Publicações

Azulejos have been applied to architectural settings in Portugal for the last five centuries and represent one of its most unique art forms. In this article a group of representative samples regarding the chronology and typology of the majolica azulejos produced by the Lisbon workshops from the second half of the 16th century (beginning of majolica azulejos production in Portugal) up to the first quarter of the 19th century (after which more industrialized manufacturing processes were introduced) are studied. SEM-EDS was used to obtain morphological and chemical information on the glazes, ceramic bodies, and their interfaces. The results show that a major shift from lead-rich to lead-alkali glazes occurred in the transition from the 16th to the 17th century, while from then to the end of the studied period the same basic technology prevailed. The Lisbon tiles production is also considered in the European context.

Salt decay is one of the main decay mechanisms of the porous building materials but due to its complexity progress has been slow, both regarding the understanding of the mechanism itself and the definition of mitigation solutions. Research has so far privileged a reductionist approach, focusing on the behavior of a few individual salts. However, the typical reality of these constructions are multi-ionic solutions from which, depending on the conditions, different types of salts can precipitate in different crystalline forms. The originality of Arnold and Zehnder was that they did not embrace reductionist approaches, maintaining the focus on salt mixtures and the way these behave in real constructions. This path led to approaches to the problem and possible mitigation solutions that have not yet been adequately discussed and explored. In this review, I seek to identify the most interesting contributions of the two authors and the directions they suggest for future research.

The manufacture of majolica azulejos in Portugal started, as far as we know presently, around 1560s by the workshop of Hans Goos, a Flemish potter established in Lisbon as João de Góis. His younger brother, of whom we only know the adopted Portuguese name Filipe de Góis, was referred to in 1575 as a “master of glazed ceramics” and so he may have also produced azulejos around that time. The productions of what we may call the “circle of João de Góis” (maybe only a single workshop or maybe several sharing the same technology) encompasses a period thus starting around 1560 and lasting at least until the 1590s. Practically all the potentially locally-produced azulejos from this period that we have studied (around 20 different panels) could be fitted into the productions of that rather consistent circle, while confirmed imports from Antwerp and Seville are characterized by different technological traits. We had now the opportunity to study all the azulejo panels and patterned linings at the Palace, annexes and gardens of Bacalhôa, amounting to more than 50 different types, a research made all the more difficult by the mixing of tiles of like patterns but certainly different provenances and by the use of clays, glaze formulations or firing cycles that could not be safely included within the bounds of the circle of João de Góis. Since it is not viable to encompass all the types in a single paper, the most representative azulejo panels still extant at Bacalhôa were chosen, as well as the patterned types used at the Pleasure House by the lake and at the Palace itself. They were sampled and their morphological and chemical characteristics were compared between them and with previously published results, following which the panels and patterned tiles were organized in groups with a view to their future individual study.

In this paper, the authors discuss the use of public spaces by teenagers in four public parks in Lisbon, as as part of the larger research project under the auspices of the European Union. Using the living labs methodology, the study centered on teenagers as potential co-creators of public spaces through their social and spatial practices, and considers their potential for civic involvement and place making.

In 1550 Jan Floris de Vriendt (Antwerp 1520/24 - Talavera, Spain 1567) became the first painter of majolica to acquire the status of master in the painters’ Guild of Saint Luke in Antwerp. In his Het Schilder-Boeck, published in Haarlem in 1604, Karel van Mander writes: “Jan Floris was a potter of glazed ceramics more skilful and famous than any other in the Low Countries, and because of his talent he was called to Spain to work in the service of King Philip (…).” And yet, no work of his is known to survive in his native Antwerp. Although no reference to a Jan Floris has ever been found in Spain, several documents contemporary to his presumed presence in the country mention a certain Juan Flores, a Flemish master of majolica tiles in the service of King Philip II (1527-1598) until 1567, who can be identified as Jan Floris with a Castilianised name. This paper reviews Juan Flores’ career in Spain together with his known works there, as well as his presumed sojourn in Portugal where he may have worked for Brás [Afonso] de Albuquerque (1500-1581) producing majolica panels and patterned tiles for the decoration of the palace and gardens of Bacalhôa, near Lisbon. It also includes the results of an analytical characterization on samples collected in the Spanish panels and tiles attributed to Juan Flores, in order to determine and assess their morphologic features and chemical composition.

Este ensaio aborda a (re)invenção do espaço urbano a partir de lógicas cocriativas e, em específico, contempla o recurso feito a matéria azulejar no âmbito deste intuito. Por um lado, tendo por referência o Projeto Europeu C3Places, discute o potencial contributo da cocriação enquanto modus operandi do produzir espaço público urbano. Por outro lado, a partir de uma perspetiva exploratória, salienta determinados aspetos observados no decorrer de mapeamento de experiências cocriativas – em Portugal e no Brasil – que, em comum, recorrem ao azulejo na (re)invenção do espaço público. A reflexão destaca o potencial das iniciativas cocriativas no incrementar de sensibilidades coletivas com o património e o ambiente urbano. Observando que as mesmas não advêm de grandes ações, mas naquelas de menor âmbito, localizadas e de cunho colaborativo. O uso feito da matéria azulejar para a dinamização de ações coletivas e colaborativas é salientado. O que permite observar que, por um lado, a partir de uma lógica de continuidade-renovação, o recurso ao azulejo, viabiliza a invenção de património. Por outro lado, a aplicação de azulejo em espaço público protagoniza uma maior atenção coletiva com o ambiente urbano. A cocriação transformativa do espaço infere uma ligação à esfera pública, o que colabora para refletir sobre o papel que pode ter no incremento de práticas sociais mais envolvidas com os lugares urbanos e sensíveis à memória, ao património e ao ambiente.

Although the chronology of the tiling of Bacalhôa with majolica azulejos was always known to be around 1565, given the date inscribed in the panel representing the biblical episode of Susanna and the Elders, their provenance as well as the authorship of the figurative panels, remained clouded and open to personal opinion. A previous analytical study of the main panels and linings with patterned tiles of Bacalhôa concluded that some of them could not be ascribed to the workshops of Lisbon at that chronology, differing in terms of glaze and biscuit compositions and micro-morphology, suggesting that they may have been imported. The present paper presents a detailed study of those presumably imported panels and patterned tiles, firstly setting a reference based on the micro-morphological and analytical characteristics of the two panels depicting coats of arms, and then comparing the remaining items with them to verify whether they may be clustered together. Finally, we discuss their possible provenance.

This essay provides an overview of the architecture of the Bacalhôa palace and estate, and of some of its ceramic panels and linings. The estate comprises a varied range of tiles but the research project encompassing the present study focuses exclusively on the 16th century majolica type. Consequently, this article will make only sporadic or indirect references to Hispano-Moresque tiles. The project also included iconographic interpretations of certain significant azulejo panels and patterned tiles but these will be included in future papers specifically dedicated to those particular parts of the majolica tile linings, rather than as an integral aspect of the present study. Accordingly, this essay only includes iconographic details of groups of tiles that will not be examined in subsequent articles. This applies to the tiles of the Lake Wall and in the Vineyard Chapels.

This contribution, based on the European research Project C3Places, focuses on co-creation of public open spaces and addresses placemaking from the perspective of adolescents. It analyses their spatial practices and needs and the co-produced ideas for a teenagers-sensitive public space. The Project results must be seen in the context of the pandemic SARS-CoV-2 which is challenging the urban fabric, placemaking and research continuity. More than ever, it is crucial to develop strategies for inclusive and responsive public spaces. This paper aims to: 1) introduce the dynamics and insights acquired in a case-study with teenage students in Lisbon; 2) review the literature related to urban planning, especially in the public space production and consumption, in the context of the global pandemic; and 3) reflect on the ontological and methodological challenges that placemaking faces as a response to call for collaborative approaches.

As tecnologias de informação e comunicação (TIC) podem ser ferramentas inovadoras para a interação com e entre os utilizadores do espaço público. Por um lado, as ferramentas digitais (smartphones, relógios inteligentes, tablets, portáteis, etc.) colaboram para intermediar a criação de contextos socio-espaciais interativos; por outro, as TIC podem ser consideradas como recurso instigador de processos de planeamento mais colaborativos e participativos. O artigo discute alguns benefícios e desafios que as TIC apresentam no âmbito do aperfeiçoar o conhecimento sobre a relação entre espaço público aberto, pessoas e práticas sociais; e no que respeita à mediação e ao fomento de processos participativos na produção do espaço através do recurso às dinâmicas de cocriação. Para o desenvolvimento desta reflexão, realiza-se uma abordagem teórica e enquadradora a partir de perspetivas etnográficas e de planeamento e recorre-se ao conhecimento adquirido e experiências protagonizadas nos projetos CyberParks e C3Places.

In the Vila Viçosa Palace, in the southern Portuguese province of Alentejo, lie the still impressive remains of what was the most extensive commission of azulejos produced in Antwerp for Portugal. Through an inventory made in 1563, after the death of the 5th Duke of Braganza D. Teodósio, it was found that no less than 3,658 azulejos commissioned to Antwerp had been delivered until that year. Until recently there was no known parallel between the pieces commissioned to Antwerp for the Palace of Vila Viçosa and other commissions for Portugal. With an excavation in Lisbon, in the area of the Escolas Gerais, five azulejos and two fragments, also of Flemish production, were found in what was probably a dump, because they were part of the frame of a panel of which nothing more was found. Other excavations in Lisbon, namely near Casa dos Bicos, Largo do Corpo Santo, Largo do Carmo, Palácio dos Condes de Penafiel and the grounds of the former Igreja de Santo André in Graça produced more more fragments of 16th century azulejos of varying provenance giving us a glimpse of an unexpected wealth of types and decorations used in the Lisbon of the 2nd half of the 16th century at a time when a local production of faience azulejos was just starting. Other pieces are now appearing in different archaeological contexts giving testimony of a maybe discrete but nevertheless assured trend that needs to be acknowledge. Their presence points to the spread of the appreciation for faience tiles and in these remains may well lie the foundations for the Portuguese taste for azulejos that lasts to this day. This communication reviews some of the findings supported by scanning electron microscopy observations and analyses trying an integration of some cases into known provenances or types.

Visa-se discutir a relação entre jovens, espaço público urbano e tecnologias de informação e comunicação (TIC), tendo por referência um estudo de caso em curso. O trabalho enquadra-se no Projeto Europeu C3Places, cujo objetivo é explorar os recursos digitais como apoio ao desenho de espaços públicos urbanos mais adequados às necessidades das pessoas. O estudo de caso em Lisboa assenta numa perspetiva de Living Lab onde se visa trabalhar ideias co-criadas com alunos da escola secundária com 3º ciclo Padre António Vieira, sita no bairro de Alvalade, em Lisboa. Tendo por referência a ligação dos adolescentes às TIC, é abordado um conjunto de iniciativas desenvolvidas a partir de oficinas temáticas de urbanismo, destacando-se uma aplicação móvel (app) desenvolvida como elo de comunicação entre adolescentes e os espaços.

A series of disperse renaissance azulejos with images in white with blue contours over a yellow background was recently uncovered, secluded by the basal wall of the altar of the Cathedral of Setúbal, near Lisbon. The azulejos were probably once part of a chapel lining that was removed and some were re-applied here at an unknown time. They were spread without any concern whatsoever about continuity, also because they were not intended for visibility. We attempted a partial digital reconstruction that allowed the perception of two feminine winged figures, together with flowers and fruits. One of the figures is an elderly woman with bird wings and the other a young lady with butterfly wings. Both have crowns, although of different sorts. The painting of motives in white with blue contours against a yellow background relates them graphically with the panels of the São Roque Chapel in Lisbon, but there are tantalizing differences. The Setúbal panels seem to bear testimony of a more archaic technology; the vertical placement of at least some azulejos in the kiln left remains of the supporting pieces and resulted in extensive drips that tarnished the composition. Another aspect is that the hand of the painter of Setúbal is amateurish compared to the proficiency of Francisco de Matos, the painter of São Roque. Yet, these azulejos can be highly important in establishing the evolution of the majolica technology in Portugal of which they may well be one of the earliest examples. This communication depicts a partial restitution of the painting, reports the first study made of the azulejos with instrumental support and discusses their technological placement towards other examples of known origin.

After the panels of Capela de São Roque in Lisbon, signed and dated, the incomplete and dispersed panels in Igreja da Graça are the second set of signed Renaissance azulejos produced in Lisbon that were found. A selection of azulejo units from the panels has now been studied by scanning-electron microscopy coupled with energy-dispersive spectrometry (SEM-EDS). The tiles making up the book bearing the signing monogram have been used to establish a morphological and analytical template aimed at identifying in the future a common officinal provenance in azulejos of the same general chronology known or presumed to have been produced in Lisbon. This communication reports the results of the analytical study identifying the main micro-morphological features and the composition variations.

The development of European standards intended to provide a framework for assessing the sustainability of construction works was by far the most important step towards the evaluation and comparison of their environmental, economic and social performance. From an environmental perspective, the use of Environmental Product Declarations (EPD) allows an informed choice of the more sustainable construction materials. The development of an EPD calls for specific guidelines that enable different manufacturers to evaluate equally the environmental impacts of their products during the different stages of their life cycle, i.e., the Product Category Rules (PCR). In the last years, the CEN/TC104/SC1/TG20, together with CEN/TC229/WG5, has made relevant progress on establishing PCR for concrete and precast concrete products leading to the publication of the European standard EN 16757 in June 2017, while a CEN Technical Report on CO2 uptake in concrete is about to be concluded. This paper, after presenting the general view of the normative approach for all the construction materials, makes a comprehensive analysis of the above documents, with particular focus on the relevance of carbonation on the environmental impact of concrete and concrete products

In this article some aspects of the production technology connected with the preparation of the glaze and of the biscuit and with the firing cycle have been researched in order to better understand their effects on the morphological and chemical characteristics of the glaze and glaze-biscuit interface. Azulejo reproductions have been prepared by using raw and fired ceramic bodies glazed with either a lead-tin raw preparation or with a frit of different quartz grain sizes. The firing temperatures and the duration of the firing cycles have also been varied. The resulting cross-sections of the ceramic reproductions were analyzed with SEM-EDS. An increase in the Pb enriched K-feldspars formed at the glaze-biscuit interface is observed as the maximum temperature increases and the cooling rate slows. The use of raw glazes and single firings also promotes the growth. The results led to a better interpretation of the technological fingerprint observed on historic glazed tiles and offer more insight into the early azulejo production technologies and on the nature of the glaze-ceramic interface.

During the past three years a research group including the Museu Nacional do Azulejo (Portuguese National Azulejo Museum), the Laboratório Nacional de Engenharia Civil and the HERCULES Laboratory of the University of Evora, acquired X-ray fluorescence spectra of the glazes of azulejo panels on site and single tiles from the collections of the Museum. That data was recently complemented by spectra obtained with the micro-analysis unit of a scanning electron microscope and with the AGLAE proton accelerator installed at the Carrousel du Louvre in Paris. By comparing spectra obtained on significative areas it is possible to obtain a glimpse of alikeness or of dissimilarity pointing to a similar or to a different officinal origin. This communication presents the method through a number of exemplificative cases.

During the year starting on July 2017, the Museu Nacional do Azulejo (Portuguese National Azulejo Museum), the Laboratório Nacional de Engenharia Civil and the HERCULES Laboratory of the University of Evora made a joint effort in the instrumental study of 16th century Portuguese azulejos, aimed at establishing their origin, technology used and eventual systematization of workshop productions. The microscopic observation of the biscuits did not reveal any signs of mixtures of clays, as are routinely perceived through the banded colours seen in the biscuits of 17th century Portuguese productions. Therefore, it seems likely that the workshops used plain marls with a suitable composition to grant compatibility of the biscuit with the glaze and thus their composition is a prime choice to confirm a local provenance. Azulejo samples are collected from panels on the walls and are necessarily superficial and very small. In such samples the biscuit composition as pertains to minor and trace elements is tainted by the penetration of the raw glaze and digestion phenomena over firing. However inclusions of minerals that are infusible at the kiln temperatures remain largely unaltered. A means to discriminate provenance based on a morphologic and compositional study of the small inclusions found in biscuit sections, often less than 5µm across, is proposed in this communication. These include mineral inclusions, both with and without repetitive morphologies, and micro-fossils. This communication reviews the inclusions repetitively found in Portuguese 16th century azulejos as a first step for the construction of a database aimed at exploring their potential as provenance markers.

Azulejos (Portuguese glazed tiles) suffer from pathologies such as glaze fissures and glaze loss particularly as a result of exposure to wall moisture and weathering. Many tile panels need conservation measures, including the treatment of lacunae but there is currently a lack of efficient and long-lasting solutions. Lasers offer a number of unique advantages including for the study and conservation of cultural heritage. In the conservation/restoration field, up to now the attention of the scientific community has been focused mainly on the use of lasers for cleaning processes. In this communication the initial studies on a novel application of laser radiation for the controlled thermal fusion of a glaze are presented and its potential for the restoration of azulejos discussed. The influence of a CO2 laser processing parameters (focus distance, duration of the beam incidence, number of laser passes) have been tested in order to assess their effect on the test items. Tile replicas and authentic historic azulejo samples, of different glaze compositions and colours, have been irradiated. Optical and SEM microscopy have been used to study the morphological alterations and the impact on the laser irradiated glazes. Initial results are encouraging and further work towards the implementation of this methodology is in progress.

During the last year, the Museu Nacional do Azulejo (MNAz- Portuguese National Azulejo Museum), the Laboratório Nacional de Engenharia Civil (LNEC) and the HERCULES Laboratory of the University of Evora made a joint effort in the instrumental study of 16th century faience azulejos, aimed at identifying those of Portuguese origin based on their composition and the technology used and thus establish on firmer ground the origins of the production of faience azulejos in Lisbon towards a candidacy of Portuguese azulejos to the World Heritage List. This communication presents some of the first results.

This e-book and correspondent platform MyC3Place present the collection of the outcomes carried out by the partners of the C3Places Project. It explores the new dynamics of open spaces as a trusted service for community and expands our understanding on how mediated public open spaces function, paying attention to stakeholders, local context and different social groups. The e-book shows how it's possible to increase the quality of public open spaces (squares, parks, green spaces) as a community’s service, reflecting through ICT the needs of different social groups. Public spaces are critical for cultural identity, as they offer the place for interactions among generations and ethnicities. Even in the digital era, people still need contact with nature and other people to develop different life skills, values and attitudes, to be healthy, satisfied and environmentally responsible. Using ICT and co-creating with users, this e-book expands our knowledge on meeting emerging citizens’ needs about the future public space. All the contents are classified by means of keywords that are described on the following pages. Then the work of each partner is presented in detail.

C3Places - using ICT for Co-Creation of inclusive public Places is a project funded under the scheme of the ERA-NET Cofund Smart Urban Futures / Call joint research programme (ENSUF), JPI Urban Europe, https://jpi-urbaneurope.eu/project/c3places. C3Places aims at increasing the quality of public open spaces (e.g. squares, parks, green spaces) as community service, reflecting the needs of different social groups through ICTs. The notion of C3Places is based on the understanding that public open spaces have many different forms and features, and collectively add crucial value to the experience and liveability of urban areas. Understanding public open spaces can be done from a variety of perspectives. For simplicity’s sake, and because it best captures what people care most about, C3Places considers the “public” dimension to be a crucial feature of an urban space. Public spaces are critical for cultural identity, as they offer places for interactions among generations and ethnicities. Even in the digital era, people still need contact with nature and other people to develop different life skills, values and attitudes, to be healthy, satisfied and environmentally responsible. The book aims to spark discussion on the co-creation of public open spaces through the active involvement of different stakeholders in the production of a more inclusive, attractive and responsive urban environment. It intends to help researchers, governments and drivers in understanding and implementing more collaborative actions. The authors share experiences, visions and reflections on how co-creation and participatory processes can open up possibilities for a sustainable and equitable future. This book emphasises three dimensions: practice, reflection, and learning. Practice concerns driving actions, identified and analysed experiences that serve as key models. Reflection refers to exploring and examining the results and performances of a co-creation process. Co-creation is not the search for a final product, but rather a process and a new path to more responsive and inclusive communities. Learning refers to the knowledge transfer and replication induced by the synergy of the different actors involved in this book. The chapters which constitute this work were completed prior to Spring 2020, so the research and insights do not reference the global public health crisis caused by Covid-19. However, in such challenging times the argument for co-creation approaches to increase the potential of public spaces to support a range of inclusiveness outcomes is even stronger. This publication is based upon work of C3Places Project. The C3Places Project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 693443 and from FCT (Portuguese Funding Agency for Science, Research and Technology).

This volume aims to promote discussion and critical thinking on the urban environment at the intersection of the neighbourhood and the city, along their socio-spatial relations, from an interdisciplinary, multidimensional and international perspective. The chapters cover various aspects related to the meaning of living, intervening, planning, managing, thinking about and producing the city in the digital era, with a view to increasing the understanding of neighbourhoods as part of a wider consideration of social and sustainable development and the need for greater care of urban communities. This has a direct impact on public open spaces, which lie at the core of CyberParks. The international scope of the edition is enhanced by its bilingual nature, as this volume targets, in addition to a European readership, also the readership of Portuguese-speaking countries. This publication is based upon work from COST Action TU1306, supported by COST (European Cooperation in Science and Technology).

Vários

Publicação que regista os resumos expandidos realizados no âmbito do Congresso Ibero-americano "Património, suas matérias e imatérias", realizado nos dias 2-3 de novembro de 2016 no LNEC, contendo ainda em CDrom, os artigos completos.

Em 2011 cumpriram-se 100 anos sobre a publicação da Lei de Reorganização dos Serviços Artísticos e Arqueológicos da 1ª República (Maio de 1911). Este diploma constituiu uma referência incontornável no enquadramento do conceito de património que iria influenciar toda a prática da sua salvaguarda em Portugal. Por coincidência, cumpriram-se também neste ano os 80 anos da Carta de Atenas (Outubro de 1931), um marco histórico na produção de documentos orientadores de cariz internacional, que veio incentivar a produção de novas cartas e outros documentos internacionais que, em larga medida, ainda definem e sustentam as actuais práticas de preservação do património. O Instituto de História da Arte da Universidade de Lisboa e o Laboratório Nacional de Engenharia Civil quiseram com este simpósio assinalar aquelas efemérides oferecendo às comunidades científicas e profissionais uma oportunidade de reflectirem sobre estes acontecimentos pioneiros e debaterem as consequências que eles tiveram no período transcorrido desde então, como forma de compreender melhor a salvaguarda do património nos dias de hoje, perante os desafios e exigências da sociedade moderna. Os artigos recebidos, e que constam nas presentes actas, demonstram o interesse que o tema suscita e confirmam que o País está bem apetrechado para cuidar do seu património em todas as vertentes que tal objectivo exige. Ao juntarmos as valências de duas instituições tão diferenciadas, procurámos mostrar que a preservação é um conceito multifacetado, que necessita de contributos diversos, mas precisos, e que não pode ser abordado de forma unilateral ou voluntarista por um qualquer grupo profissional ou ditado por meios burocráticos como medida normalizada ou normalizável. Os trabalhos agora publicados dão conta dos primórdios das preocupações sobre preservação, discutem problemáticas que percorreram o Séc. XX e reflectem sobre as situações actuais, cumprindo cabalmente as nossas expectativas e enriquecendo o acervo de exemplos e de doutrinas que nos permitem afirmar que não é por falta de conhecimento, de experiências ou de competências realizadoras que ainda hoje vemos acontecerem intervenções desqualificadas, mal preparadas e desajustadas. As presentes actas aí estão para demonstrar que fazer mal ou abandonar património não têm que ser fatalidades de um país.

N/A

N/A

Atualmente existe grande interesse pelas técnicas construtivas com terra crua, que tinham caído em desuso mas que ressurgiram com a conscencialização face à ecoeficiencia e no sentido de explorar recursos locais reutilizáveis. A taipa é, a nível mundial, uma das mais antigas e difundidas técnicas de construção. Em Portugal a taipa reune grande atenção porque é uma das principais técnicas utilizadas na nova construção com terra. Mas esta atenção decorre também da necessidade de reabilitação de edifícios antigos e da existência de um vasto e valioso património arquitetónico, que precisa ser preservado. Muitos dos edifícios antigos de terra deterioraram-se por falta (ou ineficiência) de manutenção e reparação. De fato, existe um elevado desconhecimento ao nível das técnicas de reabilitação e conservação. O presente trabalho de investigação explora a questão da adequabilidade de argamassas para a reparação de paredes de taipa. A escassa informação nesta área justificou o estudo das caraterísticas mais adequadas para estas argamassas de reparação e definição de recomendações para sua aplicação. Partiu-se do pressuposto que, para perspetivar intervenções de reparação com maior ciclo de vida, é importante asseverar não só a durabilidade das argamassas de reparação, mas também a sua compatibilidade com a parede. A principal conclusão é que, sempre que possível, as argamassas devem ser efetuadas com a mesma terra utilizada na parede ou com materiais tão semelhantes a esses quanto possível, para que as propriedades físicas, mecânicas e químicas sejam compatíveis com as da parede a reparar. Se a taipa não tiver sido estabilizada com ligantes minerais, estes não devem também ser utilizados nas argamassas de reparação. Observou-se ainda que as argamassas estabilizadas com ligantes minerais apresentam uma absorção capilar muito mais rápida do que o mesmo tipo de argamassas sem estabilização e que a utilização de fibras vegetais potencia o aparecimento de bolores, quando as argamassas se encontram em ambientes com elevadas humidade relativa.

This thesis was aimed at understanding the behaviour of plasters and renders on salt-loaded walls. The current state-of-the-art and state-of-the-practice were accessed focusing particularly on old plastered/rendered buildings and their conservation practice in Portugal. Afterwards, experimental work was carried out aiming at answering the identified questions. Two laboratory techniques, for relative humidity control with salt solutions and for salt content determination by hygroscopic moisture content measurements, were investigated. Drying of salt-loaded materials was studied by means of drying experiments monitored using a magnetic resonance imaging (MRI) technique. The behaviour of plasters and renders in relation to salt crystallization was then accessed by means of crystallization tests and MRI-monitored drying tests. Most drying and crystallization tests were carried out on specimens composed by a plaster or render applied on a given substrate. Finally, the study of five old buildings in Portugal provided an insight into practice-related salt decay features. On the basis of this research, guidelines are proposed to select plasters and renders for salt loaded walls. Conclusions were also achieved on: (i) possibilities and limitations of the test methods, particularly salt crystallization tests, and diagnostic methodology used; (ii) salt decay processes, namely, influence of soluble salts on drying, mechanisms of salt-induced dampness and salt distribution in masonry; (iii) reasons for sodium chloride being typically much less damaging than sodium sulfate in laboratory tests; (iv) influence of factors such as the type of salt, kind of substrate material or presence of a paint layer on the behaviour of plasters and renders; (v) factors that can account for a worsening of salt damage after restoration interventions; (vi) field or application conditions that favour salt damage.

A ação dos sais solúveis e humidade nos edifícios antigos é uma causa frequente da sua degradação. Pretende-se com este trabalho estudar experimentalmente, através de ensaios laboratoriais, de que forma diferentes tipos de sais dissolvidos em água influenciam a absorção por capilaridade em materiais porosos. O levantamento do estado da arte incidiu sobre a ação de degradação dos sais solúveis sobre os materiais porosos, sobre as características dos materiais porosos e foca também os mecanismos de transporte da água, no estado liquido e de vapor, envolvidos nos processos de absorção capilar e secagem. A campanha experimental realizada incluiu o ensaio de absorção por capilaridade e o ensaio de secagem. Os materiais porosos utilizados foram o tijolo e a argamassa e utilizaram-se seis soluções salinas, de concentração saturada: cloreto de sódio, sulfato de sódio, cloreto de potássio, nitrato de sódio, nitrato de potássio e carbonato de sódio. Realizaram-se os mesmos ensaios com água, que serviram como referência. Esta dissertação permitiu tirar conclusões sobre: i) a influência dos sais na absorção por capilaridade; ii) processos de degradação, influência dos sais solúveis na secagem de materiais porosos; iii) a correlação existente entre a degradação dos materiais porosos com o tipo de sal.

Although Portuguese azulejos are such an important heritage asset, having been extensively studied from the Art Historian viewpoint, the knowledge concerning the raw materials used and the details of the technological manufacturing process is very limited. The research project behind this dissertation was aimed at improving the present knowledge as concerns the composition of the blue pigment used in the 17th and 18th centuries. A representative set of azulejos spanning at least 200 years from ca. 1600 to 1800 was selected and the composition of the blue colour in their glazes analysed. The results were assessed aiming to answer the following main questions: i- What are the characteristic compositions of the colour (pigment and impurities) and how do they relate with the chronology of the azulejos? ii- What are the compositional traits that bear on the shades of the blue colour? iii- Can Portuguese azulejos be separated from Dutch and Spanish productions, at times when they co-existed in Portugal, solely by the composition of the blue colour? iv- Is the composition of the blue colour related with provenance of azulejos within Portugal? v- Are there grounds to suspect that at some time the Portuguese used, besides the well-known German zaffre, alternative sources of blue colour imported through their wide sea trade routes?

The presence of moisture inside a material whose surface was treated with a water repellent agent may give rise to unwanted side-effects. Indeed, the temporal and spatial significance of moistening events may be intensified if a water-repellent, as any other kind of treatment, hinders drying. This effect can be particularly relevant for historical buildings, where moisture from varied origins is recurrently present in the masonry, but is also pertinent for more recent constructions since water often finds ways to penetrate the building elements, through cracks or joints. This article discusses the application of water repellent treatments on ceramic brick, with regard to drying of the masonry. The influence of cracks parallel or perpendicular to the surface is taken into account. Five silicone-based treatments were studied. The treated or untreated material was subjected to capillary absorption tests by which the effectiveness of the water repellent effect was estimated, as well as water vapour permeability tests and drying tests. The effectiveness of four out of the five treatments is high. Vapour permeability is not much affected in one case, when the cracks are parallel to the surface, and in none of the cases, when they are perpendicular. Nonetheless, drying is significantly delayed by any of the five products, both in the case where the cracks are parallel to the surface as when they are perpendicular.

A presente dissertação visa avaliar a eficácia de dois modificadores de cristalização com baixa toxicidade quando em aplicados em dois materiais porosos, contaminados com dois tipos de sal. Foram testados o ácido cítrico e o ácido fosfocítrico, aplicados por absorção capilar ou por pulverização, em provetes de argamassa de cal aérea ou pedra de Malta saturados com soluções salinas de cloreto de sódio ou sulfato de sódio a 10% (percentagem ponderal). Foi efectuada uma análise macroscópica do efeito dos dois modificadores, baseada em ensaios de secagem. A pesquisa do estado-da-arte incidiu sobre as características dos materiais porosos, transporte de água, sais solúveis e modificadores de cristalização. Na campanha experimental foram ainda realizados ensaios de caracterização da argamassa fresca, da argamassa endurecida e da pedra de Malta utilizadas. Determinaram-se também as características de porosidade, permeabilidade ao vapor de água, tensão superficial e evaporação das soluções, capilaridade e secagem. O trabalho realizado permitiu conhecer os principais desenvolvimentos recentes sobre modificadores de cristalização e concluir sobre a influência na secagem e a relevância dos dois modos de aplicação testados do ácido cítrico e do ácido fosfocítrico.

A acção dos sais solúveis é uma causa frequente de degradação dos edifícios antigos, reflectindo-se a vários níveis (e.g., estético, habitabilidade, segurança estrutural). Esta dissertação tem como objectivo efectuar a análise e sistematização de um leque abrangente de práticas actualmente utilizadas para controlo da degradação por sais solúveis. Neste âmbito, foi utilizada a análise documental de bibliografia posterior a 2000 e procedeu-se à análise crítica de métodos de controlo da degradação seleccionados: remoção mecânica de eflorescências; remoção de materiais contaminantes; compressas; remoção electroquímica de sais; microrganismos; modificadores de cristalização; rebocos; controlo ambiental; controlo da humidade ascensional; método do hidróxido de bário. Analisaram-se também algumas medidas práticas para prevenção do risco de ocorrência ou agravamento desta degradação. Adicionalmente, avaliou-se a complementaridade entre métodos, identificando eventuais benefícios de uma acção conjugada. A sistematização das práticas analisadas envolveu o seu enquadramento segundo três abordagens distintas: prevenção, correcção, e mitigação. A dissertação permitiu tirar conclusões sobre: (i) a actuação face à degradação provocada por sais solúveis, a qual deve pautar-se por uma compreensão global do problema; (ii) a importância das medidas preventivas, como meio para evitar os danos e custos associados; (iii) a relevância dos métodos de controlo da degradação, nas vertentes correctiva e de mitigação; (iv) a experiência actual sobre a utilização prática dos métodos em edifícios, designadamente com relação ao número de casos de estudo existentes; (v) a necessidade de uma boa compreensão das práticas referidas, nomeadamente em relação às vantagens e inconvenientes, a qual pode ser facilitada pela sua sistematização.

Estudou-se um conjunto de fragmentos de azulejos datados do século XVII, de produção portuguesa, cedido pelo Museu Nacional do Azulejo. O objectivo foi caracterizar morfológica e quimicamente a camada pictórica da azulejaria portuguesa do século XVII. O estudo utilizou uma abordagem multi-analítica, incluindo a espectrometria de fluorescência de raios X dispersiva de energias (µ-EDXRF), espectroscopia de Raman, o microscópio electrónico de varrimento com microanálise de raios X (SEM-EDS), e técnicas de observação incluindo o SEM e microscopia óptica. A azulejaria portuguesa do século XVII caracteriza-se por uma paleta cromática relativamente rica, que engloba o azul, amarelo, laranja, verde, púrpura, um tom púrpura acastanhado e ainda outro castanho muito escuro utilizado em contornos. As cores integram um fundo branco – o vidrado estanífero característico da majólica. Confirmou-se que o azul se deve ao óxido de cobalto, o púrpura ao óxido de manganês e um dos verdes, de aparência transparente, ao óxido de cobre. Os resultados indicam que o amarelo será uma variante do pigmento amarelo de Nápoles (antimoniato de chumbo), constituído por um óxido triplo de Pb-Sb-Zn. As outras cores são obtidas através de misturas: o laranja resulta da adição de hematite ao pigmento amarelo, o verde-seco resulta da adição de óxido de cobalto também ao pigmento amarelo, e os vários tons entre púrpura e castanho resultam da mistura de hematite com óxido de manganês em teores variáveis. Observaram-se morfologias distintas das cores: o amarelo, laranja e castanho-escuro permanecem à superfície do vidrado e conferem-lhe cores opacas. O azul, o verde-cobre e o púrpura difundem no vidrado em profundidade e, por vezes, horizontalmente. Os seus óxidos dissolvem-se na matriz vítrea, obtendo-se uma cor transparente. Com o verde-seco ocorre uma separação dos componentes da cor, na medida em que as partículas de pigmento amarelo permanecem à superfície, enquanto o azul difunde no vidrado.

A presente dissertação tem por finalidade compreender a influência dos tratamentos hidrófugos na secagem do tijolo cerâmico, tendo assentado na realização de ensaios de absorção capilar, permeabilidade ao vapor de água e secagem. Foi inicialmente avaliada a possibilidade de utilização de tijolo cerâmico maciço de três proveniências distintas. Uma destas origens foi a Praça de Touros do Campo Pequeno, em Lisboa, que permitiu estudar quatro tipos distintos de tijolo antigo. As outras duas origens foram as cerâmicas Torreense e de Vale de Gândara, tratando-se portanto neste caso de tijolos de fabrico recente. Os diferentes tipos de tijolo foram caracterizados quanto à sua aparência, morfologia, teor de sal, absorção capilar e comportamento em secagem. O tijolo de Vale de Gândara foi o tipo seleccionado para a aplicação dos tratamentos hidrófugos. Foi detectada a presença de fissuras neste tipo tijolo, tal como em todos os outros tipos caracterizados. Sendo este defeito relevante para o transporte de humidade, foi necessário ter em consideração a influência da orientação preferencial das fissuras. Assim, utilizaram-se em todos os ensaios provetes com fissuras paralelas e provetes com fissuras perpendiculares à superfície. Estudaram-se cinco tratamentos hidrófugos com base em silicone. Foram realizados ensaios de absorção capilar através da face tratada, ensaios de permeabilidade ao vapor de água e ensaios de secagem (método RILEM da curva de evaporação). Realizaram-se ensaios semelhantes sobre o material não-tratado, que serviram como referência. Os resultados do ensaio de absorção capilar indicam que a eficácia de quatro dos tratamentos é elevada, sendo a secagem do tijolo significativamente dificultada por esses quatro produtos. Verificou-se, no entanto, que o decréscimo da permeabilidade ao vapor apenas é significativo para três hidrófugos. A influência dos hidrófugos na permeabilidade ao vapor apenas é mensurável no caso dos provetes com fissuras paralelas à base. Quando as fissuras são perpendiculares à base, a permeabilidade ao vapor é bastante mais elevada, não sendo afectada pelo hidrófugo.

A presente dissertação visa compreender a influência dos revestimentos por pintura na secagem de materiais de construção porosos, tendo focado a nível experimental o caso dos substratos constituídos por uma argamassa de cal aérea. Aborda-se, em particular, o caso dos edifícios antigos e, mais especificamente, a situação das paredes com teor de humidade não desprezável que é muito corrente neste tipo de edifícios. O levantamento do estado-da-arte incide sobre as características dos materiais porosos, em particular as argamassas de cal aérea, e de diferentes tipos de revestimentos por pintura indicados para este tipo de utilização. Foca também os mecanismos de transporte de humidade envolvidos nos processos de secagem. Efectuou-se uma pesquisa de mercado e um inquérito ao meio técnico com o objectivo de perceber quais os revestimentos por pintura usados em intervenções de reabilitação / conservação e, assim, avaliar a situação da prática em Portugal. A campanha experimental a seguir realizada incluiu ensaios de permeabilidade ao vapor de água, de absorção capilar e de secagem e incidiu sobre dezasseis revestimentos por pintura disponíveis no mercado português. Treze destes revestimentos são tintas de silicatos, de silicone ou de pliolite que os respectivos fornecedores indicaram serem apropriadas para aplicação em paredes com problemas de humidade. Ensaiaram-se ainda duas tintas de cal de fabrico industrial e uma “tinta plástica” que serviu como referência. A dissertação permitiu obter dados sobre o estado-da-prática em Portugal, em particular no que se refere aos tipos de tintas usados em paredes de edifícios antigos com teor de humidade não desprezável. Permitiu também retirar conclusões sobre: (i) a influência dos revestimentos por pintura na secagem, na absorção de água por capilaridade e na permeabilidade ao vapor de água; (ii) a influência que o estado de humidificação do suporte pode ter no comportamento dos revestimentos; (iii) a correlação existente entre o comportamento à secagem (índice de secagem) e a permeabilidade ao vapor de água, que é a característica correntemente utilizada para prever o desempenho dos revestimentos.

Este relatório apresenta um método para aferir o teor de sal de materiais de construção porosos, como a pedra, as argamassas e os materiais cerâmicos, através do seu teor de humidade higroscópico (HMC). O método, que se baseia em trabalho de investigação prévio, é aqui detalhadamente apresentado, sob a forma de protocolo de ensaio.

Na continuação dos estudos que o Núcleo de Materiais Pétreos e Cerâmicos do Departamento de Materiais tem vindo a realizar na Sé do Porto, foram recolhidas por aquele Núcleo oito amostras de granito na fachada da Sé para identificação e quantificação dos sais solúveis em água. Neste relatório apresentam-se os resultados obtidos na identificação e quantificação dos aniões e catiões presentes nos extractos aquosos das amostras.

O Sétimo Programa Quadro para a investigação e o desenvolvimento técnico (7PQ) é o principal instrumento da União Europeia (EU) para o financiamento da investigação durante o período 2007-2013, contendo em si todas as iniciativas da EU relativas à investigação e seguindo-se à vigência do 6PQ (2002-06), 5PQ (1998-02), 4PQ (1994-98), etc.

Neste documento apresenta-se a técnica de dessalinização por compressas de materiais de construção porosos afectados pela acção de sais solúveis, analisando os aspectos que estão na base da sua acção dessalinizante. A aplicação correcta dos métodos de dessalinização de materiais de construção é uma componente importante para o sucesso do tratamento a efectuar sobre superfícies salinizadas e a sua investigação deve constituir uma preocupação central da intervenção. Ela deve iniciar-se pela experimentação em laboratório, para selecção dos métodos que manifestem um bom desempenho e que deverão, então, ser objecto de outro nível de análise, correspondente à sua aplicabilidade em obra, para responder a necessidades concretas de intervenção. O presente documento contém um método de estudo do processo de dessalinização por compressas, fornece directivas sobre como efectuar a selecção dos respectivos materiais e descreve os métodos de dessalinização a adoptar em função das características do substrato a dessalinizar e das condições de aplicação. O presente documento visa constituir um guia, tanto para a investigação sobre o desempenho de compressas de dessalinização, como para a realização de tratamentos de dessalinização in situ.

This report concerns the cloister of Santa Clara-a-Nova Monatery, Coimbra, used as a case-study of the EU project COMPASS. It focuses the assessment of damage, diagnosis and advice for repair of salt decay anomalies. It concludes that it is necessary to solve the infiltrations of water from the rain, by repairing the roof of the cloister building and to replace the damaged cement-based render. Renders of low capillary absorption or low water vapour permeability, which may amplify the effects of the capillary rise, should be avoided. A transporting render is adequate.

This report concerns São Sebastião Church, Almada, which was used as a case-study of the EU project COMPASS. It focuses the assessment of damage, diagnosis and advice for repair of salt decay anomalies. It concludes that capillary is probably the main source of moisture and nitrates the main type of salt (although chlorides were also detected). The high damage state of the lime-mortars seems to be due, in a great extent, to their low mechanical resistance and very high absorption. The new plasters and renders should prevent crystallization from occurring inside the weak substrate lime-mortars, which easily deteriorate.

This report concerns Alhos-Vedros tide-mill, Moita, which was used as a case-study of the EU project COMPASS. It focuses the assessment of damage, diagnosis and advice for repair of salt decay anomalies. It concludes that, in the ground floor, plaster damage is due to the simultaneous presence of moisture and salts. Capillary rise and leakage from the cover roof and window frames are two obvious origins of moisture. Water vapour condensation is also a possible source of moisture but the knowledge of its relevance requires further testing.

This report concerns the cloister of Santa Clara-a-Nova Monatery, Coimbra, used as a case-study of the EU project COMPASS. It focuses the assessment of damage, diagnosis and advice for repair of salt decay anomalies. It concludes that measures should be taken for trying to lower the amount of moisture reaching the base of the walls, namely to improve the drainage of the cloister garden and to prevent the excessive use of water in cleaning operations. The damaged cement-based render should be replaced. Renders of low capillary absorption or low water vapour permeability, which may amplify the effects of the capillary rise, should be avoided. A transporting render is adequate.

This report concerns Salvas Chapel, Sines, which was used as a case-study of the EU project COMPASS. It focuses the assessment of damage, diagnosis and advice for repair of salt decay anomalies. It concludes that capillary rise is probably the main source of moisture. Further research seems necessary to detect the origin of the rising damp (superficial draining water or phreatic water). Measures to reduce the capillary rise should be taken, according to the results of this research.

O Laboratório Nacional de Engenharia Civil tem vindo a desenvolver um estudo no domínio da conservação dos azulejos históricos que permitiu, nalguns casos relevantes, estabelecer uma ligação entre determinados defeitos de fabrico e formas específicas de degradação. Esse estudo demonstrou a conveniência no estabelecimento de um glossário ilustrado, incluindo defeitos de fabrico e formas de degradação e contemplando alguma terminologia nova. É esse trabalho, saído de uma colaboração com o Museu Nacional do Azulejo, que agora se apresenta num vocabulário que inclui também algumas definições básicas, cobrindo termos necessários às definições subsequentes de defeitos de fabrico e de formas de degradação. Os termos em relação aos quais pareceu aos autores poderem subsistir dúvidas têm anexas ilustrações exemplificativas.

Non-destructive or micro-destructive in situ tests are very relevant to the physical characterization of materials used in historical buildings. “Controlled penetration,” “sphere shock” and “sonic methods” can be used to evaluate the mechanical resistance of mortars and renders or to monitor the hardening process after their application. Used to evaluate surface hardness, micro-drilling (DRMS) is a very sensitive technique, and its use in this field is expected to contribute to more precise results. However, the diversity of the composition of mortars and the systematic presence of abrasive components are limiting factors for the use of this method in this field. In this study, several mortars with different composition and hardness are compared using drilling resistance as the comparative parameter. The mortars were applied on-site aiming at their use in real situations. Extracted mortar samples were tested in the laboratory using resistance drilling which was complemented by additional methods currently used for in situ characterization of these materials. The results highlight the need for an integrated perspective of laboratory and on-site information.

N/A

N/A