Architectural Paint Research Articles

Portal to the Past: Depiction of Space in the Book Miniatures in the Renaissance Venice

This article investigates the painted miniatures of manuscripts and early printed books of the second half of the 15th century performed in the art workshops of the Renaissance Venice and Padua. The author determines the main development stages of the principles of space depicting in the picturesque design of manuscripts and printed books. The relevance of study of this topic is caused by the fact that it has been on the periphery of research attention for a long time, obscured by other historical and artistic problems. The scientifi c novelty of the research revealed the new principles of constructing spatial composition and formation of new typology of landscape in Venetian art. For the main research method, the author uses the formal-style analysis and structural analysis. It demonstrates how simultaneously with the change of the sheet decoration structure there appeared the new opportunities for the placement of spatial composition. At an early stage, the manuscript sheet decoration consisted of the depiction of painted architecture treated in the guise of triumphal arch or classical altar with inscription, which gradually has been getting form of imaginary façade with ornaments and fragments of text upon it (the so-called architectural frontispiece type). The next faze consists in the emergence of natural motifs near it and its progressive development in the form of autonomous landscape, which one can see in the works of leading Venetian illuminator in the time circa 1500 Benedetto Bordon. The author investigated the basic types of manuscript decoration that included the depiction of landscape as well as its basic iconographical formulae. The signifi cance of the study lies in that fact which helps to explore the new sources of Venetian mythological painting, going back to the stylistic features and compositional principles of the Late Quattrocento miniature.

Reviving the heritage of the old city of Sana'a in the shop design

Old Sana’a is a tourist and visitors destination. There, walking through its markets and alleys one feels as if he is the center of an architectural painting. The city entered the World Heritage List in 1986. However, the architectural and design irregularities of the city changed the image of its heritage; as a result it has been warned by the United Nations Organization (UNESCO) to remove it from the World Heritage List.

Ekonomiczna kalkulacja? Ołtarze iluzjonistyczne XVIII wieku na terenie Słowacji

Ekonomiczna kalkulacja? Ołtarze iluzjonistyczne XVIII wieku na terenie Słowacji

Perspectiva Pictorum – um exercício de ilusionismo arquitetônico no Tempodo Barroco

The presented study focuses on analysing the pictorial decoration of realistic forms of architecture named by quadrature, whose origin in Luso-Brazilian universe dates from the first half of the 18th century. This text approaches a theme scarcely studied and investigated in the historiography of Brazilian and Portuguese art, with the exception of stylistic studies of Baroque and Rococo as a whole, but, rarely, the false architecture painting has been examined isolatedly. This subject aims to link the study of the painting of Baroque period with the science of Perspective. The analysis of representations of false spaces in perspectic “break-ins” combined with the evolution of the theoretical conception inserted in foreign treatises diffused in Portugal is another important aspect, without, however, neglect the Portuguese writings. Beyond the particular attention devoted to the painting itself, another concern was the relation between the real and the falsely built space. It is well known that the illusionistic painting constitutes an essential modality in the creation of rich interiors, for it is presented as a type of formal contamination in which Painting and Architecture mutually interpenetrate and simulate in audacious scenographic effects.

Inhibition of Steel Corrosion and Alkaline Zinc Oxide Dissolution by Dicarboxylate Bola-Amphiphiles: Self-Assembly Supersedes Host-Guest Conception

For many decorative applications like industrial and architectural paints, prevention of metal substrates from corrosion is a primary function of organic coatings. Triggered release of inhibitor species is generally accepted as a remedy for starting corrosion in case of coatings damage. A polyurethane based coating, doped with bola-amphiphiles of varying molecular weight but with a common head group motif that stems from ring-opened alkenyl succinic anhydride, enables passivation of the defect and mitigates cathodic delamination, if applied on cold rolled steel. An antagonistic effect results from the intercalation of the bola-amphiphiles into layered double hydroxide Zn2Al(OH)6 and subsequent incorporation of the hybrid phase into the organic matrix. In particular higher molecular weight bola-amphiphiles get immobilized through alkaline degradation of the layered framework in the basic milieu at the cathode. By means of sediments from colloidal states it is demonstrated that in-situ formed zinc oxide encapsulates the hybrid phase, evidenced by impeded dissolution of the ZnO based shell into caustic soda. While inhibition of steel corrosion results from a Donnan barrier layer, impeded zinc oxide dissolution is rooted in zinc catalyzed bola-amphiphile hydrolysis and layered deposition of the crystalline spacer diol hydrogenated bisphenol-A.

Electrochemical studies on the corrosion performance of new advanced anticorrosive pigments

PurposeThis study aims to synthesize a series of new anticorrosive pigments using a new technique called “core-shell”. This technique is based on depositing thin surface layer of expensive, efficient anticorrosive pigment on a cheap extender. This extender forms the bulk of the new pigments. The new pigments were constructed on cores of either waste silica fume or kaolin comprising 80-85 per cent of their chemical structure, and the ferrite shell was about of 20-15 per cent. Electrochemical studies were undertaken on two series of pigments for comparison between ferrites/silica fume and ferrites/kaolin pigment to show their performance, as the shells are different.Design/methodology/approachThe different ferrites/silica fume and ferrites/kaolin pigments were characterized using different analytical and spectrophotometric techniques, such as X-ray fluorescence (XRF) and transmission electron microscopy (TEM). Immersion test and electrochemical impedance measurements were done in 3.5 per cent NaCl.FindingsThe tests revealed that paint films containing Sr ferrite/silica and Ca ferrite/kaolin were the most effective in corrosion prevention.Practical implicationsSilica fumes have a large array of uses. These pigments can be applied in various industries such as painting, wooding coating, anti-corruption coating, powder coating, architectural paint and waterproof paints. Treated kaolin can be applied in many industries besides pigment manufacture and paint formulations; it can be applied as a reinforcing filler in rubber, plastics and ceramic composites.Originality/valueThe new pigments are considered ecofriendly materials, because using them converts a waste product and a natural ore to useful marketable product, leading to reducing cost and saving the environment at the same time.

Synthesis of Historical Azo Pigments: The Challenge and Opportunity of the Nearly Forgotten

ABSTRACTSynthetic organic pigments (SOPS) find wide use in modern and contemporary works of art. These laboratory-made pigments are used in many fields, including industrial and architectural paints, printing inks, plastics, textiles, and artists’ materials. They have been examined by a variety of techniques including spectroscopic methods such as Fourier transform infrared spectroscopy (FTIR), Raman, and X-ray powder diffraction (XRD) as well as chromatographic or mass spectrometric techniques such as pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) and laser desorption ionization mass spectrometry (LDI-MS). Often, a combination of techniques has been used to examine these pigments. Previously, we used a combination of Raman spectroscopy and LDI-MS to characterize commercially available SOPS. However, many pigments, termed “historical” are no longer manufactured, and therefore, may not have been characterized. This paper describes the synthesis of members of several classes of SOPS and their characterization.

"Strengthen the Bonds": The United States on Display in 1938 France

Author(s): Riley, Caroline M. | Abstract: In 1938, curators from the Museum of Modern Art installed their first international exhibition, Three Centuries of American Art, in Paris. This article examines the powerful role that museums played in constructing national art-historical narratives during the 1930s. It argues that the intertwining of art, political diplomacy, and canon formation uncovered by an analysis of the exhibition reveals American art’s unique role in supporting shared 1930s cultural ideologies. It questions how Three Centuries of American Art located and presented the heterogeneity of American culture in the 1930s to an international audience grappling with political instability. MoMA’s curators created the most comprehensive exhibition to date of the history of American art with works from 1590 through 1938, and with over five hundred architectural models, drawings, films, paintings, photographs, prints, sculptures, and vernacular artworks. It argues that each of these successive actions—borrowing, display, canonization, publication, and reception—vested this artwork with additional, and at times, contradictory meanings that problematize our understanding of not just this exhibition’s artworks but also other exhibitions that create histories of American art. With World War II on the horizon, these artworks took on new meaning as the embodiment of the United States.

Evolving empirical rheological limits to predict flow-levelling and sag resistance of waterborne architectural paints

Good flow-levelling and sag resistance are the two key properties that are expected soon after applying a waterborne latex paint. It is well established in literature that both these properties are predominantly governed by rheology. Numerous papers have been published to evolve fundamental understanding of rheology of waterborne latex paints and their use in predicting flow-levelling and sag resistance properties but most of them deal with the problem in relative scale. The current study focusses on developing an empirical rheology limit to predict the flow-levelling and sag resistance of waterborne paints. Thirteen commercially available waterborne latex paints were taken up for the study that ranged from primer-to-top coat and interior-to-exterior. Rheology studies of these products were investigated in detail at different dilutions (by volume) using hysteresis test and three interval thixotropy test. Rheology flow profiles of latex paints based on cellulosic thickener were distinctly different than that of the paint based on modified urethane thickener; therefore, rheology data of paints based on these two class of thickeners were treated separately. The viscosity after 100 s of recovery and the difference in viscosity after 100 and 10 s of recovery in a three interval thixotropy test were used to derive the rheology limits. Leneta flow-levelling and sag resistance chart tests were carried out on all the paints at different dilutions to define the criteria for acceptable flow-levelling and sag resistance. Viscosity ranges were then defined for cellulosic and modified urethane thickener based latex paints to predict the flow-levelling and sag resistance on non-absorptive surfaces. A good empirical correlation exists between rheological parameters and practical flow-levelling and sag resistance.

한대화상(漢代畫像)과 동아시아 사투상도의 기원에 관한 연구

Han Dynasty brick and stone reliefs refers to pictures which are chiseled into the surface of bricks or stones to decorate underground tombs, tomb shines and tomb gates. They were a kind of funeral art which largely depicted the scenes of the daily life of the Han aristocracy as well as detailed scenes of peasant life. This study aims to trace back to the origin of parallel oblique projection in East Asia after comparing and analyzing the representational methods of Han stone reliefs, whose production time are relatively identifiable, As the parallel oblique projection became the backbone of East Asian architectural paintings, this attempt to make clear its origin will be useful to figure out the spatial characteristics of East Asian architecture, because graphical representation of space reflects how to cognize surrounding space in the mind.

Applications of ToF-SIMS for imaging and depth profiling commercial materials

The development of cluster primary ion sources such as Aun+, Bin+, SF5+, C60+, and Arn+ has been an exciting advancement in SIMS analysis. Relative to atomic primary ion sources, cluster ion sources provide higher secondary ion yields. Furthermore, C60+ and Arn+ impart significantly less chemical damage to the sample thus enabling molecular depth profiling. Molecular depth profiling using cluster primary ion sources is routinely used to characterize a wide range of commercially important materials, including organic light emitting diode, biomaterials and pharmaceuticals, adhesives, and architectural paints and coatings. This paper highlights the application of time of flight secondary ion mass spectrometry (ToF-SIMS) to study contact lenses and acrylic-based paints. In the first application, ToF-SIMS was used to investigate the surface composition of two commercial contact lenses. Lens material I is composed of 2-hydroxy-ethyl methacrylate (HEMA) and glycerol methacrylate while lens material II is composed of HEMA and 2-methacryloxyethyl phosphorylcholine cross-linked with ethyleneglycol dimethacrylate. The ToF-SIMS data confirm the presence of the 2-methacryloxyethyl phosphorylcholine on the surface of lens material II. ToF-SIMS was also used to characterize a HEMA-based contact lens which had been worn for about 4 weeks. The analysis reveals the presence of N-containing species, fatty acids, phosphorylcholine, and dioctyldecyl dimethyl ammonium. Arn+ gas cluster ion beams (GCIB) depth profiling indicates the N-containing species, the fatty acids, and the dioctyldecyl dimethyl ammonium are concentrated at the surface. In the second application, a combination of O2+ and Arn+ GCIB depth profiling was used to study the pigment levels in acrylic-based paints. The O2+ beam was used to profile into the bulk of the dried paint film and Arn+ gas cluster beam was then used to remove the damaged material. ToF-SIMS analysis of the crater bottom reveals differences in pigment levels. The combined O2+ and Arn+ GCIB depth profiling is an effective way of characterizing materials composed of both organic and inorganic components.

Survey of new, single-layer architectural paints

ABSTRACTA total of 1028 samples of architectural paint were collected from store patrons who purchased paint at a medium-sized building supply store in Edmonton, Alberta, Canada. Information about what surfaces the paint would be applied to was collected from each customer at the time of purchase and the data summarized. The samples were characterized by colour, Fourier transform infrared spectroscopy (FTIR), pyrolysis gas chromatograph-mass spectrometry (py-GC-MS), and scanning electron microscopy-energy dispersive spectrometry (SEM-EDS). After visual colour comparison and FTIR analysis alone, 700 samples could be uniquely identified while the remaining 328 samples were divided into 98 groups, representing 956 indistinguishable pairs; the results after application of these two techniques gave a calculated discrimination power of 99.82%. The application of py-GC-MS and SEM-EDS to the remaining indistinguishable pairs gave only a very modest improvement in further distinguishing the samples. Information about current colour trends and which objects are most likely to be painted, or re-painted, by the general public is also provided.

Conservation of architectural paintings at Xiaonan Garden, former residence of Weng family in Changshu

Xiaonan Garden is the back garden at the Weng family’s former residence, a famed mansion in Jiangnan. Various architectural colored paintings in the Jiangnan style, including a rare paster colored painting, are preserved in the garden. This study examines the wooden support, pigments, and structure of the painting and conducts a series of conservation experiments in situ and in the laboratory. Several conservation problems, such as the manually brushed lime, re-adherence of flaking painting layers, and consolidation of gold foil, were solved, and good results were obtained. Virtual recovery provided a solid foundation for protection and example of research on architectural colored paintings in Jiangnan.

Volatile organic compounds (VOCs) in surface coating materials: Their compositions and potential as an alternative fuel

A sampling system was designed to determine the composition ratios of VOCs emitted from 31 surface coating materials (SCMs). Representative architectural, automotive, and marine SCMs in Korea were investigated. Toluene, ethylbenzene, and xylene were the predominant VOCs. The VOC levels (wt%) from automotive SCMs were significantly higher than those from architectural and marine paints. It was found that target SCMs comprised mainly VOCs with 6–10 carbon atoms in molecules, which could be adsorbed by activated carbon. The saturated activated carbon which had already adsorbed toluene, ethylbenzene, and m-xylene was combusted. The saturated activated carbon was more combustible than new activated carbon because it comprised inflammable VOCs. Therefore, it could be an alternative fuel when using in a “fuelization system”. To use the activated carbon as a fuel, a control technology of VOCs from a coating process was also designed and introduced.

Review: Building a Dialogue: The Architect and the Client

Book Review| December 01 2015 Review: Building a Dialogue: The Architect and the Client Building a Dialogue: The Architect and the Client Sir John Soane’s Museum, London 17 February–9 May 2015 Peter Guillery Peter Guillery 1Survey of London Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2015) 74 (4): 516–517. https://doi.org/10.1525/jsah.2015.74.4.516 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Peter Guillery; Review: Building a Dialogue: The Architect and the Client. Journal of the Society of Architectural Historians 1 December 2015; 74 (4): 516–517. doi: https://doi.org/10.1525/jsah.2015.74.4.516 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search This exhibition deployed a selection from the Soane Museum’s outstanding collection of architectural drawings, paintings, and other archives to explore a multifaceted theme. That theme, the relationship between the designers of buildings and those they serve, is of course central to the discipline of architectural history. In an absorbing and informative display, the exhibition shed much light, with material stretching coverage from the sixteenth century to the twenty-first. It will come as no surprise, however, that the focus was principally on the late eighteenth and early nineteenth centuries, on Soane himself, the Adam brothers, and, to a lesser extent, their contemporaries. The exhibition thus implicitly dealt with professionalization, the shifting toward fixity in that period of the figure of the architect, for whom certain modes of conduct were appropriate and toward whom clients were meant to behave in certain ways. Material from around 1600 by John Thorpe stood confusingly apart... You do not currently have access to this content.

The effect of precipitated calcium carbonate nanoparticles in coatings

The insertion of nanoparticles into some industrial materials can give them special properties due to their high reactivity. These nanoparticles interact with other particles, changing and/or improving the final product properties. The aim of this work is to study the effects of nanoparticles of precipitated calcium carbonate (NPCC) with sizes between 40 and 60 nm on the characteristics of architectural paints when used as nanofillers together with micrometric fillers. For this study, two types of emulsion paints were prepared, one without and the other with NPCC. The emulsion paint prepared with NPCC showed better wet-state storage stability of the coating, greater abrasion resistance, lower roughness, and lower wettability than the conventional paint.

The Measure of the Ideal: The Painted Architecture of the Città Ideali

The Measure of the Ideal: The Painted Architecture of the Città Ideali

Augmenting painted architectures for communicating cultural heritage

The paper presents a research under development at the University of Trieste to analyze a painted architecture by Paolo Veronese and to present the results using AR systems (Augmented Reality Systems). The canvas was painted in 1573 and it is now at the Gallerie dell’Accademia Museum in Venice. The aim of the research was to transform a two-dimensional work of art in a three dimensional one, allowing all the visitors of a museum to enter the space of the representation and perceive it in a more direct way. After the geometrical analysis of the picture, we started the digital restitution of the perspective references and proceed to model the virtual scene using Boolean primitives and applying all the textures to render the scene in a very realistic way. The further step was to convert the model into a dynamic form with AR algorithms and associate it with spatial references to allow users to do a virtual experience of it.

Scales of Vision

Beginning in the 1890s Smithsonian anthropologist James Mooney intervened in ethnographic studies of Native American architecture by commissioning fifty model painted tipis from Kiowa heirs to these proprietary designs. The models’ production and display indicate deep bonds between art and architecture in nineteenth-century Kiowa society. Based on aesthetic systems treating each miniature as a renewal of the tipi, rather than a replication of historic architecture, Kiowa artists used the model project to extend and amend historic forms of visual culture. At the same time Mooney’s exhibition of the miniatures at world’s fairs displayed them as both architectural models and paintings.

„Sola scriptura” az aszódi Podmaniczky-kastély dísztermének kifestése és ikonográfiai programja az evangélikus erénytanok összefüggésében

The Podmaniczky Mansion in Aszód was built in 1727– 1730 by János Podmaniczky (1691–1743). In 1767–1772 the building was extended by his sons, János (1716–1786) and Sándor (1723–1786), who resided with their families in the eastern and western wing of the mansion. In 1776 Sándor Podmaniczky commissioned Johann Lucas Kracker and his assistant, Joseph Zach, specialised in trompe l’oeil architectural painting to fresco the ceremonial hall of the mansion, located at the southern end of the western wing. The ceiling painting features in the centre the allegorical female figure, a Justifying Faith (fides iustificans), holding the Holy Script with the inscription Sola scriptura. She is surrounded by allegories of different virtues, such as Divine Mercy (Caritas Dei), Humility, Generosity, Hospitality, Temperance, Self-restraint and Right Judgement. On the right of the ceiling the female figure of Wisdom is to be seen striking down the Vices. In the four corners of the ceiling further four virtue-allegories are located: Honesty, Fame, Diligence and the Love of Virtues. The moralizing programme of the vivid ceiling painting is accompanied by grisaille, statue- and relief-like representations on the sidewalls. The illusionistic statues of Seneca and Alexander the Great represent two classical virtues: wisdom and heroic pugnacity. On the longer walls of the hall four illusionistic busts of four Classical deities (Jupiter, Neptune, Pluto and Ceres) represent the four elements. Above them relief-like mythological scenes are to be seen: two episodes from the youth of Bacchus, the story of Apollo and Daphne and finally the contest of Apollo and Pan. The complex, moralizing iconographic programme conveyed by the wall and ceiling paintings can be interpreted in the context of the Lutheran ethics, as the com missioner himself was of Lutheran confession. Lutheran teachings on ethics have fundamentally differed from the scholastic doctrine on theological and cardinal virtues and have defined a different canon of virtues. This Lutheran virtue’s canon is reflected in the iconography of the ceiling painting to a large extent. The Olympic deities and mythological scenes featuring on the side walls symbolise the material world, as opposed with the spiritual sphere represented by the virtue-allegories on the ceiling. The overall message of the paintings is that living a pious, virtuous life, conducted by faith, avoiding vice and exercising self-restraint leads the soul to heaven, in harmony with the Lutheran doctrine of justification.