Publication: Conservación de esculturas de hormigón: efecto de consolidantes en pastas y morteros de cemento
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2016-09-01
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Universidad Complutense de Madrid
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Abstract
Los primeros vestigios históricos de una construcción en hormigón datan de alrededor de los años 5600 a.C. (yacimiento arqueológico de Lepenski Vir (Serbia)), empleándose hormigones de cemento intermitentemente hasta el siglo XX. En 1824 se patenta el proceso de fabricación del cemento artificial Pórtland, aunque no se considera un material “noble” para la escultura hasta principios del siglo XX, emprendiendo su recorrido de la mano de la arquitectura y dentro de las vanguardias artísticas, donde artistas internacionales experimentan con el material generando nuevas soluciones técnicas y plásticas gracias a su versatilidad y adaptabilidad espacial. Una parte importante del patrimonio escultórico contemporáneo está realizado en mortero u hormigón de cemento Pórtland. A pesar de su supuesta durabilidad, algunos bienes culturales empiezan a mostrar desperfectos, bien por factores intrínsecos vinculados con su ejecución, o bien de carácter extrínseco relativos a su ubicación y mantenimiento. Una de las problemáticas más comunes de estas obras está ligada a la presencia de una armadura de acero que asociada a una excesiva porosidad del mortero favorece la carbonatación de la superficie (con descenso del pH) y el acceso de iones cloruro a esta estructura metálica, potenciando la corrosión del metal y pudiendo derivar en la total desintegración de la obra. Sin embargo, la propuesta y validación de productos con acción consolidante para su intervención, adecuándolos a las recomendaciones internacionales, han sido poco tratadas en la literatura científica, centrada principalmente en la conservación de materiales pétreos naturales...
The first historical traces of a concrete construction date from around 5600 years BC (the archaeological site of Lepenski Vir (Serbia)), being used cement concrete intermittently until the twentieth century. In 1824, the manufacturing process of artificial Portland cement is patented, but it is not considered a "noble" material for sculpture until the early twentieth century, beginning its journey from the hand of architecture and within the avant-garde, when international artists experiment with the material and generate new technique and artistic solutions thanks to its versatility and adaptability to multiple spaces. An important part of the contemporary sculptural heritage is made of mortar or concrete of Portland cement. Despite its supposed durability, some of these cultural goods begin to show damage, either by intrinsic factors related to its execution, or by extrinsic ones concerning its location and maintenance. One of the most common problems of these artworks is linked to the presence of a steel armor associated to an excessive porosity of the mortar that favors the surface carbonation (with a decrease in pH) and access of chloride ions to this metal structure, enhancing its corrosion process that can lead to the disintegration of the artwork. Nevertheless, the proposal and validation of products with a consolidation effect for their conservation, adapted to international recommendations have been little discussed in the scientific literature, which has mainly focused on the conservation of natural stone materials...
The first historical traces of a concrete construction date from around 5600 years BC (the archaeological site of Lepenski Vir (Serbia)), being used cement concrete intermittently until the twentieth century. In 1824, the manufacturing process of artificial Portland cement is patented, but it is not considered a "noble" material for sculpture until the early twentieth century, beginning its journey from the hand of architecture and within the avant-garde, when international artists experiment with the material and generate new technique and artistic solutions thanks to its versatility and adaptability to multiple spaces. An important part of the contemporary sculptural heritage is made of mortar or concrete of Portland cement. Despite its supposed durability, some of these cultural goods begin to show damage, either by intrinsic factors related to its execution, or by extrinsic ones concerning its location and maintenance. One of the most common problems of these artworks is linked to the presence of a steel armor associated to an excessive porosity of the mortar that favors the surface carbonation (with a decrease in pH) and access of chloride ions to this metal structure, enhancing its corrosion process that can lead to the disintegration of the artwork. Nevertheless, the proposal and validation of products with a consolidation effect for their conservation, adapted to international recommendations have been little discussed in the scientific literature, which has mainly focused on the conservation of natural stone materials...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 30 de octubre de 2015 ; presidente, María Josefa Varas Muriel