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Marta Caroselli - One of the best experts on this subject based on the ideXlab platform.
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Composition and techniques of the Ticinese Stucco decorations from the 16th to the 17th century: results from the analysis of the materials
Heritage Science, 2020Co-Authors: Marta Caroselli, Giovanni Cavallo, Stefan Zumbühl, Thierry RadeletAbstract:This work investigated the techniques used for creating a three-dimensional Stucco decoration. During the multidisciplinary project "The art and industry of Ticino plasterers from the sixteenth to the seventeenth century", some Stucco works mainly situated between the south of the Ticino region and the province of Como were studied. These artists traditionally known as "Masters of the Lakes", were invited across Europe to decorate the most important architectures at the time. The diffusion of this art and in particular of these workers was probably due to their unique ability to master the complex art of Stucco. In particular, the scientific research was addressed at understanding the structure, composition and original “recipes” of the high relief Stucco and statues, by using different complementary analytical techniques: the internal structures were analyzed with the radiographic technique, the mortars were characterized by polarized light microscopy, SEM–EDS and FT-IR spectroscopy. The identification of organic additives was possible thanks to a pre-treatment sample with the reactive sulfur tetrafluoride gas (SF4). Our results indicated that the Stucco works of the considered authors were made using almost all recurring components, although differences emerged in the assembly of the internal structure, in the presence of gypsum in the ground mortar layers and in the use of the aggregate in the finishing.
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gypsum in ticinese Stucco artworks of the 16 17th century use characterization provenance and induced decay phenomena
Journal of Archaeological Science: Reports, 2019Co-Authors: Marta Caroselli, Giovanni Cavallo, Alberto Felici, Stefania Luppichini, Giovanni Nicoli, Lucia Aliverti, Giacinta JeanAbstract:Abstract This paper focuses on the use of gypsum as a binder in Stucco artworks made between the 16th and 17th centuries in canton Ticino (Switzerland). As far as the artistic technique is concerned, a Stucco statue is made of composite materials: metal, brick or wood for the supporting structure, lime and/or gypsum mortar with aggregate for the ground and finishing layers. The gypsum addition to the lime binder, found mainly in the ground layer, helps accelerate the setting of the three-dimensional Stucco elements and prevents cracks from shrinkage, but a real understanding of the technology of its preparation, as well as the proportion of the mix for the Stucco production, has yet to be established. The samples of Stucco (167) taken from artworks in the region were analysed in stratigraphy, identifying their chemical and mineralogical composition. The results from these investigations were compared with the information provided by the historical sources and archival documents recording the artistic technique. Results showed that the quantity of gypsum varies greatly depending on the requirements of the Stucco masters and that it was a fundamental addition to attain the effects desired by the different artists.
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Gypsum in Ticinese Stucco artworks of the 16–17th century: Use, characterization, provenance and induced decay phenomena
Journal of Archaeological Science: Reports, 2019Co-Authors: Marta Caroselli, Giovanni Cavallo, Alberto Felici, Stefania Luppichini, Giovanni Nicoli, Lucia Aliverti, Giacinta JeanAbstract:Abstract This paper focuses on the use of gypsum as a binder in Stucco artworks made between the 16th and 17th centuries in canton Ticino (Switzerland). As far as the artistic technique is concerned, a Stucco statue is made of composite materials: metal, brick or wood for the supporting structure, lime and/or gypsum mortar with aggregate for the ground and finishing layers. The gypsum addition to the lime binder, found mainly in the ground layer, helps accelerate the setting of the three-dimensional Stucco elements and prevents cracks from shrinkage, but a real understanding of the technology of its preparation, as well as the proportion of the mix for the Stucco production, has yet to be established. The samples of Stucco (167) taken from artworks in the region were analysed in stratigraphy, identifying their chemical and mineralogical composition. The results from these investigations were compared with the information provided by the historical sources and archival documents recording the artistic technique. Results showed that the quantity of gypsum varies greatly depending on the requirements of the Stucco masters and that it was a fundamental addition to attain the effects desired by the different artists.
Giacinta Jean - One of the best experts on this subject based on the ideXlab platform.
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gypsum in ticinese Stucco artworks of the 16 17th century use characterization provenance and induced decay phenomena
Journal of Archaeological Science: Reports, 2019Co-Authors: Marta Caroselli, Giovanni Cavallo, Alberto Felici, Stefania Luppichini, Giovanni Nicoli, Lucia Aliverti, Giacinta JeanAbstract:Abstract This paper focuses on the use of gypsum as a binder in Stucco artworks made between the 16th and 17th centuries in canton Ticino (Switzerland). As far as the artistic technique is concerned, a Stucco statue is made of composite materials: metal, brick or wood for the supporting structure, lime and/or gypsum mortar with aggregate for the ground and finishing layers. The gypsum addition to the lime binder, found mainly in the ground layer, helps accelerate the setting of the three-dimensional Stucco elements and prevents cracks from shrinkage, but a real understanding of the technology of its preparation, as well as the proportion of the mix for the Stucco production, has yet to be established. The samples of Stucco (167) taken from artworks in the region were analysed in stratigraphy, identifying their chemical and mineralogical composition. The results from these investigations were compared with the information provided by the historical sources and archival documents recording the artistic technique. Results showed that the quantity of gypsum varies greatly depending on the requirements of the Stucco masters and that it was a fundamental addition to attain the effects desired by the different artists.
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Gypsum in Ticinese Stucco artworks of the 16–17th century: Use, characterization, provenance and induced decay phenomena
Journal of Archaeological Science: Reports, 2019Co-Authors: Marta Caroselli, Giovanni Cavallo, Alberto Felici, Stefania Luppichini, Giovanni Nicoli, Lucia Aliverti, Giacinta JeanAbstract:Abstract This paper focuses on the use of gypsum as a binder in Stucco artworks made between the 16th and 17th centuries in canton Ticino (Switzerland). As far as the artistic technique is concerned, a Stucco statue is made of composite materials: metal, brick or wood for the supporting structure, lime and/or gypsum mortar with aggregate for the ground and finishing layers. The gypsum addition to the lime binder, found mainly in the ground layer, helps accelerate the setting of the three-dimensional Stucco elements and prevents cracks from shrinkage, but a real understanding of the technology of its preparation, as well as the proportion of the mix for the Stucco production, has yet to be established. The samples of Stucco (167) taken from artworks in the region were analysed in stratigraphy, identifying their chemical and mineralogical composition. The results from these investigations were compared with the information provided by the historical sources and archival documents recording the artistic technique. Results showed that the quantity of gypsum varies greatly depending on the requirements of the Stucco masters and that it was a fundamental addition to attain the effects desired by the different artists.
Giovanni Cavallo - One of the best experts on this subject based on the ideXlab platform.
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Composition and techniques of the Ticinese Stucco decorations from the 16th to the 17th century: results from the analysis of the materials
Heritage Science, 2020Co-Authors: Marta Caroselli, Giovanni Cavallo, Stefan Zumbühl, Thierry RadeletAbstract:This work investigated the techniques used for creating a three-dimensional Stucco decoration. During the multidisciplinary project "The art and industry of Ticino plasterers from the sixteenth to the seventeenth century", some Stucco works mainly situated between the south of the Ticino region and the province of Como were studied. These artists traditionally known as "Masters of the Lakes", were invited across Europe to decorate the most important architectures at the time. The diffusion of this art and in particular of these workers was probably due to their unique ability to master the complex art of Stucco. In particular, the scientific research was addressed at understanding the structure, composition and original “recipes” of the high relief Stucco and statues, by using different complementary analytical techniques: the internal structures were analyzed with the radiographic technique, the mortars were characterized by polarized light microscopy, SEM–EDS and FT-IR spectroscopy. The identification of organic additives was possible thanks to a pre-treatment sample with the reactive sulfur tetrafluoride gas (SF4). Our results indicated that the Stucco works of the considered authors were made using almost all recurring components, although differences emerged in the assembly of the internal structure, in the presence of gypsum in the ground mortar layers and in the use of the aggregate in the finishing.
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gypsum in ticinese Stucco artworks of the 16 17th century use characterization provenance and induced decay phenomena
Journal of Archaeological Science: Reports, 2019Co-Authors: Marta Caroselli, Giovanni Cavallo, Alberto Felici, Stefania Luppichini, Giovanni Nicoli, Lucia Aliverti, Giacinta JeanAbstract:Abstract This paper focuses on the use of gypsum as a binder in Stucco artworks made between the 16th and 17th centuries in canton Ticino (Switzerland). As far as the artistic technique is concerned, a Stucco statue is made of composite materials: metal, brick or wood for the supporting structure, lime and/or gypsum mortar with aggregate for the ground and finishing layers. The gypsum addition to the lime binder, found mainly in the ground layer, helps accelerate the setting of the three-dimensional Stucco elements and prevents cracks from shrinkage, but a real understanding of the technology of its preparation, as well as the proportion of the mix for the Stucco production, has yet to be established. The samples of Stucco (167) taken from artworks in the region were analysed in stratigraphy, identifying their chemical and mineralogical composition. The results from these investigations were compared with the information provided by the historical sources and archival documents recording the artistic technique. Results showed that the quantity of gypsum varies greatly depending on the requirements of the Stucco masters and that it was a fundamental addition to attain the effects desired by the different artists.
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Gypsum in Ticinese Stucco artworks of the 16–17th century: Use, characterization, provenance and induced decay phenomena
Journal of Archaeological Science: Reports, 2019Co-Authors: Marta Caroselli, Giovanni Cavallo, Alberto Felici, Stefania Luppichini, Giovanni Nicoli, Lucia Aliverti, Giacinta JeanAbstract:Abstract This paper focuses on the use of gypsum as a binder in Stucco artworks made between the 16th and 17th centuries in canton Ticino (Switzerland). As far as the artistic technique is concerned, a Stucco statue is made of composite materials: metal, brick or wood for the supporting structure, lime and/or gypsum mortar with aggregate for the ground and finishing layers. The gypsum addition to the lime binder, found mainly in the ground layer, helps accelerate the setting of the three-dimensional Stucco elements and prevents cracks from shrinkage, but a real understanding of the technology of its preparation, as well as the proportion of the mix for the Stucco production, has yet to be established. The samples of Stucco (167) taken from artworks in the region were analysed in stratigraphy, identifying their chemical and mineralogical composition. The results from these investigations were compared with the information provided by the historical sources and archival documents recording the artistic technique. Results showed that the quantity of gypsum varies greatly depending on the requirements of the Stucco masters and that it was a fundamental addition to attain the effects desired by the different artists.
David Van Reenen - One of the best experts on this subject based on the ideXlab platform.
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Role of Vapor Barrier in Wood-Frame Stucco Wall in Various North American Climates: Observations from Hygrothermal Simulation
Journal of ASTM International, 2009Co-Authors: Phalguni Mukhopadhyaya, Kumar Kumaran, Fang Ping, David Van ReenenAbstract:This paper investigates the role of the vapor barrier in exterior wood-frame Stucco walls with the help of a two-dimensional hygrothermal simulation tool, hygIRC-2D. For this purpose, the wall is subjected to the exterior weather conditions of six different North American geographic locations and three different interior climatic conditions. Seven different vapor diffusion strategies, generated by varying the water vapor permeance of the vapor barrier, installed outboard of the interior finish, have been studied to generate critical understanding on the role of vapor barrier in the wood-frame Stucco walls. The outputs from the simulations have been analyzed with the help of a novel moisture response indicator called RHT index. Simulation results indicate that the vapor transmission characteristics of the vapor barrier, in terms of water vapor permeance, play a very important role in the overall moisture response of the wood-frame Stucco wall. A very high or low vapor permeance of the vapor barrier does not produce the optimum moisture management strategy for the wood-frame Stucco wall. Moreover, simulation results indicate that the removal of vapor barrier from the wall system can result in a heightened moisture response and a considerable accumulation of moisture in the interior gypsum board that may lead to severe consequences in particular, the premature deterioration of the interior facing gypsum board. It has also been observed from the simulation outputs that the optimum vapor diffusion strategy, that of limiting the vapor permeance of the vapor barrier, is not a function of interior climatic conditions considered in this study. It is hoped that the results reported in this paper will shed some light on a number of concerns raised in recent years on the role of vapor barrier in wood-frame Stucco wall construction.
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High Performance Stucco to Optimize Moisture Management in Wood-Frame Stucco Walls
Journal of Testing and Evaluation, 2008Co-Authors: M. R. Mitchell, R. E. Link, Phalguni Mukhopadhyaya, Kumar Kumaran, Silvio Plescia, John Lackey, Nicole Normandin, David Van ReenenAbstract:Stucco or portland cement plaster is widely used in North America as an exterior cladding material for the wood-frame walls. Recent computer-based numerical simulation studies at the National Research Council (NRC) Canada, Institute for Research in Construction (IRC) have indicated that low liquid diffusivity and high water vapor permeability of the Stucco material can positively influence the overall moisture management capacity of wood-frame Stucco walls. This paper presents the results from experimental and numerical modeling studies carried out at the NRC-IRC on the development of high performance Stucco materials and its effect on the overall moisture management capability of wood-frame Stucco walls. Liquid water and water vapor transmission properties of several commercial/conventional Stucco materials and some newly formulated compositions were measured and compared under laboratory conditions. The experimental results suggest that by appropriate choice of the mix composition, addition of a proper hydrophobic admixture, and using aggregates with a hydrophobic coating, Stucco material with lower liquid water diffusivity can be produced without reducing the water vapor permeability. The results from the numerical modeling study show newly developed high performance Stucco materials can significantly improve the moisture management capability of wood-frame Stucco walls.
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Heat, Air and Moisture Transport Properties of Three North American Stuccos
Journal of Testing and Evaluation, 2006Co-Authors: Dmr Mitchell, John Lackey, Nicole Normandin, M.k. Kumaran, Fitsum Tariku, David Van ReenenAbstract:Heat, air, and moisture transfer models that are used as practical building design tools require reliable inputs to provide meaningful results. One of these inputs is the set of heat, air, and moisture transport properties of materials. For any given class of building materials the properties may vary within a broad range. This paper reports the porosity, density, matrix density, thermal conductivity, equilibrium moisture content, water vapor permeability, water absorption coefficient, liquid diffusivity, and air permeability of regular lime Stucco, regular portland cement Stucco, and acrylic Stucco which are commonly used in North America. The experimental and analytical procedures follow either international standards or well established methodologies.
Klimek Beata - One of the best experts on this subject based on the ideXlab platform.
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Rola układów kompozycyjnych w kształtowaniu przestrzeni architektonicznej na przykładzie dekoracji sztukatorskich przypisanych warsztatowi Giovanniego Battisty Falconiego
'Politechnika Lubelska', 2019Co-Authors: Klimek BeataAbstract:The article presents the role of Stucco in shaping the interior space decorated by them. Characteristic types of compositional systems found in Stucco in the 17th century in Małopolska were described. Mutual relations between the plan of the decorated interior and the composition system of Stucco and the arrangement of ornamental and figural motifs. Stucco decorations attributed to the workshop of Giovanni Battista Falconi were used to illustrate these connections.W artykule przedstawiono rolę jaką pełnią sztukaterie w kształtowaniu przestrzeni wnętrz przez nich zdobionych. Opisano charakterystyczne typy układów kompozycyjnych występujące w sztukateriach w XVII w. w Małopolsce. Wzajemne relacje pomiędzy planem zdobionego wnętrza, a układem kompozycyjnym sztukaterii i układem motywów ornamentalnych i figuralnych. Do zilustrowania tych powiązań posłużono się dekoracjami sztukatorskimi przypisanymi warsztatowi Giovanniego Battisty Falconiego
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Rola ornamentu w kształtowaniu przestrzeni architektonicznej na przykładzie dekoracji sztukatorskich przypisanych warsztatowi Giovanniego Battisty Falconiego
'Politechnika Lubelska', 2019Co-Authors: Klimek BeataAbstract:The article presents the role played by selected types of Stucco ornaments in shaping the interior spaces they decorate. Characteristic types of ornaments found in Stucco in the 17th century in Małopolska were described. Decorative and multiple ornament is subordinated to the types of vaults decorated with interiors. To illustrate these connections, ornaments used in Stucco decorations attributed to the workshop of Giovanni Battista Falconi were used.W artykule przedstawiono rolę jaką pełnią wybrane rodzaje ornamentów sztukatorskich w kształtowaniu przestrzeni wnętrz przez nie zdobionych. Opisano charakterystyczne rodzaje ornamentów występujące w sztukateriach w XVII w. w Małopolsce. Dekoracyjny i wieloraki ornament jest podporządkowany rodzajom sklepień zdobionych wnętrz. Do zilustrowania tych powiązań posłużono się ornamentami stosowanymi w dekoracjach sztukatorskimi przypisanymi warsztatowi Giovanniego Battisty Falconiego
