That headline is a teensy bit laboured but I couldn’t resist the levels of wordplay available to me. They’re working on a cathedral close to the leaning Tower of Pisa in this video about the latest in stone preservation in Europe.
I have covered the topic of preserving stone monuments before (most recently in my Oct. 21, 2014 posting). The action in this field seems to be taking place mostly in Europe, specifically Italy, although other countries are also quite involved.
Just a few meters from Pisa’s famous Leaning Tower, restorers are defying scorching temperatures to bring back shine to the city’s Cathedral.
Ordinary restoration techniques like laser are being used on much of the stonework that dates back to the 11th century. But a brand new technique is also being used: a new material made of innovative nanoparticles. The aim is to consolidate the inner structure of the stones. It’s being applied mainly on marble.
A March 7, 2017 item on the Euro News website, which originated the Nanowerk news item, provides more detail,
“Marble has very low porosity, which means we have to use nanometric particles in order to go deep inside the stone, to ensure that the treatment is both efficient while still allowing the stone to breathe,” explains Roberto Cela, civil engineer at Opera Della Primaziale Pisana.
The material developed by the European research team includes calcium carbonate, which is a mix of calcium oxide, water and carbon dioxide.
The nano-particles penetrate the stone cementing its decaying structure.
“It is important that these particles have the same chemical nature as the stones that are being treated, so that the physical and mechanical processes that occur over time don’t lead to the break-up of the stones,” says Dario Paolucci, chemist at the University of Pisa.
Vienna’s St Stephen’s is another of the five cathedrals where the new restoration materials are being tested.
The first challenge for researchers is to determine the mechanical characteristics of the cathedral’s stones. Since there are few original samples to work on, they had to figure out a way of “ageing” samples of stones of similar nature to those originally used.
“We tried different things: we tried freeze storage, we tried salts and acids, and we decided to go for thermal ageing,” explains Matea Ban, material scientist at the University of Technology in Vienna. “So what happens is that we heat the stone at certain temperatures. Minerals inside then expand in certain directions, and when they expand they build up stresses to neighbouring minerals and then they crack, and we need those cracks in order to consolidate them.”
Consolidating materials were then applied on a variety of limestones, sandstones and marble – a selection of the different types of stones that were used to build cathedrals around Europe.
What researchers are looking for are very specific properties.
“First of all, the consolidating material has to be well absorbed by the stone,” says petrologist Johannes Weber of the University of Applied Arts in Vienna. “Then, as it evaporates, it has to settle properly within the stone structure. It should not shrink too much. All materials shrink when drying, including consolidating materials. They should adhere to the particles of the stone but shouldn’t completely obstruct its pores.”
Further tests are underway in cathedrals across Europe in the hope of better protecting our invaluable cultural heritage.
There’s a bit more detail about Nano-Cathedral on the Opera della Primaziale Pisana (O₽A) website (from their Nano-Cathedral project page),
With the meeting of June 3 this year the Nano Cathedral project kicked off, supported by the European Union within the nanotechnology field applied to Horizon 2020 cultural heritage with a fund of about 6.5 million euro.
A total of six monumental buildings will be for three years under the eyes and hands of petrographers, geologists, chemists and restorers of the institutes belonging to the Consortium: five cathedrals have been selected to represent the cultural diversity within Europe from the perspective of developing shared values and transnational identity, and a contemporary monumental building entirely clad in Carrara marble, the Opera House of Oslo.
Purpose: the testing of nanomaterials for the conservation of marble and the outer surfaces of our ‘cathedrals’.
The field of investigation to check degradation, testing new consolidating and protective products is the Cathedral of Pisa together with the Cathedrals of Cologne, Vienna, Ghent and Vitoria.
For the selection of case studies we have crosschecked requirements for their historical and architectural value but also for the different types of construction materials – marble, limestone and sandstone – as well as the relocation of six monumental buildings according to European climates.
The Cathedral of Pisa is the most southern, fully positioned in Mediterranean climate, therefore subject to degradation and very different from those which the weather conditions of the Scandinavian peninsula recorded; all the intermediate climate phases are modulated through Ghent, Vitoria, Cologne and Vienna.
At the conclusion of the three-year project, once the analysis in situ and in the laboratory are completed and all the experiments are tested on each different identified portion in each monumental building, an intervention protocol will be defined in detail in order to identify the mineralogical and petrographic characteristics of stone materials and of their degradation, the assessment of the causes and mechanisms of associated alteration, including interactions with factors of environmental pollution. Then we will be able to identify the most appropriate method of restoration and testing of nanotechnology products for the consolidation and protection of different stone materials.
In 2018 we hope to have new materials to protect and safeguard the ‘skin’ of our historic buildings and monuments for a long time.
Back to my headline and the second piece of wordplay, ‘lift’ as in ‘skin lift’ in that last sentence.
I realize this is a bit off topic but it’s worth taking a look at ORA’s home page,
Gabriele D’Annunzio effectively condenses the wonder and admiration that catch whoever visits the Duomo Square of Pisa.
The Opera della Primaziale Pisana (O₽A) is a non-profit organisation which was established in order to oversee the first works for the construction of the monuments in the Piazza del Duomo, subject to its own charter which includes the protection, promotion and enhancement of its heritage, in order to pass the religious and artistic meaning onto future generations.
«L’Ardea roteò nel cielo di Cristo, sul prato dei Miracoli.»
Gabriele d’Annunzio in Forse che sì forse che no (1910)
If you go to the home page, you can buy tickets to visit the monuments surrounding the square and there are other notices including one for a competition (it’s too late to apply but the details are interesting) to construct four stained glass windows for the Pisa cathedral.