaken by the author on architectural terracotta testing practices and manufacturing methods used historically throughout the US. With literally hundreds of tests carried out and published between 1899 and 1961, it seemed that no one test was able to fully address the complex question of durability.In an effort to understand the relationship between physical characteristics and durability, several historic glazed terracotta units, all taken from buildings constructed before 1938, were subjected to microscopic examination, water vapor transmission (WVT) measurement, freeze thaw testing and glaze adhesion. The article examines the results, the limits of the individual tests, and how a variety of evaluation techniques are required – in combination – to understand the structure and condition of the material. There is also a brief discussion of modern repair techniques and whether these repairs are appropriate or even worthwhile.

Damascus tiles: Mamluk and Ottoman architectural ceramics from Syria

Architectural ceramic decoration is one of the most celebrated manifestations of the arts of Islam. Spanning a period from the 13th to the 20th century, the tiles featured in this book exhibit a rich range of influences from Persia, Turkey, China and even Europe. A renowned specialist in the field of Islamic and Indian art, Arthur Millner explores the historical context that allowed the uniquely creative achievement of Syrian craftsmen to flourish, and why tiles from this region are less restricted in artistic expression than those from better-known centers of production. The complex and interconnected nature of tile designs, techniques and color palettes is explored, highlighting what is distinctive about Damascus ceramics and how they relate to tiles produced in other parts of the Islamic world. Finally, the author traces the journey made by many of these tiles to the West, embellishing the interiors of wealthy clients as Islamic art became both fashionable and influential in late-19th-century art and design.

Setting the Standard: Aquarelles by Wilhelm Dörpfeld of Western Greek Architectural Terracottas in Sicily and Southern Italy

The Getty Research Institute has in its special collections thirty-two watercolors of decorated terracotta roof elements drawn by Wilhelm Dörpfeld (1853–1940), a German architect, archaeologist, and eventual director of the Deutsches Archäologisches Institut in Athens, during a trip to Sicily and southern Italy in the spring of 1881. Besides their beauty as colorful illustrations of artifacts, these drawings set the standard for illustrations of architectural terracottas to this day: drawn at 1:1 scale, each roof element is rendered in frontal view, alongside a cross section showing the full profile and thickness. The red, white, and black colors, where preserved, are rendered in accurate tones, and annotations made in the margins describe the clay and types of inclusions. Labels identify the type of architectural element and the museum or storeroom in which it was studied. Only one of these drawings has been previously published; twelve others served as preliminary documentation (working paintings) for published reconstruction drawings, and nineteen were never published. Their importance to the history of architectural studies warrants their full publication.

Le terrecotte della collezione di Raffaele Gargiulo al Museo Archeologico Nazionale di Napoli

The collection of terracottas belonging to Raffaele Gargiulo that was purchased by the Museum of Naples in 1855 was accompanied by a rich assortment of architectural terracotta fragments, pottery, plastic vases, and lamps, among other objects. Of these objects, the terracottas are in the majority (73.88%) and account for about three-quarters of the entire collection. Five hundred seventy-eight of these terracottas (95.54%) come from Apulia and Campania, areas that are well known for their coroplastic production. While the architectural terracottas date from the end of the 4th century B.C.E. to the first century C.E., the chronological range of the majority of the figurines and pottery is more limited and can be placed between the mid-4th and the end of the 3rd century B.C.E. The chronology of the plastic vessels is broader and ranges from the late 6th to the 3rd century B.C.E., with lamps dated to the 1st century C.E.

Impact on Surface Treatment of Hydrophobic Consolidation Terracotta Ornaments

During the consolidation and rehabilitation interventions ofGeorge RaduMelidonCity Library Roman, Neamţ County, a series of architectural terracotta decorations, manufactured in the second half of the century XIX, have been identified and cataloged. The current state of these decorations, made from geomaterials, requires the establishment of a technical solution which will be used to preserve, to strengthen the color, the aesthetic surface and the chromatic reintegration. Thus, the paper presents the study of four current commercial chemicals products, part of the additives hydrophobic/waterproofing group. One of the products is a water based emulsion, while the other three are organic based solvents. This study was required in order to develop an optimal treatment to preserve the old terracotta from facade of building already mentioned. The technical features that these products have in common are sealing and waterproofing by superficial coating, with an average penetration and restoration of chromatic aspect, as close to the original. CIE L*a*b* colorimetry, optical microscopy and the measure of humidity (reversible water content and related chemical) were implemented in the study of optimization of pellicle dispersion systems based on the four chemicals.

<i>In Situ</i> Solidification Formation of the Architectural Ceramics Body with Full Barren Materials

The traditional architectural ceramic body is mainly molded by compression forming process with dry power. The study introduced the starch into the body formula and the feasibility and correlate technological means of the situ solidification forming of fly ash architectural ceramics body with full barren materials were discussed. The body with full barren materials has a low green strength which is less than 1MPa by the traditional compression forming with dry power. But it could be improved greatly by optimizing the kind and amount of starch and the heat holding technologies in the forming process. The research showed that the body’s green strength is higher by introducing modified potato starch. The sintered body’s porosity and water absorption will be increased and lower flexural strength will be obtained by more starch. The body’s properties show the best when the amount of the starch reached 4wt% and the holding time for demoulding is 70min under the holding temperature what is 80°C. Under that molding condition, the green strength reached 3.61MPa, the flexural strength and water absorption of the sintered body reached 49.01MPa and 0.17% separately.

Characterization of particulate matter in attic and settled dusts collected from two buildings in Budapest, Hungary

Abstract We have investigated two buildings covered with Zsolnay glazed architectural ceramics in Budapest (Hungary), one located in the densely built-up area of the city centre with a high traffic rate and one in a city quarter with moderate traffic and more open space. A black crust layer, containing a large amount of artificial particulate matter with different size and chemical composition, was observed on the ceramic material of both buildings, whereas weathered glaze was detected only on the ceramics of the building situated in the city centre. In this paper, our goal is to reveal the role of the particulate matter in the degradation of architectural ceramics. For this reason the attic dust and settled dust from the roofs of the studied buildings were collected. In the attic dust, besides the natural particles of geological origin, three types of artificial particles typically with spherical shape (spherules) were also distinguished: aluminosilicate (two subtypes), carbonaceous, and iron-rich fly-ash. The appearance of gypsum crystallites around the particulate matter in association with all spherule types suggests that the particulate matter greatly contributes to the degradation process.

Biological colonization and biodeterioration of architectural ceramic materials: An overview

Abstract This work presents the first review on biodiversity, biodeterioration and bioreceptivity of architectural ceramics. Literature dating from 1972 to 2014 was compiled and analysed in order to summarise the current knowledge and to facilitate a better understanding of the subject. Data regarding biodiversity found on architectural ceramic materials was described for three typologies: bricks, roofing tiles and glazed wall tiles. A vast biodiversity has been identified on these ceramic materials, from bacteria to more complex organisms, such as plants. Bricks were the most studied substrate, while literature on glazed wall tiles was scarce. The highest biodiversity was found on bricks, may be due to the fact that this was the most studied typology. Several works regarding the colonization of ceramic roofing tiles by lichens were found in the literature, which led us to realise that this is a topic that arouses the attention of several researchers. Photoautotrophic microorganisms found on glaze wall tiles represented a considerable biodiversity in this ceramic typology, with many genera in common with those identified on bricks and roofing tiles. Nevertheless, in the searched literature, different methods had been used to identify and characterize the organisms. This made the comparison of the global biodiversity found on these substrates difficult. Architectural ceramic materials exposed to outdoor conditions are often affected by biodeterioration. This worldwide problem can cause aesthetical, physical and chemical damages on ceramic materials. The distinct biodeterioration processes occurring on the different substrates found on architectural ceramic materials are explained in detail. The relationship between the ceramic intrinsic properties and bioreceptivity was discussed. Porosity and surface roughness seemed to play a major role in bioreceptivity to colonization. Ceramic microstructure has a strong influence on the resistance to biodeterioration. Finally, the authors come to the conclusion that there are many gaps in the knowledge, especially concerning glazed ceramics, and thus, further research was proposed.

L’abbatiale carolingienne de Saint-Philbert-de-Grandlieu. Le chevet et ses aménagements

The Carolingian abbatial church of Saint-Philbert-de-Grandlieu. The chevet and its reworkings At the end of the nineteenth century, when the question arose as to whether to restore the abbey church of Saint-Philbert-de-Grandlieu, it was decided to build a new parish church and to convert the old building into a covered market. At the time, Léon Maître, archivist for the lower Loire valley, studied the monument, which he dated to the Carolingian period on the basis of a text written in the ninth century by the monk Ermentaire recounting the transfer in 836 of the relics of St Philibert from Herio (Noirmoutier) to Deas (Saint-Philbert-de-Grandlieu), because of the Viking threat. In the Miracula Ermentaire briefly describes the placement of the sarcophagus in the transept of the abbey and the partial reconstruction of the chevet. The excavations made by Père de la Croix indicated the structure of the monument, but some of his interpretations were immediately contested, notably by Léon Maître and Robert de Lasteyrie. In 1960, Pierre Lebouteux made a close analysis of the masonry, but could not arrive at a conclusion concerning the structure and date of the building without further excavations. On the basis of soundings and a new reading of the construction in 1997, the chevet of the abbey church was attributed without any doubt to the Carolingian period. The nave, rebuilt in the eleventh century, preserves only a few earlier elements. Two Carolingian phases came to light. The first, probably in the early ninth century, concerns the transept and foundation works discovered in the excavations, which revealed a polygonal apse, enveloped by a narrow corridor for circulation that led to a small rectangular eastern oratory. In the second phase, after 836 and before 858 (abandonment of Deas), the chevet was enlarged, with a deep semicircular apse, on a raised platform ; underneath was a confessional crypt with the sarcophagus of Saint Philibert and a small cruciform oratory, all of which are preserved in large part. On the periphery was built an important exterior crypt with three chapels at the east end. Radio-carbon dating, analysis of architectural terracottas, archaeomagnetic and thermoluminescent datings all confirm an attribution to the Carolingian period for the two phases.

ABOUT CHINA ART AND ITS TERMINOLOGY

The word china (faience) appearing firstly in the Ottoman Palace has revealed the new approach defining ceramic products turning into evani (pots and pans) and kasi (glazed tile) depending on the body characteristics and on the usage aim in Islamic World. In fact, this definition being only towards siliceous body has made china ceramics, which have found great approval in Anatolia, apparent among others and gave them a special and privileged position. That today the perception way and education of tile-making art in Turkish society is carried out in Traditional Arts, not in Ceramics departments, should be the continuation and outcome of the relevant approach. As time goes on, various domain experts using the word china have widened the meaning range of this word and gave it new meanings. While today all architecture is defined as ceramic tiles by art historians, ceramists generally use the term for siliceous clay and the china artisans use it for all architecture and usage goods ceramics made of this clay. Unfortunately, this terminology problem shows itself not only in the word china but also in many terms of this art. Another aspect of the problem is that the word china is peculiar to Anatolia and stated in various ways such as “tile”, “mural ceramics” and “faience” in foreign languages. In the declaration, the terminology of the tile-making will be examined in the example of the word china, and the contemporary usage and meaning attributions in different areas of science and art will be followed. The research will provide an apparent improvement on the way of forming the common ceramic tiles terminology and therefore offer opportunity for looking the event from wide historical angle and for being more objective in the future decisions. Keyword: Art of tile-making, terminology, architectural ceramics, Anatolian art

Suffolk Place, Southwark, London: a Tudor palace and its terracotta architectural decoration

Suffolk Place (c. 1518–22), Southwark, was the London residence of Charles Brandon, Duke of Suffolk. This majestic palace is visible in the foreground of Wyngaerde’s London panorama (c. 1544), from which it can be inferred that it possessed a double courtyard plan. The southern and eastern ranges of the outer courtyard of Suffolk Place were apparently adorned with architectural terracottas at both entablature and parapet level. As the palace was demolished in 1557–58, the finds of ex-situ terracottas are a key source of information concerning the decorative scheme of this vanished palace. Petrological study and other research indicates that the terracottas were locally manufactured, implying the existence of a London-area workshop.

Luminescence dating applied to Saint-Irénée’s church (Lyon, France)

The aim of the study presented here is to propose a new view on the chronology of early medieval buildings in Europe and on the related building modes. If several studies have proved the efficiency of this multidisciplinary process, the case of St. Irenee’s church is very representative of the contributions of such an approach. This church is one of the oldest witnesses of the Christianization in Lyon, capital city of Gauls, and of its evolution under the aegis of Burgonds. However the small number of preserved remains of its early states has shown uncertainties in the interpretation of the chronology of the building use. There are two possibilities: is it the monument described by Gregory of Tours at the end of the 6th century? Or is it the result of the Burgond building politics at around the 9th century? Lumine scence dating on architectural ceramics brought then a new approach very complementary of the historic and archaeological data, yielding new interrogations on the use and reuse of ancient material. Some evidence allowed lifting the veil on the sanctuary origins and its evolution through time. Finally, different building phases have been determined and allowed to understand the transformation of the church between its foundation and the 10th century.