project 2. case study on mosaic above vase in australia (sem 2, 2015/2016)

LECTURER : ASST. PROF. DR. SHAMZANI AFFENDY MOHD DIN

DEPARTMENT OF APPLIED ART & DESIGN

KULLIYYAH OF ARCHITECTURE & ENVIRONMENTAL DESIGN

AAD 2200 CONSERVATION, SEMESTER 2, 2015/2016

NURUL AQILA AHAMAD KAMAL, 1412832

MOSAICAUSTRALIA

CONTENTSMOSAIC

1.0 INTRODUCTION1.1 MOSAIC ------------------------------------------------------------------- 1-3

2.0 CASE STUDY2.1 HISTORY OF AUSTRALIA ---------------------------------------------- 4-5

2.2 CULTURE OF ART -------------------------------------------------------- 6

2.3 MOSAIC IN AUSTRALIA --------------------------------------------- 7-10

3.0 MOTIF CHARACTERIZATION3.1 SIMPLE MOTIF ------------------------------------------------------- 12-14

3.2 MODERATE MOTIF --------------------------------------------------- 15-17

3.3 COMPLEX MOTIF ---------------------------------------------------- 18-20

4.0 MATERIAL ------------------------------------------------------------ 21-23

5.0 METHODS ------------------------------------------------------------ 24-27

6.0 TECHNIQUES ------------------------------------------------------- 28-32

7.0 APPLICATION -------------------------------------------------------- 33-38

8.0 PRESERVATION & CONSERVATION ---------------------39-42

9.0 CONCLUSION ------------------------------------------------------- 43-44

10.O REFERENCE ---------------------------------- ---------------------- 45-46

1.0 INTRODUCTION1.1 MOSAIC

1

1.0 INTRODUCTION

A mosaic pattern is a picture or recurring patternmade up of individual pieces. They tend to make useof small but visible spaces between each piece, creating asemi-broken image.

Traditionally made from bits of glass, stones andshells, mosaics can now be made from any material aslong as the overall aesthetics matches the traditionalstyle.

They are often seen as breath taking floors in villasalthough mosaics can also be seen as focal features onwalls.

Figure 1.1 Red Colour Scheme are

arranged on Mosaic Tiles.

Source: Blanco (2014)

2

1.0 INTRODUCTION

A Tesserae is the plural of ‘tessera’, a name given topiece used in a mosaic.

Originally tesserae were the cubes of stone used inancient classical mosaics, but now the term is used forpieces of any kind of mosaic material, whether they areceramic, stone, pebbles, glass or some other substance.

The earliest mosaics are dated around 3,000 BC andwere found in the ancient land of Mesopotamia,located in the region of modern day Iraq, Kuwait andSyria.

3Typically, early examples of mosaic often depicted religious imagery or were used to decorate the walls and ceilings of

buildings of worship.

Figure 1.2 Depictions Of Fish And

Fishermen Found In The Colorful Floor

Mosaics At The Sixth-century Basilica At

Horvat Beit.

Source: Arcaheology (2009)

2.0 CASE STUDY2.1 HISTORY OF AUSTRALIA2.2 CULTURE OF ART2.3 MOSAIC IN AUSTRALIA

4

2.0 CASE STUDY

Australia is officially known as the Commonwealth of Australia, is an Oceanian country which

comprising the mainland of the Australian continent, the island of Tasmania, and numerous smaller islands.

It is the world's sixth-largest country by total area.

The Aborigines have lived in Australia for over 40,000 years.

Figure 2.1 Flag of Australia

Source: Ian Fieggen (1998)

5

Neighbouring

countries include

Papua New Guinea,

Indonesia and East

Timor to the north;

the Solomon Islands

and Vanuatu to the

north-east; and New

Zealand to the

south-east.Figure 2.2 Maps showing

States of Australia

Source: Facts.co (2007)

2.0 CASE STUDY

Australia, despite the rich artistic traditions of its Indigenous peoples, wasdominated by British art and cultural perceptions for most of the first centuryafter colonisation in the late 1700s.

It is only in the years following World War I that the effect of internationalmodernism begins to appear in Australian art.

The visual arts have a long history in Australia, with evidence of Aboriginal artdating back at least 30,000 years.

6

Australia has produced many notable artists of both Western and Indigenous Australian schools, including the late-19th-century Heidelberg School plein air painters, the Central Australian Hermannsburg School watercolourists, the Western Desert Art Movement

and coeval examples of well-known High modernism and Postmodern art.

2.0 CASE STUDY

7

Figure 2.3 Australian Cave Art In Injaluk, Arnhem Land,

Northern Australia. Produced Over Thousands Of Years.

Source: Steviepinhead (2010)

Figure 2.4 Painting By John Lewin Of

A Platypus In 1808

Source: John Lewin (1808)

Figure 2.5 Aboriginal

Artwork In Australia.

Source: Artlandish (2001)

2.0 CASE STUDY

During the second battle of Gaza, on 17 April 1917, a group of Australian signallers led by

Corporal (later Sergeant) Ernest Lovell-Shore discovered a mosaic that had beenpartially uncovered by Turkish troops, who had built a trench on a mound in the WadiGhuzze near the town of Shellal.

The Australian troops uncovered an extraordinary example of Byzantine art which is nowknown as the Shellal Mosaic. Created in AD 561 - 562 under the reign of theEastern Roman Emperor Justinian.

The Mosaic represents a crucial period when Hellenic pagan culture began tomeld with Christian symbolism. The mosaic however, fascinated people was because itwas discovered in the Holy Land, and Reverend Maitland Woods mistakenly identified thehuman remains found with the Mosaic as being those of St George, the Patron Saint of England.

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SHELLAL MOSAIC

2.0 CASE STUDY

The mosaic covers an area of about 15 ft. by 9 ft.Unfortunately, it is not in a complete state ofpreservation, the passage of year buried having resulted in thedeterioration of certain parts of it.

However, the basic portion of the design is plainlyevident, and much of it is in an excellent state ofpreservation. The basic colour is white, with the design in red,blue and yellow.

The central figure is a cross and is large vase. Theseare encircled by a grapevine pat tern, while on either side a birdresembling a peacock is inlaid.

9

Figure 2.6: Newspaper cut by The Advertiser

(Adelaide, SA : 1931 - 1954)

Source: TROVE, (2012)

2.0 CASE STUDY

10

SHELLAL MOSAIC

Figure 2.7 Shellal Mosaic with peacock depiction,

Source: Mal Booth, (2008)

Figure 2.8 Shellal Mosaic Details


Figure 2.9 The Floor Was

Unearthed Within A Few Feet Of

Their Tent


Figure 2.10 View Of The

Mosaic Floor.


3.0 MOTIF

3.1 SIMPLE MOTIF3.2 MODERATE MOTIF3.3 COMPLEX MOTIF

CHARACTERIZATION

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3.0 MOTIF CHARACTERIZATION

Simple motif usually consist of using the monochromaticcolours in making the mosaic art.

The arrangement are sort by many kind of preferencedesign.

This kind of design usually doesn’t have a story behind.

12


13

Figure 3.1: “Broome”

mosaic coffee table.

Source: Brett Campbell

Mosaics (2014)

The tiles vibrant blues & greens against the red tiles.


14

Figure 3.2: Nebula Chroma Children’s Medical Center.

Source: Sonia King (2008)

The impact of Nebula Chroma intensifies from the unexpected juxtapositions of one piece next to another, interacting in multiple ways: color, scale, texture, reflectivity and so on.

The shifting colours add depth and visual stimulation.


Moderate motif usually using various colours in makingthe mosaic art.

The arrangement are sort by using similar kind ofmaterials such mosaic tiles, marble or glass tiles.

This kind of design usually have a story behind.

15


16

Figure 3.3: “Cane Fire

Season” mosaic mural.


Mosaics (2014)

Sunset from Mooloolaba Beach with colours enhanced by the cane fires burning in the hinterland.


17

Figure 3.4: “Australian

Native Wildflowers ”

mosaic murals.


Mosaics (2014)

This mosaic murals using the theme of Native Australian plants.

The artist using vibrant orange colour to make the image of the flower stand out.


Complex motif usually using various colours and materials inmaking the mosaic art.

The arrangement are sort by using diferent kind of materials suchmosaic tiles, marble, stones and many glass.

This kind of design usually convey a story behind.

Some of the design have the part that have a protruding image or3D effects.

18


19Figure 3.5: Nambucca Heads Mosaic

Source: Black Diamond (2009)

This outstanding mosaic work is in the main street of Nambucca Heads outside the Police Station.

The mosaic work used various kind of mosaic tiles along with stone.

This art show a 3D waves images.


20Figure 3.6: “Fish and Chips” Nambucca Heads, Australia.

Source: Black Diamond (2009)

50 meters long mosaic mural known as “Fish and Chips”.

The wall is ornamented of mosaic sculptures including dolphins, octopus and fish.

This mural was made out mosaic glass tiles, and pottery.

4.0 MATERIALMOSAIC

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4.0 MATERIALS

Support Layers of soil bedding, Brick walls,

Wood or bone.

Plaster Lime, Sand, Pozzolana, clay,

Brick dust, Chopped straw

Tesserae Stones (marble, limestone)

Glass (Smalto)

Ceramic Tiles

Layer is known as tessellatum22

Figure 4.1: Various types of tesserae.

Source: Tiles, (2010)

4.0 MATERIALS

Mosaic Tile Nippers Are made to cut glass, ceramic

and tessera.

Grout It’s best to use grey grout (not

white) as this provides the best

effect.

Waterproof adhesive

Glue

23

Figure 4.2: Mosaic Nippers

Source: MakingTiles, (2012)

Figure 4.3: Fine Grout


Figure 4.4: Glue


Figure 4.5: Tile

Adhesive

Source: MakingTiles,

(2012)

5.0 METHODSMOSAIC

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5.0 METHODS

Ground mosaics are the most

elaborate of Australian art

works, but complementary

designs and decorations are

applied to the bodies and

specially constructed head

dresses of actors: to secret-sacred

ritual objects that are stored near the

ceremonial grounds; and often to

shields, boomerangs and other

weapons.

25

Figure 5.1: The mosaic floor at the Block Arcade (280-286

Collins Street), Melbourne.

Source: Maralynn Maltz, (2012)

5.0 METHODS

Common bedding layers:

First: Rammed earth and un-mortared rubble

Second: Opus signinum (crushed tile and lime

mortar) or mortared rubble.

Lime-mortar bedding on which tesserae were

imbedded.

Pictor designs the mosaic.

Floor area is measured and divided into grids

Pavimentare lay the tesserae down.

Floor grouted with mortar, then polished with

abrasive stones.

6Figure 5.2: Mosaic preparatory layer.

Source: MosaicPHP, (2012)

5.0 METHODS

Support: Carved wood or bone

Pine or Bursera tree (‘copal’) resins

applied to support.

Tesserae.

Minerals: Turquoise, jade, malachite,

pyrite, lignite.

Shells.

Polished by hand with fine sand or

fine cane strands.

27

Figure 5.3: mosaic head at Melbourne

International Garden Show.

Source: Indigo Inspiration, (2012)

6.0 TECHNIQUESMOSAIC

28

6.0 TECHNIQUES

I. Before begin the mosaic

arrangement, design are drawn

on a piece of paper.

II. When the design is ready, by

using a felt-tipped marker, the

design were traced onto the

surface that have been chose to

decorate.

If the object is intended for outdoor use, it’s best to buy

marine plywood. For greater adhesion, score the board

with a cutting knife before do the position of the mosaics

after the design are drawn).

29

Figure 2.2 The design were traced on top surface.

Source: Artcraftsite, (2014)

6.0 TECHNIQUES

III. The supply of broken tiles are sorted,

china and mosaic pieces according to

colour and lay them out based on design

according to the colours wanted and

make sure that they cover the whole

area.

IV. When have enough pieces, begin to glue

them, working one section at a time.

Begin by gluing around the outlines of

each section, cutting and choosing the

best shapes. Leave small gaps between

each piece which will be filled later with

grout.

30

Figure 2.2 The mosaic pieces are glued for the outlines.


6.0 TECHNIQUES

V. After the outline have

completed, begin to fill the

sections in, working the way

inwards. If decorating a table top,

it’s a good idea to try and ensure

that the pieces are of a similar

thickness.

VI. The design are leave to dry

overnight.

31

Figure 2.2 The mosaic pieces are glued.


6.0 TECHNIQUES

VII. When the mosaic is completely dry,

complete it using the grout.

VIII. Generous quantity of grout are applied

to the mosaic: by wearing gloves, the

grout are rubbed well into the gaps

between the pieces, making very sure

that the gaps are all filled in at the edges

and that any uneven surfaces are rubbed it well

over.

IX. All the excess grout are brushes d off

and the mosaic are wipe down well with

a damp cloth. The mosaic are left to dry

for at least 24 hours

32

Figure 2.2 The mosaic are wipe with a damp cloth.


7.0 APPLICATIONMOSAIC

33

7.0 APPLICATION

34

Figure 7.1: A Modern looking couple on

Collins street..


The 3 scenes below were installed in 1992 by the Melbourne Mural Studio. Each depicts a scene

on Collins Street from a different era. There are 3 entrances to the building and one scene is at

each entrance.

Figure 7.2: An Illustration on two

women wearing dress..


Figure 7.3: A couple wearing classic

outfit from old era..


7.0 APPLICATION

35

Figure 7.4: A Two women illustrated to show some era

in Australia., 1992.


Figure 7.5: The mosaic floor at the Block Arcade (280-286 Collins

Street) , Melbourne, 1890.


7.0 APPLICATION

36

Figure 7.6: Mosaic at Bribie Island Community Arts Centre, Queensland

Australia

Source: Mosaic Addict (2012)

Figure 7.7: Norfolk Island Wall In Australia.

Source: Mosaic Addict (2012

7.0 APPLICATION

37

Figure 7.8:

Cosmos, Barbara

Humphreys

Source: MAANZ

(2012)

Figure 7.9:

'Drought Tolerant'

mosaic garden

flowers.

Source: Julee

Latimer (2011)

7.0 APPLICATION

38

Figure 7.10:

Birdbath of pond

scene including

water lillies and a

dragonfly

Source: Brett

Campbell Mosaics

(2015)

Figure 7.11: Bright

lavender flower

heads and foliage

adorning

terracotta pots.

Source: Brett

Campbell Mosaics

(2015)

8.0 CONSERVATION& PRESERVATION

39

Soluble salts

Cause efflorescence and subflorescence, which weaken mortar and adhesives.

Capillary action brings moisture to the surface.

Incrustations form from salt migrations, pollution, site specific dirt and previous

repairs.

Process initiated and maintained by fluctuations in temperature and moisture

Stress

Can be internal (crystal lattices broken as mineral ions react with a given

substance) or external.

Cracks in bedding / mortar causes tesserae to lift, become loose or detached.

High volume of visitors places causes external stress on the surface.

41

8.0 CONSERVATION & PRESERVATION


Cleaning

Water can be used to wet clean tesserae.

Accretions picked off with chisels, dental tools.

Consolidation

Cramps inserted into bedding in order to pull together layers that have lost

cohesion.

Grouting: Injection of mortar under the tessellatum.

Loose tesserae can be removed—one by one—and reattached.

Infilling and replacement

Edging and infilling of lacunae

Infill of interstices40

Prevention Place shelters to keep out rainwater and excessive sunlight

Apply coatings to help the surface last.

Must have knowledge of the mosaics environment (weather, visitors, seismic

activity, etc)

42


9.0 CONCLUSIONMOSAIC

43

9.0 CONCLUSION

At the beginning in the development of mosaic the making of, people focus more on the making

of Australia mosaic on the floor. However, the making of mosaic on the wall began to gain

attention and many are beginning to experiment with creating a mosaic in other forms such as

sculpture and other items.

Mosaic motif in Australia used more of figurative motifs. This is because many artists usually want

to convey the story behind the making of the mosaic.

Despite a history of making mosaic in Australia not long and as deep as the other countries,

making mosaic in this country continues to grow at the present time, even more of a mosaic

artwork which has been modernized in the country.

Many workshops making mosaic art was built around the country and many prominent artists in

the making mosaic nowadays come from Australia.

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10.0 REFERENCESMOSAIC

45

10.0 REFERENCES

I. “Broome” Mosaic Coffee Table (2011) Retrieved From http://www.mosaics.com.au/mosaic-art-

galleries/broome-mosaic-coffee-table/ Retrieved on 28th March 2016

II. Nebula Chroma (2008) Retrieved From http://mosaicworks.com/gallery/architectural/nebula-chroma/

Retrieved on 28th March 2016

III. Off The Wall Artwork, (2014) Retrieved From http://www.ozmosaics.com.au/mosaic/en/something-

different.html/ Retrieved on 29th March 2016

IV. Hall of Memory, (2009) Retrieved from https://www.awm.gov.au/visit/hall-of-memory/ Retrieved on

30th March 2016

V. Basic Mosaic Design, (2012) Retrieved from http://www.artcraftsite.com/mosaic/basic-mosaic.shtml

Retrieved on 1st April2016

VI. Mosaics Are For Everyone. (2016) Retrieved from http://www.mosaics.com.au/ Retrieved on 1st April

2016

VII. The Art Of Spontaneous Mosaics (2016) Retrieved from

http://www.mosaicartschoolofsydney.com/the-art-of-spontaneous-mosaics-.html Retrieved on 1st

April 2016

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