Sgraffito Conservation at the Henry Cole Wing of the Victoria and Albert Museum
|
|
- Muriel Skinner
- 6 years ago
- Views:
Transcription
1 Sgraffito Conservation at the Henry Cole Wing of the Victoria and Albert Museum Adrian Attwood and Kimberly Reczek This article describes the work of DBR Limited to save and protect the decorative plaster sgraffito adorning the Henry Cole Wing of the Victoria and Albert Museum, London. The façade is understood to be the very first Victorian attempt in Britain to revive sgraffito, an essentially Renaissance decorative plaster technique. Part of a much larger cleaning and repair project, the emergency work on the sgraffito was triggered by grave concern for its extremely fragile state, and the impending building works of the new V&A Exhibition Road entrance project. Stonemasons, craftsmen and conservators from DBR teamed up with Ian Constantinides to tackle this urgent and unprecedented conservation project. In addition, a series of panels was selected for careful restoration to re-establish some of its original beauty. The Context In 2010, as part of a large Royal Borough of Kensington and Chelsea regeneration project, the Victoria and Albert Museum (V&A) carried out a 10-month programme to clean and repair the museum s 1909 Aston Webb stone façade and the 1874 the Henry Cole Wing s terracotta and brick façade. DBR cleaned the Portland stone, brick and terracotta along Exhibition Road using various techniques including poultices, gels, nebulous water sprays, and Jos wet vortex. In 2012, a scaffold was erected to access the four storeys of the rear elevation of the Henry Cole Wing containing the sgraffito panels, unseen by the visiting public. While it was already known that the façade was not in pristine condition (a panel fell in the 1970s), the precarious Fig 1 The sgraffito façade of the V&A s Henry Cole Wing state of the sgraffito did not become apparent until close access became possible. The V&A s Exhibition Road building project to create a grand new entrance to the museum, a courtyard and a purpose-built underground gallery was scheduled to commence in It was clear that the impending vibrations caused by excavations and large scale piling works could have a detrimental impact on the sgraffito façade. The precarious panels had to be secured before the new project started and, in addition to cleaning the delicate terracotta dressings and ornament using low concentrates of specially formulated thixotropic gel, DBR was commissioned to do a full survey of the sgraffito with the guidance of the late Ian Constantinides, who set up and ran St Blaise for 20 years until The Technique of Sgraffito and its History in the UK Before elaborating further on the conservation work of the Henry Cole Wing, it is important to understand the technique of sgraffito and the history of its development. The term describes an incised decorative plasterwork for either internal or external walls, and comes from the Italian graffiare which means to scratch. The method consists of carefully scoring through multiple layers of different coloured plaster to a desired depth, and then scraping back with metal tools or wire loops to reveal the various contrasting hues below. 1 Decoration was often executed in the negative with the background being removed from around the pattern. 33
2 Sgraffito Conservation at the Henry Cole Wing of the Victoria and Albert Museum ROUGH # $ % Fig 2 Diagram of sgraffito layers 1) Rinzaffo A first rendering coat applied to cover and fill the joints in the rough masonry or bricks. 2) Arriciato A dark base plaster coat made by adding black pigment into slaked lime and sand. 3) Intonaco The light finish layer, to contrast with the black, made from a white pulverized travertine usually mixed with a fine sand. 4) A design is transferred onto the surface, often pounced through a perforated cartoon. 5) While still soft, the design is cut through the intonaco, and the incised top layer is scraped back with metal tools to reveal the darker layer beneath. and spaces by which the design is expressed, and a living energy of line to the whole. 3 The designs are predominately based on two colours, a light and a dark, sometimes referred to as chiaroscuro, and as the practice developed technically as well as artistically, more layers, thus colours, were employed. Early examples show a tendency to suggest illusory architectural elements and later sgraffito has been used to create more elaborate pictorial schemes with complex figurative work in many colours. While there is historic reference to sgraffito on the walls of medieval buildings, we know from Vasari s texts that the technique was fully developed in Florence and Rome during the 15 th and 16 th centuries. Here one can still look up and see the weathered black and white remains of sgraffito on many great Renaissance palazzos. The popular practice was brought north by travelling master builders and taken up with enthusiasm throughout As a decorative art, sgraffito is often found within rich architectural compositions framed with pilasters, garlands, cornices and gauged brickwork. The effect on great expanses of architecture can be stunning with strong lines, clean delineation of figures and bold patterns. As Heywood Sumner ( ), an English artist recognised for his skill in a vast array of media, asserted: Sgraffito work may claim a special aptitude for design whose centre of aim is line. It has no beauty of material like glass, no mystery of surface like mosaic, no pre-eminence of subtly woven tone and colour like tapestry; yet it gives a freer play to line than any of these mentioned fields of design... Sgraffito, from its very nature, asserts the wall. 2 There is an element of working against time when executing sgraffito due to the setting of the final coat. This compels the artist to work in a swift manner and may give a strenuous ease to the firm incisions Fig 3 A sgraffito façade of the house at 49 Floriańska str in Kraków, Poland Fig 4 A sgraffito panel by Heywood Sumner in St Agatha s, Landport, Portsmouth 34
3 aschb transactions volume 38 for 2015 Fig 5 A fading palace façade in Rome by Polidoro da Caravaggio and Maturino da Firenze, 1523 Europe, and especially in today s Germany, Switzerland, Poland, Romania, Austria, and Czech Republic. Except for an anomaly at Hampton Court 4, sgraffito did not take hold in Great Britain until the mid-victorian era. It was the great English art patron Sir Henry Cole, the founder and first director of the V&A 5 (the South Kensington Museum as it was then known) 6 who is credited with reviving the technique in Britain. He was struck by the simple beauty of sgraffito during his European travels, and developed a particular admiration of the German architect Gottfried Semper, who employed sgraffito in his homeland.7, 8 The 19 th century experiments in sgraffito began on the Henry Cole Wing (originally the Science Rooms ). At that time the building was the tallest in South Kensington four storeys high and 160ft (49m) in length. It was clearly designed to be a showpiece; Henry Cole was keen for a spectacular display of sgraffito decoration and he recruited a willing partner, Francis Wollaston Moody ( ), an artist and teacher with, as Sir Christopher Frayling has said, a strong Victorian certainty for aesthetics. Fig 6 Sgraffito on the east side of the Science Schools, designed by F W Moody and executed by students of the Art Schools Moody recruited students from the National Art Training School, and formed a team with whom he executed the entire scheme in three years (1871 3). As sgraffito was new to them all, there was a high degree of experimentation. Moody and his students set about the task with ever-evolving mixes and methods of application as they strove to perfect the technique. The Material While historic sgraffito is often based purely on non-hydraulic lime mortars, English sgraffito from the 19 th and 20 th centuries often employed harder mixtures of Portland or selenitic cement 9 and hydraulic lime. 10 Excellent records exist of Moody s original recipes and some of their modifications in John Physick s The Victoria and Albert Museum. It is clear from the account that they were having problems with the lack of adhesion which was possibly due to insufficient wetting, inadequate preparation of back brick substrate and joints, or the expansion of the second black plaster layer. In addition, the V&A records had the reports from a small survey done in 1994 with a localised access tower at the southern end of the façade. While no 35
4 Sgraffito Conservation at the Henry Cole Wing of the Victoria and Albert Museum Figs 7, 8 and 9 Detail of damage to sgraffito façade 36
5 aschb transactions volume 38 for 2015 Fig 10 Detail of damage to sgraffito façade work appears to have been commissioned from these reports, they contain very detailed results of mortar analysis. From these documents, it is clear that Moody started with combinations of Beasleys cement 11, Barra clay, selenitic lime, as well as Portland cement. 12 The mixes for the experimental panels were different at the various floor levels, but the basic recipe was: Coarse undercoat (3/4") 1 part ground selenitic lime to 4 parts rough sand with addition of Plaster of Paris. Adhesion problems resulted in modifying this recipe to 1 part selenitic lime to 2 parts Barra clay and 5 parts coarse sand. Black layer (initially 3/8" but then reduced to 1/4") 1 part selenitic lime, 1.5 parts of black oxide of magnesium and 2 parts Barra clay. Where this layer is red or pink the colouring would probably have been manganese. White layer (1/16" thick) Silver sand, lime and whitening. It was clear that the failure of additional panels was only a matter of time with the anticipated building works. Under Ian Constantinides direction, the first task was to organise the façade into different zones by levels and bays. Then a thorough survey was completed systematically marking with chalk the hollow panels, bulging faces, loss of outer layers, friable sculptural work, corroding iron, old failed resin, structural cracks, and points of water ingress. Each panel was then photographed and the information fed into a report mapping each defect with a prioritised list of instructions for the stonemasons and conservators. Cleaning The cleaning of the brick and terracotta elements of the façade not only removed harmful pollutants and salts, it aesthetically lifted the entire surface. First, all sgraffito was protected with polythene, and cast off sheets were installed to shed rinse water away from the façade. The stone masons then removed the stubborn deposits using a combination of fine chisels, carborundum blocks and cintride abrasive pads. After the mechanical cleaning, the brick dressings were treated with a highly diluted thixotropic gel with a short dwell, and were rinsed thoroughly with steam. The cleaning of terracotta used techniques developed The Conservation Programme Let us strive only to get the best possible work and not be afraid of trouble. Henry Cole, 1866 Condition The close access granted by the scaffold in 2012 confirmed the worst fears for the façade. Perhaps due to the experiments during the sgraffito s execution, the inspection revealed some sections were satisfyingly sound while others displayed huge patches of de-bonded plasterwork and severely eroded reliefs. The location of the 1970 fallen panel was also identified, along with the remains of numerous past emergency repairs with unidentifiable synthetic fillers and embedded rusting metal. Fig 11 Cleaning trials of the sgraffito façade 37
6 Sgraffito Conservation at the Henry Cole Wing of the Victoria and Albert Museum Fig 12 Application of nanolime to the sgraffito panels by Nicola Ashurst on the Exhibition Road frontage. This involves a specialist alkaline paste applied for a short dwell time, which is followed by light duty restoration cleaner, then rinsed thoroughly with steam. The ground level relief stucco was cleaned with nebulous water spray and Jos light wet abrasive techniques. Small cleaning trials on the actual sgraffito were done order to investigate an effective solution for a future programme. This included among other techniques, poultices of ammonium carbonate in a paper pulp thickened by carboxy methyl cellulose. The V&A conservation department also participated with various trials using an Nd:YAG laser, working at 1064nm wavelength. Old and New Stabilisation Techniques As previously stated, the main focus of the project was the stabilisation of the sgraffito panels, which were in various states of risk and composed of different mixes of hard lime and cementitious materials. A traditional approach of grouting and micro-pinning was adopted but it was also decided to look into nanolime, a new technology. Before grouting, the first step in the stabilisation of the façade was to consolidate exposed substrate and secure loose edges of the sgraffito with fillets of hydraulic lime mortar. The cavities behind hollow panels were then flushed with water and ethanol (50:50), which cleared the passages of debris and also gave the conservators information on how and where the liquid travelled. Several considerations were needed when devising a recipe and a system for grouting: shrinkage, hydraulic pressure, setting time, bonding power between the layers, fluidity, suspension of aggregates in the mix, etc. The team identified the most successful grout recipe, which they manually injected with syringes to stabilise the panels. 13 Once the grout had set, the team reinforced the panels with micro carbon fibre pins and a two-part resin. This was carried out to both the grouted areas and hollow panels that would not take grout. The areas were first drilled 14 and the holes masked to protect the surrounding sgraffito from any overspill. The resin was then injected using a syringe to form a localised squeeze pad between the debonding layers. The pins were inserted and driven in with a small mallet and punch, and the heads were clipped off and dressed back with a very fine chisel. Over 5,000 60mm long pins were installed. As the name indicates, nanolime 15 is composed of extremely small particles of calcium hydroxide, which are disbursed in alcohol. These particles are carried into the stone or plaster by the alcohol, which evaporates, and the calcium hydroxide converts into CaCO3 in a way similar to traditional lime mortars by reaction with atmospheric carbon dioxide. There are many theoretical advantages: 1) it is lime based, so there is no issue of putting any alien materials in Fig 13, 14 Grouting the sgraffito panels 38
7 aschb transactions volume 38 for 2015 Fig 15 A conservator applying a pigmented shelter coat to the sgraffito panels the stone or plaster, 2) it is carried in alcohol, which makes it penetrate further, 3) the particles are so fine that they reach smaller voids and carbonate more quickly, and 4) because fewer applications are needed, the creation of cyclical salt movements is less likely. Originally developed in laboratories in Italy and Germany, nanolime had recently emerged in the conservation world for the consolidation and conservation of historic mortars and stone. In an echo of the past, expertise from Germany was summoned. Ian Constantinides organised a visit by Prof Doctor Gerald Ziegenbalg who was manufacturing nanolime in IBZ-Salzchemie GmbH, a chemical and geochemical consultancy, for advice and suitcases full of various nanolime products. Multiple trials were set up looking at the efficacies of the different products in which the nanolime was dispersed in either ethanol, n-propanol or iso-propanol, as well as in different concentrations (between 5 and 50g/L). The Decision to Restore While the stabilisation of the façade was under way, it was decided to add an element of restoration to the programme which until that point had been limited to emergency work. There was a strong feeling among the consultants and the museum authorities that Moody s original design should be seen by the public. Departing from the classic SPAB approach to conservation with minimum intervention, 16 it was agreed to reinstate the decorative imagery while safely protecting the original plaster work underneath. Additional funds were raised, and a method was devised in consultation with the V&A conservation department. The severely eroded top elevation of the façade was chosen, as the sgraffito design, while lost from afar, could easily be deciphered close up by the incised markings. The first step in this restoration phase was to consolidate the badly weathered surface of the 39
8 Sgraffito Conservation at the Henry Cole Wing of the Victoria and Albert Museum Fig 16 A sgraffito panel before restoration sgraffito panels with nanolime, a process which took numerous trials using the various concentrations of nanolime in different solvents and with a variety of pre-wetting methods. Once satisfied with the effects of consolidation and the avoidance of white haze, a milky film that results from the nanolime particles being redeposited on the surface, the original colours of the sgraffito were identified. Shelter coats composed of lime putty, super fine stone dusts, pigments and biocide were then mixed accordingly by Rose of Jericho. A small amount of casein and a primal acrylic emulsion were also added to increase the shelter coats longevity when exposed to the elements. DBR conservators delicately applied the two tones with appropriately pigmented shelter coats. These freshly restored panels were regularly misted with water, and protected from the strong winds and summer heat with perforated polythene screens. Conclusion If... our past masters of the arts and crafts have had the power to free, arouse, dilate by their simple record of hand and soul, we also should be able to bring forth new achievement from old method, and to suggest life and express ideas which sway the latter years of our own century. Heywood Sumner, 1892 After the completion of the Exhibition Road building project in 2016, the sgraffito façade of the Fig 17 The restored panel Henry Cole Wing will be visible to the public for the first time since its completion in Hopefully the restored panels will, as in Sumner s quote, free, arouse, dilate an audience who have been drawn to the V&A by their love of design and innovation in craft and science. As many cases have shown, the rare examples of British sgraffito 18 are often neglected, lost to decay, or obliterated by coats of overpaint. Perhaps the results of this project will encourage a revival of interest and new programmes of conservation and statutory protection will result. Acknowledgements This paper was based on the lecture given to ASCHB by Adrian Attwood of DBR London Limited on 19 November It has been written in memory of the remarkable, and much missed, Ian Constantinides ( ). Adrian Attwood is Executive Director of DBR Limited, which encompasses all four DBR Divisions, London, Southern, Conservation and Leadwork. Adrian has a BSc (Hons) in Building Management and a Post Graduate Diploma in Building Conservation. Kimberly Reczek is Head Conservator at DBR Conservation, with a BA in Conservation from City & Guilds Art School, and a BA Honours from Brown University in Politics and International Law. 40
9 aschb transactions volume 38 for 2015 Fig 18 A view of the sgraffito façade of the Henry Cole Wing from the east roof of the Madejski Courtyard Fig 19 Detail of sgraffito façade of the Henry Cole Wing at the V&A 41
10 Sgraffito Conservation at the Henry Cole Wing of the Victoria and Albert Museum Fig 20 Detail of sgraffito façade of the Henry Cole Wing at the V&A All images are copyright Adrian Attwood unless otherwise indicated below: Fig 2 Diagram of sgraffito layers by Kimberly Reczek, 2016 Fig 3 Andrzej Otrębski, 2012, wiki/sgraffito. This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. Fig 4 st-agathas-and-the-artist-heywood-sumner/ Fig 5 This file is licensed under the Creative Commons Attribution 2.0 Generic license. Fig 6 Copyright Victoria and Albert Museum, London, Figs 19 and 20 Ian Constantinides, 2012 References Bankart, George, The Art of the Plasterer, Routledge, 2015 Chilvers, Ian, The Oxford Dictionary of Art, Oxford University Press, USA, 2004 Cole, A S, On the Art of Sgraffito Decoration, Royal Institute of British Architects, Transactions, 17 March 1873, p129 Davis, John R, The Victorians and Germany Fig 21 The late Ian Constantinides English Heritage, Principles of Repair, English Heritage, London, 1993 English Heritage, Practical Building Conservation: Mortars, Renders and Plasters, 2012 Ettlinger, L D, On Science, Industry and Art: Some theories of Gottfried Semper, The Architectural Review, volume 136, July 1964, pp57 60, Lamb, Jane, Scratching the Surface : An Introduction to Sgraffito and its Conservation in England, Journal of Architectural Conservation, 5:1, pp43 58, 1999 Mitchell, C F, Mitchell s Building Construction, Batsford, London, p9, 1912 Physick, John, Victoria and Albert Museum: the History of its Building, London, 1982 Sumner, Heywood, Sgraffito Work, The Decorator and Furnisher, Volume 20, May , pp50 51 Turner, J (ed), Dictionary of Art: Volume 10, Groves, London, p740, 1966 Vasari, G, On Technique, Dover Publications, New York, pp298 99, 1960 Welht, Kurt, The Materials and Techniques of Painting Hardcover, Ursus Dix (translator) P , June
11 aschb transactions volume 38 for Vasari, G, On Technique, Dover Publications, New York (1960), pp Painters... take lime mixed with sand in the usual fashion and tinge it by means of burnt straw to a tint of a medium color inclining to pearl grey, a little more towards the dark than the middle tint, and with this they plaster the façade. That done and the façade smoothed, they give it a coat of white all over with the white lime of travertine and then dust over the cartoons, or else draw directly that which they wish to execute. Afterwards pressing upon it with an iron stylus they trace the contours and draw lines on the cement, which, because there is a black substance underneath, shows all the scratches of the tool as marks of drawing. It is customary too to scrape away the white in the backgrounds, and then to prepare a water color tint, darkish and very watery, and with that reinforce the darks, as one would do on paper; this seen at a distance is most effective. But if there be grotesques or leafage in the design, cast shadows are painted on the background by means of that water color. This is the work that the painters have called sgraffito, on account of its being scratched by the iron instrument. 2. Sumner, Heywood, Sgraffito Work, The Decorator and Furnisher, Volume 20, May , p50 3. Sumner, p51 4. There was much sgraffito in the king s palace called Nonesuch, at Hampton Court, and in other places, where it was executed on the common parge of the native workmen, Bankart, G, p39 5. Henry Cole drove the vision of the V&A, from its inception after the Great Exhibition in 1851 until his retirement in Often rechristened, few museums in the world can have had as many names as the V&A in the first 50 years of its existence. It was initially known as the Museum of Manufactures. 7. L D Ettlinger, On Science, Industry and Art: some Theories of Gottfried Semper, in The Architectural Review, vol 136, July 1964, pp57 60, 9. Selenitic lime was an invention of General Scott, the architect of the Science Schools. It was made by adding to the limes of the lias formation, best for the purpose, or to the magnesian limestones or any lime possessing hydraulic properties, a small proportion of calcium sulphate in the form of plaster of Paris, mechanically mixed and ground with lime, Mitchell, CF, p9 10. Historic England, Practical Building Conservation: Mortars, Renders and Plasters, A type of Roman cement containing hydraulic lime 12. Portland cement, patented in 1824, which in its modern form was manufactured from the mid-19 th century. Portland cement is mainly a combination of tri- and dicalcium silicates, with lesser amounts of calcium aluminates and ferroaluminates, which become active when mixed with water. 13. Our recipe was 1½ parts NHL 5, 1½ parts of finely ground red brick dust, ¼ parts PFA, ¼ parts finely crushed chalk, plus an addition of Calosil E25 for good measure. 14. The location of the holes was, where possible, drilled into carved recesses of the design. 15. The particles have sizes ranging between 50 and 250nm, or a millionth of a millimetre. 16. The recognised approach of the Society for the Protection of Ancient Buildings is to intervene as little as possible with the original fabric Lamb, Jane (1999) Scratching the Surface : An Introduction to Sgraffito and its Conservation in England, Journal of Architectural Conservation, 5:1, pp Semper was also recruited by Cole to design the architectural plans of the South Kensington complex for the Great Exhibition. 43
MASONRY RESTORATION Lime Putty Mortar Repointing Guide
1.0 Preparation for Lime Putty Mortar Pointing 1.1 Tools & Approach A. Grinding - When used in a controlled way, angle grinders with diamond-impregnated metal blades with a maximum 1/8-inch-thickness and
More informationCORROSION ENGINEERING RESIN-BASED POLYMER CONCRETES AND GROUTS
AN ERGONARMOR COMPANY TECHNICAL INFORMATION SPECIFICATION FOR INSTALLATION 07/11 SUPERSEDES 04/00 PAGE 1 OF 6 CORROSION ENGINEERING RESIN-BASED POLYMER CONCRETES AND GROUTS 1. SCOPE 1.1 This specification
More informationA GUIDE TO CHOOSING THE RIGHT LIME-BASED PRODUCTS FOR RESTORING MASONRY
A GUIDE TO CHOOSING THE RIGHT LIME-BASED PRODUCTS FOR RESTORING MASONRY Mape-Antique Range A guide to choosing the right LIME-based products and systems for restoring masonry To meet the latest requirements
More informationVarious methods are utilised to remove the pebbledash itself once it has been removed the brick is brought to an even surface.
Pebbledash Removal MAHONBrickwork The removal of pebbledash is often a cause of concern and confusion for the homeowner; a typical view is that it cannot be removed without irreversibly damaging the brickwork.
More informationImproving the flood resistance of your home. Advice sheet 4: Flood-resilient walls.
Improving the flood resistance of your home Advice sheet 4: Flood-resilient walls. This sheet provides guidance on identifying different types of wall, and reducing the flow of floodwater through them
More informationStone and Masonry Restoration
Stone and Masonry Restoration with Remmers Systems Cleaning Equipment Cleaning Chemicals Consolidation and Strengthening Restoration and Pointing Preservation and Conservation Stone and Masonry Restoration
More informationBEST PRACTICE GUIDE. Fibrelime Premixed Universal Plaster and Render
BEST PRACTICE GUIDE Fibrelime Premixed Universal Plaster and Render Contents: Fibrelime description Fibrelime suitability Preparation before application Application Aftercare Painting General Recommended
More informationWhite rust on galvanized and galvanized pre-painted steel. Technical Information
Technical Information White rust on galvanised steel Prevention It is easier to prevent white rust than to cure it! Reasonable precautions to protect steel during both transport and storage can considerably
More informationSEE HOW TO MAKE LIME PLASTER WHY USE LIME? PATTI STOUTER, BUILD SIMPLE INC. FEBRUARY 2013
SEE HOW TO MAKE LIME PLASTER PATTI STOUTER, BUILD SIMPLE INC. FEBRUARY 2013 WHY USE LIME? Lime plaster forms a light, clean, and durable surface that is resistant to weather and mold. A thin layer attaches
More informationSaint Gobain Gyproc India Ltd. (Formerly India Gypsum Ltd.)
Saint Gobain Gyproc India Ltd. (Formerly India Gypsum Ltd.) Gyproc Plasters The cracks in cement sand plaster are an inherent feature which cannot be completely prevented but can only be controlled and
More informationLAYING BLOCK AND BRICK
LAYING BLOCK AND BRICK Products highlighted in this section: SAKRETE Type N Mortar Mix SAKRETE Type S Mortar Mix Brick And Block Laying Basics The first step in building a brick or block wall is to construct
More informationTechnical Advice Note
Technical Advice Note Topic: Specifications for and use of traditional wet dash lime harling Reference Number: TAN1 When to harl Prior to about 1930, virtually all harling was wet dash and where harling
More informationConcrete Repair and Protection
Concrete Repair and Protection with Remmers Systems Cleaning Equipment Cleaning Chemicals Corrosion Inhibitors Repair and Re-profiling Mortars Protective Impregnations and Coatings Repair and Protection
More informationBaumit Renders for Porotherm Masonry. Application Guidelines. n Light and easy application n Tried and tested
Renders for Porotherm Masonry Application Guidelines n Light and easy application n Tried and tested Porotherm is a Wienerberger Group brand Ideas with a future Renders for Porotherm Masonry International
More informationRepointing Stone and Brick
TECHNICAL NOTE No. 37 April 1990 Updated January 2006 Repointing Stone and Brick (FORMERLY REPOINTING STONEWORK) 1. Historical Note Repointing of stone or brick walls is often carried out in conjunction
More informationFORLORN SOLDIER CONDITION ASSESSMENT & TRETMENT PROPOSAL
February, 2013 FORLORN SOLDIER CONDITION ASSESSMENT & TRETMENT PROPOSAL Submitted To: Submitted By: Francis Miller, Conservator 19 Lansdowne Avenue Hamden, CT 06517 Office: 203-248-2530 Cell: 203-506-6846
More informationAcrylic Coatings: The Perfect Stucco Finish
Acrylic Coatings: The Perfect Stucco Finish By Larry Miller and Joe Miller Whether a stucco surface is new or old, there are many different finish coatings in today s marketplace that are supposedly right
More informationOffice presentation ProDenkmal
Office Bamberg / Laboratory Obere Königstr. 15 96052 Bamberg phone: +49 (0)951-208 290 8 fax: +49 (0)951-208 290 9 Office Berlin Geschwister-Scholl-Str. 5 10117 Berlin phone: 030-280 930-0 fax: 030-280
More informationVC 104+ Rigid Grade / Rigid Grade Imagine VC 104 Rigid Grade Commercial Customised
Page 1 of 6 instructions VC 104+ Rigid Grade / VC 104+ Rigid Grade Imagine / (for the rest of this document referred to as VC 104) can be applied to new and used trucks and trailers with painted rigid
More informationENGINEERED QUARTZ STONE
ENGINEERED 2 QUARTZ STONE 18 GOOD INDUSTRY PRACTICES 2 ENGINEERED QUARTZ STONE Natural stones, especially granite, have been used for flooring and countertop material in high-end homes for its beauty and
More informationStone Developments. Caring for Irish Blue Limestone Products. Irish Blue Limestone Maintenance Guide
Stone Developments Irish Blue Limestone Maintenance Guide Caring for Irish Blue Limestone Products As an naturally occurring material, blue limestone is ideally suited to withstand environmental stresses,
More informationConservation in Tendring. Listed Buildings. Plaster Work and Renders
Conservation in Tendring Listed Buildings Plaster Work and Renders 1 This advice is provided to guide those preparing applications for planning permission and/or Listed Building Consent or considering
More informationSt. Joseph s Apache Mission Restoration Project
St. Joseph s Apache Mission Restoration Project illustrated Progress Report: Spring 2000 The south transept of St. Joseph s Apache Mission. This area has some of the most severe interior deterioration.
More informationI ve always had a great passion. Double-Walled Vessels. Studio Ceramics. by Hiroe Hanazono
Double-Walled Vessels by Hiroe Hanazono Double-walled vessels cast from original molds, sprayed glazes, fired to cone 6. I ve always had a great passion for food cooking, eating, setting the table, and
More informationThe AQUAFIN Approach to Concrete Repair
Concrete Repair Building Product Systems Waterproofing & Concrete Restoration Decorative Coatings Moisture Vapor Remediation & Flooring Injection Grouting The AQUAFIN Approach to Concrete Repair www.aquafin.net
More informationDurability of aluminium
Kalzip Durability of aluminium Technical Information Durability of aluminium General All building materials are eventually degraded by weathering, corrosion, rot and decay. Aluminium's natural ability
More informationSECTION 623 CONCRETE BONDING COMPOUND, EPOXY MORTAR AND EPOXY POLYMER CONCRETE OVERLAY SECTION 623.10 CONCRETE BONDING COMPOUND.
SECTION 623 CONCRETE BONDING COMPOUND, EPOXY MORTAR AND EPOXY POLYMER CONCRETE OVERLAY SECTION 623.10 CONCRETE BONDING COMPOUND. 623.10.1 Description. This work shall consist of preparing the surface,
More informationA City s Smoke and Soot, Chicago Daily Tribune; August 18, 1888
What damage does the smoke of Chicago do to the architectural interests of the city? It does incalculable damage, both from an artistic and financial standpoint. What chance has any light color in Chicago?
More informationkalox-pool draft 231 repairing refurbishing and finishing KALOX-POOL Waterproof cement-based mortar for protecting and finishing concrete.
kalox-pool draft 231 KALOX-POOL Waterproof cement-based mortar for protecting and finishing concrete. repairing refurbishing and finishing 8-30 C Trowel / Spray 4 mm kalox-pool EN 1504-2 MAIN FEATURES
More informationK2 STONE NATURAL VENEER
INTRODUCTION WHAT IS K2 NATURAL THINSTONE VENEER? Natural K2 Stone veneer is real stone, cut 1 inch thick, making it light enough to be installed as a veneer. Sometimes referred to as thin veneer, thin
More informationProfiles for floors of same height Cerfix Projoint
PROFILPAS S.P.A. VIA EINSTEIN, 38 35010 CADONEGHE (PADOVA) ITALY TEL. +39 (0)49 8878411 +39 (0)49 8878412 FAX. +39 (0)49-706692 EMAIL: INFO@PROFILPAS.COM s for floors of same height Cerfix Projoint Application
More informationMold Preventing I nterior System
interior insulation and renovation boards A system of components that have been designed to work perfectly together to repair damage caused by mold. The system consists of boards, insulation wedges, reveal
More informationFig. 17. Casa del Frutteto. Sampling areas and colour code.
Fig. 17. Casa del Frutteto. Sampling areas and colour code. 28 I 9, 5 Casa del Frutteto consistent phase of 3 rd style decoration of high quality characterises rooms 10, 11 and 12. The atrium (2) however
More informationThe history of brick in Scotland Signs of deterioration in brickwork Causes of deterioration Repair and maintenance of brick structures
Repairing brickwork Introduction Bricks can be defined as small rectangular blocks of fired clay. They come in a variety of sizes, shapes and colours. They also vary in age and quality. A large number
More informationGuide. to Common Brick Staining. in New Construction. www.prosoco.com. improving the appearance and performance of buildings
Guide to Common Brick Staining in New Construction www.prosoco.com improving the appearance and performance of buildings Which stains invited themselves to your projects? Here s a rogues gallery of masonry
More informationWATERPROOFING OF WET ROOMS
WATERPROOFING OF WET ROOMS Waterproofing under tiles For longterm enjoyment of a wetroom area a complete and resistant waterproofing system is an important precondition. Most tiles are by themselves waterproof
More informationCustomer Services - 5, rue René Panhard - 72021 LE MANS Cédex 2 FRANCE Tel.: (+33) 02 43 83 83 00 - p.ball@colart.fr
Customer Services - 5, rue René Panhard - 72021 LE MANS Cédex 2 FRANCE Tel.: (+33) 02 43 83 83 00 - p.ball@colart.fr Acrylic paint is a means of expression that lets you produce a wide variety of pictorial
More informationMinor Cracks in Horizontal Surfaces
Cracks, chips and broken or flaking areas in concrete are not only unsightly, they can lead to further deterioration of the surface. The result is a costly replacement project as opposed to a simple repair.
More informationELASTOCEM. Technical features. Applications. Two-component flexible, waterproofing and protective cementitious grout.
Two-component flexible, waterproofing and protective cementitious grout. 1504-2 PI-MC-IR Technical features Two-component grout, based on cements, selected aggregates, special additives and synthetic polymers
More informationChapter. Restoration of Damaged Structures
5 Chapter Restoration of Damaged Structures Bringing back a damaged structure to its pre-earthquake state and original strength is called restoration. This is the first step of building rehabilitation.
More informationPRESENTATION ON REPAIR AND REHABILITATION OF BUILDINGS DAMAGED IN EARTHQUAKE. By H P Gupta & D K Gupta
PRESENTATION ON REPAIR AND REHABILITATION OF BUILDINGS DAMAGED IN EARTHQUAKE By H P Gupta & D K Gupta DIFFERENT TYPES OF DAMAGES 1.Minor cracks 0.5 to 5 mm wide in load or non-load bearing walls 2.Major
More informationInspired Stitch: A Creative Journey
Inspired Stitch: A Creative Journey Design and Stitch from Photographs Gwen Hedley For many years I have been inspired by the shores of Dungeness in Kent. My creative journeys have always begun by spending
More informationSeptember 2014. Joint
September 2014 Joint appearance and mortar use 2 Mortar Joints This paper outlines some of the background, composition and use of masonry mortars, with particular reference to those used for the construction
More informationWaterproofing System for Wastewater Tanks in Petrochemical Industries and Refineries
Waterproofing System for Wastewater Tanks in Petrochemical Industries and Refineries Introduction Wastewater of petrochemical industries and refineries contains high amounts of emulsified aliphatic or
More informationThe Guide To Waterproofing An Existing Basement
The Guide To Waterproofing An Existing Basement John Newton & Company is the leading independent supplier of basement waterproofing and damp proofing solutions in the UK. Newton System 500 is a maintainable
More informationPAINT REMOVAL SYSTEM PAINT REMOVAL SPECIFICATION SAFE WORK METHOD STATEMENT FOR LEAD PAINT REMOVAL
PAINT REMOVAL SYSTEM PAINT REMOVAL SPECIFICATION SAFE WORK METHOD STATEMENT FOR LEAD PAINT REMOVAL CONTENTS: 1.0 AWARENESS AND PRECAUTION 2.0 TEST SAMPLING & REMOVAL EVALUATION 3.0 SITE EVALUATION 4.0
More informationConstruction. 3-part thixotropic epoxy patching mortar. Product Description. Tests
Product Data Sheet Edition 05/12/2014 Identification no: 020204030010000044 Sikadur -41 CF Rapid 3-part thixotropic epoxy patching mortar Construction Product Description Uses Characteristics / Advantages
More informationCastle Conservation Range Preserving Britain s Heritage
Uniclass L623 CI/SfB Yq1 EPIC F2121 Feb 08 Castle Conservation Range Preserving Britain s Heritage St Pancras Station, London (Natural Hydraulic Lime 3,5 & Ketton Freestone). Castle Conservation Range
More informationSection 04810 EXTERIOR STONE VENEER Full Mortar
Full Mortar PART 1 GENERAL 1.1 SUMMARY A. Section includes: 1. Portland cement mortar bed 2. Stone Veneer 3. Expansion and control joints. 4. Portland cement and hydraulic mortar and grout. 5. Sealer and
More informationHungarian Academy of Fine Arts Doctoral Course Programme. EXAMINATION AND CONSERVATION POSSIBILITIES OF 16-17 th CENTURY PAINTED PAPER-BASED OBJECTS
Hungarian Academy of Fine Arts Doctoral Course Programme EXAMINATION AND CONSERVATION POSSIBILITIES OF 16-17 th CENTURY PAINTED PAPER-BASED OBJECTS DLA THESIS Katalin Orosz 2008 Supervisor: Dr. Márta Járó
More informationBLACK JACK ALL WEATHER ROOF COATING
PAGE: 1 of 6 PRINT DATE: 16/09/2004 BLACK JACK ALL WEATHER ROOF COATING DESCRIPTION BLACK JACK ALL WEATHER ROOF COATING is a solvent based, full bodied black brushable compound with added fibres for reinforcement.
More informationELECTRIC PERISTALTIC MORTAR POINTING PUMP
ELECTRIC PERISTALTIC MORTAR POINTING PUMP pointing gun & control valve ACF405 PERISTALTIC PuMP hopper feed roller & tube pump for refurbishment & repair trades heritage & conservation bridge & underground
More informationUNDERSTANDING CULTURAL VOCABULARY KNOWLEDGE Children will learn to Children will learn that Children will learn to
Year 3 - DRAWING Use a sketchbook to record their ideas, observations and imaginative drawings using an increasing range of marks, lines and patterns. Make choices from a range of different tools and surfaces.
More informationExternal Paint Finshes & Colours
External Paint Finshes & Colours SPG BH note 2 What is an SPG? A Supplementary Planning Guidance Note (SPG) is one of the material considerations that can be taken into account when determining a planning
More informationHeritage Stone Restorations. Tender Restoration Proposal. For. James Martin Statue. Gawler
Heritage Stone Restorations Tender Restoration Proposal For James Martin Statue Gawler 28 th November 2013 Town of Gawler, Att. Tony Haynes, 89 Murray Street, Gawler, SA 5118. Dear Tony, RE: James Martin
More informationDevelopment of conservation compatible new materials for envelope retrofitting of historic buildings
Development of conservation compatible new materials for envelope retrofitting of historic buildings Carsten Hermann, Senior Technical Officer, Historic Scotland Glasgow is one of seven EFFESUS case study
More informationHeritage Statement 22 Royal Crescent London W11 4SL
15 th June 2015 Tel: 020 8905 7505 Fax: 020 8205 5374 Symal House, 423 Edgware Road, London, NW9 0HU Heritage Statement London W11 4SL 1.0 INTRODUCTION 2.0 STATUTORY PROTECTION 3.0 BUILDING DESCRIPTION
More informationGarver Feed Mill Condition Evaluation
Garver Feed Mill Condition Evaluation OUTLINE Brick masonry overview Condition assessment & methodology Project overview Existing conditions Stabilization Probable costs Summary BRICK MASONRY OVERVIEW
More informationFIXIT.CH. Aerogel Insulating Plaster System. Handling Guidelines. Easy to use. Mineral based. 0.028 W/mK BAUSTOFFE MIT SYSTEM
FIXIT.CH Aerogel Insulating Plaster System Handling Guidelines BAUSTOFFE MIT SYSTEM λ 0.028 W/mK Mineral based Easy to use Efficient building insulation using space technology Aerogel high-performance
More informationSika FerroGard -903 + The Unique Multi-Functional Surface Applied Corrosion Inhibitor for Reinforced Concrete. Innovation & Consistency.
FerroGard -903 + The Unique Multi-Functional Surface Applied Corrosion Inhibitor for Reinforced Concrete Innovation & Consistency since 1910 Corrosion in Reinforced Concrete Structures Aggressive Influences
More informationSURFACE PREPARATION STANDARDS
SURFACE PREPARATION STANDARDS TE SWEDIS STANDARDS INSTITUTION: Surface Preparations Standards for Painting Steel Surface (SIS 055900-1967) has gained prominence and acceptance and has served as a model
More informationRetail Price List 2015
Retail Price List 2015 SETTING MORTARS SERVOFLEX TRIO SUPER TEC Flexible Full Transfer Thin Set and Medium Bed Mortar 20 KG Flexible, cement-based thin set and medium bed mortar with polymer additive for
More informationPART E SPECIFICATIONS
PART E SPECIFICATIONS Page 1 of 5 PART E - SPECIFICATIONS GENERAL E1. APPLICABLE SPECIFICATIONS, STANDARD DETAILS AND DRAWINGS E1.1 The City of Winnipeg Works and Operations Division Standard Construction
More informationGUIDELINES FOR REHABILITATION OF TRADITIONAL COMMERCIAL BUILDINGS DESIGN GUIDELINES
GUIDELINES FOR REHABILITATION OF TRADITIONAL COMMERCIAL BUILDINGS DESIGN GUIDELINES PAGE 13 DESIGN GUIDELINES The following design guidelines have been developed to guide appropriate design in the Downtown
More informationTechnical Data Sheet Art. No. 1810. Kiesol. applications. Shelf-life. rate depending on application. Characteristic data of the product
Page 1 of 5 Technical Data Sheet Art. No. 1810 Kiesol Deep protection silicification for waterproofing and refurbishing old and new buildings in the Kiesol System according to WTA Code of Practice 4-4-04/D
More informationorizontal BarrierS PATENTED SYSTEM
orizontal BarrierS Against rising damp IN MASONRY PATENTED SYSTEM Why is rising damp a concern for building owners? Rising damp is among the most frequently encountered causes of damage to masonry walls.
More informationTHE USE OF LIME MORTAR IN HISTORIC STRUCTURES. Technical Conservation Note 2 April 2004
THE USE OF LIME MORTAR IN HISTORIC STRUCTURES Technical Conservation Note 2 April 2004 1. Introduction The making of quicklime by heating limestone in kilns, and preparing mortars, plasters and whitewash
More informationWetroom Panel (Concealed Fix)
Wetroom Panel (Concealed Fix) Instruction Manual DXFCPCF Important Information Toughened glass is completely safe for use in our shower enclosures and bath screens; providing our products are installed
More information3 Masonry and Manufactured Stone (Interior and Exterior)
3 Masonry and Manufactured Stone (Interior and Exterior) 3.1 Efflorescence (a whitish crystalline powder) is present on masonry surfaces. Efflorescence commonly occurs on masonry surfaces. This is not
More informationMIROX 3G ENVIRONMENTALLY- FRIENDLY MIRROR
MIROX 3G ENVIRONMENTALLY- FRIENDLY MIRROR One step closer to perfection MIROX 3G is a unique product and AGC Flat Glass Europe holds the exclusive patent for the manufacturing process. It is the third
More informationPainting the Exterior of Listed and Unlisted Buildings in Conservation Areas Planning customer guidelines
Painting the Exterior of Listed and Unlisted Buildings in Conservation Areas Planning customer guidelines These planning guidelines set out what we look for when someone wants to carry out external paint
More informationRENOVATION AND RESTORATION OF OLD BUILDINGS IN SRI LANKA
234 Abstract RENOVATION AND RESTORATION OF OLD BUILDINGS IN SRI LANKA Eng. Nandana Abeysuriya B.Sc. Eng (Hons), M.Eng.,C.Eng.,FIE(SL), Int PE(SL) 1A, Ananda Road, Melder Place, Nugegoda, Sri Lanka. Tel/Fax:
More informationALKALI-RESISTANT WATERPROOFING AND DECOUPLING MEMBRANE UNDER CERAMIC TILES AND NATURAL STONE
Mapeguard WP System ALKALI-RESISTANT WATERPROOFING AND DECOUPLING MEMBRANE UNDER CERAMIC TILES AND NATURAL STONE Products used: Mapeguard WP 200, Mapeguard ST, Mapeguard IC, Mapeguard EC, Mapeguard WP
More informationPictorial Surface Preparation Standards For Painting Steel Surfaces
Pictorial Surface Preparation Standards For Painting Steel Surfaces Printed by Manchester Contents Contents 3 Foreword 4 Scope 5 Rust grades 6 Preparation grades. Scraping and wire-brushing 6 Preparation
More informationWATERPROOFING FOR CONCRETE STRUCTURES
MANUAL OF CONTRACT DOCUMENTS FOR ROAD WORKS VOLUME 1 SPECIFICATION FOR ROAD WORKS SERIES 2000 WATERPROOFING FOR CONCRETE STRUCTURES Contents Clause Title Page 2001 General 2 2002 Protection of Bridge Deck
More informationCONSTRUCTION COSTS INDEX FOR RESIDENTIAL BUILDINGS, SLOVENIA
CONSTRUCTION COSTS INDEX FOR RESIDENTIAL BUILDINGS, SLOVENIA METHODOLOGICAL EXPLANATIONS PURPOSE OF THE STATISTICAL SURVEY LEGAL BASIS FOR THE SURVEY OBSERVATION UNITS COVERAGE SOURCES AND METHODS OF DATA
More informationShower Walls and Tub Surrounds
Reverso en español TEC Skill Set How-To Project Guide Shower Walls and Tub Surrounds 3 Steps to a Beautiful Tile Surface! 1. Prepare the surface 2. Set the tile 3. Grout and caulk H.B. Fuller Construction
More informationSalt Weathering of Masonry Walls The Venice Experience. By M. Collepardi, S. Collepardi and R. Troli
Salt Weathering of Masonry Walls The Venice Experience By M. Collepardi, S. Collepardi and R. Troli Synopsis: All the buildings in Venice insist on foundation immersed in sea water and then are permanently
More information201 WATER STREET FORWARDERS MUSEUM AND VISITORS INFORMATION CENTRE
STRUCTURAL INSPECTION REPORT DRAFT 201 WATER STREET FORWARDERS MUSEUM AND VISITORS INFORMATION CENTRE TOWN OF PRESCOTT Date: November 2013 GENIVAR No.: 131-20617-00 2611 Queensview Drive, Suite 300, Ottawa,
More informationColour Scheme Guide For use on historic shop fronts and listed buildings
Colour Scheme Guide For use on historic shop fronts and listed buildings Alnwick District Council We endeavour to make our services accessible to everyone. This text of this leaflet can be made available
More informationDespite spending many thousands of pounds on a beautiful new conservatory, it is a sad fact that many suffer from intolerable heat and glare problems
Despite spending many thousands of pounds on a beautiful new conservatory, it is a sad fact that many suffer from intolerable heat and glare problems during the summer making them virtually unusable for
More informationTHE BRITISH MUSEUM. Department of Conservation CONSERVATION RESEARCH GROUP. Report No 1999/6 Assessment of Vibration Damage Levels. D.
Report No 1999/6 THE BRITISH MUSEUM Department of Conservation CONSERVATION RESEARCH GROUP Report No 1999/6 Assessment of Vibration Damage Levels D. Thickett Abstract Several instances of damage occurring
More informationRAW INSTALLATION GUIDE
SUGGESTIONS / FACTORS TO BE TAKEN INTO CONSIDERATION BIANCO CARRARA The small holes, commonly referred to as "tarolo", are a natural characteristic of bianco carrara. In the Raw finish, this characteristic
More informationARCHITECTURE 101. This is a reading is designed to give architectural empowerment and increases your comfort using building vocabulary.
ARCHITECTURE 101 How many times have you tried to describe a building to someone and ended up saying, And it has one of those curly thingamajigs under the eave? This is a reading is designed to give architectural
More informationChoosing the Right Mortar for the Job
Choosing the Right Mortar for the Job by Michael Schuller, P.E. President, Atkinson-Noland & Associates 2619 Spruce St. Boulder, CO 80302 www.ana-usa.com Modern material technology has given us strong
More informationStandard Method for Sampling and Analysis of. of Chlorine Containing Bleaches. Soap Products
GUIDE SPECIFICATION FOR GENERAL CLEANING AND REMOVAL OF MOLD AND MILDEW ON EXTERIOR INSULATED AND FINISH SYSTEMS AND STUCCO DIVISION 07240 and DIVISION 09240 8/05 PART I: GENERAL 1.01 DESCRIPTION AND SCOPE
More information2006 ICRI Baltimore Washington Chapter Outstanding Repair Project Award George Washington University Ross Hall Façade Restoration
2006 ICRI Baltimore Washington Chapter Outstanding Repair Project Award George Washington University Ross Hall Façade Restoration 2006 ICRI Baltimore Washington Chapter Outstanding Repair Project Award
More informationCavity Drain R20 is manufactured from1.0mm thick black high density polyethylene with studs approximately 20mm high.
CI/SfB Tn6 L6813 September 2013 RIW CAVITY DRAIN R20 R20 is manufactured from1.0mm thick black high density polyethylene with studs approximately 20mm high. Other systems are available for specific uses,
More informationOLD BRICK ORIGINALS KILN-FIRED THIN BRICK VENEER Installation Guide. GeneralShale.com
OLD BRICK ORIGINALS KILN-FIRED THIN BRICK VENEER Installation Guide GeneralShale.com OLD BRICK ORIGINALS THIN BRICK VENEER Page 2 INTRODUCTION Check local building codes for proper installation guidelines
More informationSECTION 03 35 43 POLISHED CONCRETE FINISHING
SECTION 03 35 43 POLISHED CONCRETE FINISHING PART 1 - GENERAL 1.01 SUMMARY A. Provide polished concrete finishing system where indicated on drawings, complete. This section includes the following: 1. Concrete
More informationPROJECT TITLE : 2-STOREY RESIDENCE LOCATION : ALONG DAANG HARI,MOLINO.BACOOR,CAVITE OWNER : CUEVASVILLE REALTY
PROJECT TITLE : 2-STOREY RESIDENCE LOCATION : ALONG DAANG HARI,MOLINO.BACOOR,CAVITE OWNER : CUEVASVILLE REALTY GENERAL SPECIFICATIONS These specifications are intended to cover the construction of the
More informationLapping and Polishing Basics
Lapping and Polishing Basics Applications Laboratory Report 54 Lapping and Polishing 1.0: Introduction Lapping and polishing is a process by which material is precisely removed from a workpiece (or specimen)
More informationG4 is browny translucent in colour and is effected by UV light. Therefore it is for internal use unless top coated to protect it from UV light
G4 Damp Seal is a polyurethane that hardens with moisture. It is browny tranclucent in colour. G4 provides a tough, highly durable non-porous seal on most porous materials. Since G4 is hardened by moisture
More informationDL CHEMICALS DECO SNJF PARAFILL PARQUET EXTERIOR TRANSPARENT STRUCTURE
EN DL CHEMICALS DECO SNJF PARAFILL PARQUET EXTERIOR TRANSPARENT STRUCTURE QUICKLY REPAINTABLE NON-CRACKING MATT REMAINS MATT EASY TO APPLY A quickly repaintable elastic sealant based on acrylic dispersion.
More informationChapter 2 Basis of design and materials
Chapter 2 Basis of design and materials 2.1 Structural action It is necessary to start a design by deciding on the type and layout of structure to be used. Tentative sizes must be allocated to each structural
More informationWhat is Cement? History Overview of the Cement Manufacturing Process Brief Overview of Kiln Operations Why Burn Wastes?
What is Cement? History Overview of the Cement Manufacturing Process Brief Overview of Kiln Operations Why Burn Wastes? A hydraulic cement made by finely pulverizing the clinker produced by calcining to
More informationGuidelines for Durable Driveways, Carports Patios, Walks, Garage Floors
Guidelines for Durable Driveways, Carports Patios, Walks, Garage Floors The Right Concrete Mix Placing and Finishing Joints Correctly Spaced Curing for Durability "Concrete durability is the ability to
More informationVanishing Lid Trays Construction Methods with Tile or Masonry
1-800-447-2838 Installation Instructions Vanishing Lid Trays Construction Methods with Tile or Masonry Table of Contents 1. Tools and Equipment...1 2. Vanishing Lid Trays...3 2.1 Materials for Finished
More informationKnauf Aquapanel Interior. Tile Backing. Cement board for wet areas. Will not deteriorate in water. Easy to score and snap
Tile Backing Will not deteriorate in water Easy to score and snap Resistant to mould and mildew Knauf Aquapanel Interior Cement board for wet areas Knauf Aquapanel Interior Cement Board Drywall for Wet
More informationConcepts. Products. Service. Lindner Plus Organisation
Concepts Products Service Lindner Plus Organisation Building new solutions. Lindner undertakes major worldwide projects in all areas of interior finishes, insulation technology, industrial services and
More information