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Download Architectural Tiles: Conservation and Restoration by Lesley Durbin PDF

By Lesley Durbin

Supplying fingers on recommendation for the conservator, Architectural Tiles: Conservation and recovery is a distinct and worthy guide.

Topics coated provide useful tips on conservation and recovery suggestions together with the issues of manufacture, cleansing, substitute or fix and mortars. innovations are illustrated by means of entire case stories, opposed to a heritage of the function of previous architects and architects in old schemes.

* special advisor to the conservation and recovery of architectural tiles
* overseas case reviews offer notion and counsel for most sensible practice
* examine from the author's twenty years adventure within the box

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Extra resources for Architectural Tiles: Conservation and Restoration

Example text

Tile makers used simple equipment, a wooden square former without top or bottom, oversized to allow for shrinkage when the clay dried, placed on a sanded board or table. Wet clay was pushed into the moulds until it was over full, excess clay was stripped away from the top in one move using a small bow-like implement, semicircular strung with a taut wire. The surface was smoothed using a wet straight edged piece of wood slightly bigger than the mould. The wood former was then lifted with the clay inside and turned out onto a sanded board to dry; it is likely that the tiles were stacked in open air sheds or lean-tos, certainly there was ready access by small cats and dogs, footprints are often found on tiles.

All Saint’s Church, Margaret Street, London (1849), is a good example of Minton’s early use of coloured enamel glazes. The upper wall and ceiling colour in the church is achieved with the use of paint. 12 Looking at tile schemes Whereas below dado level and on the floor lively contrast of colour is achieved using tile and stone (Plate 1). Samuel Teulon (1812–73), architect of St Stephen’s Church, Hampstead, was more eclectic in his style and chose Moorish influences, among others, for his designs.

The structure of the clay body used for delftware tiles can itself be the direct cause of conservation problems. Poor mixing results in fault lines and structural weakness in the tile after firing; weaknesses can turn into fractures if the tile is subject to movement or thermal stresses. The body clay is highly porous, making it prone to being friable when exposed to sudden changes in temperature, and at risk from the growth of salt crystals after changes in moisture levels. 10). The formation of salt crystals within the tile body can be a particular problem.

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