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Mechanical characterization of ancient pozzolanic mortars with additions of brick and tuff dust: A comparative investigation
Published in Koen Van Balen, Els Verstrynge, Structural Analysis of Historical Constructions: Anamnesis, Diagnosis, Therapy, Controls, 2016
M. Lippiello, C. Ceraldi, C. D'Ambra, G.P. Lignola
fragments - was in use amongst the Romans as far back as the 2nd century B.C. . . Skilled workers used iron rammers to compress them together. This was not always successful for wide thicknesses: the concrete setting, in fact, takes place in presence of carbon dioxide (CO2 ) and humidity, therefore the time for setting increases if the walls is more or less impermeable and the inner space is without voids, with consequent reduction of the mechanical characteristics of the mixture. Confirmation of slow carbonation was evident in the observation of the nucleus of collapsed medieval buildings in which this process was not fully accomplished. The discovery of the hydraulic capacity of pozzolana represents a breakthrough in the cementum technique: the mortar made of slaked lime and pozzolana hardens even without CO2 and the process of carbonation is a lot quicker. The combined use of the above-mentioned materials - bricks of various sizes, tuff, trachyte and cementum as filling - became a peculiarity of the ancient constructions of the Campania region, technically excellent and, also, pleasant for the colour effects created by the alternation of red bricks, yellow tuff and grey "piperno". Since the pioneering studies of Vicat (1818), Baronio et al. (1997), Moropoulou et al.(2005a), and, more recently, the experimental research of Sala et al. (2008), Lippiello (2011), Fang et al. (2014) and so on, in literature, most of the attention has been focused on experimental tests for different mixture of lime and pozzolana.
The domes in piperno stone of San Giacomo degli Spagnoli in Naples
Published in João Mascarenhas-Mateus, Ana Paula Pires, Manuel Marques Caiado, Ivo Veiga, History of Construction Cultures, 2021
Although inspections and analyses have not been completed, the use of piperno for these domes can be deduced by a number of considerations. First, the historical study has shown that these domes are among the original parts of the 16th century church. Moreover, falling plaster at some places of the intrados showed a dark coloured surface which suggests the presence of grey piperno rather than yellow tuff. Lastly, according to the principles of building feasibility, the considerable thickness of the shell-shape intrados, with circular profile grooves about 20 cm deep and about 49 cm wide at the base, and plane ribs about 33 cm wide at the base, requires a masonry structure rather than just plaster for the emerging volume of the ribs (Figures 7 and 8).
Sala dei Baroni vault
Published in Ine Wouters, Stephanie Van de Voorde, Inge Bertels, Bernard Espion, Krista De Jonge, Denis Zastavni, Building Knowledge, Constructing Histories, 2018
Because of the radical opposing qualities of piperno and tufo in building construction, they had to arrange their coexistence, limiting the use of the hard, coarse textured, dark piperno to elements which needed sharp profiles as well as precise and fine carving, and adopting, instead, the tender tuff stone to easily build up masonry in different shapes with the local pozzolana-lime mortar.
Geometry and Stability of a Double-shell Dome in Four Building Phases: The Case Study of Santa Maria Alla Sanità in Naples
Published in International Journal of Architectural Heritage, 2023
Concetta Cusano, Andrea Montanino, Claudia Cennamo, Giulio Zuccaro, Maurizio Angelillo
Firstly, compared to its overall size, the inner shell is very thick and seems to support all the structural weight. Concerning the phases of construction, this is a possible scheme: once the master masons, on fixed wooden centerings, completed the ribs made of very resistant cut stone (piperno stone blocks), they initially built the inner shell (stage 1), filling the in-between ribs spaces with ring structures made of tuff ashlars. They realized the radial walls upon it (stage 2) and later, by contrasting the formwork on these walls, built the outer cap (stage 3). At the end, they placed the lantern (stage 4).