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Showing 2 results for Charesaz

Hamid Fadaei, Mohsen Charesaz,
Volume 4, Issue 2 (11-2021)
Abstract

Kahgel plaster has been a common method for protecting architectural structures at the Takht-e Soleyman World Heritage Site. Primarily applied to stone and brick structures, this plaster has proven inadequate in the site's mountainous, high-rainfall climate with sub-zero temperatures, leading to significant erosion. This study investigates the potential of replacing Kahgel plaster with traditional half-baked, half-crushed gypsum plaster as a protective coating for walls and architectural remains. The aim is to prevent moisture penetration while minimizing the new coating's own deterioration. Field research, including observation and documentation, was employed to gather data. Results indicate that the use of traditional gypsum mortar as a restoration material at the site has been successful. Derived from pounded and crushed kiln-fired gypsum stone, this mortar exhibits similar characteristics to the original mortars and offers adequate strength in the region's harsh climate. Consequently, it presents a viable sacrificial coating alternative to Kahgel plaster.

Alireza Amiri Baghbahadorani, Fariba Majidi , Mohsen Charesaz ,
Volume 4, Issue 3 (12-2021)
Abstract

Khatamkari is a type of decoration created by the intricate arrangement of triangles made from wood, bone and metal, which together form geometric patterns. The object under discussion is a square mirror related to the Qajar period and is privately owned. According to the experiments carried out to identify the materials comprising the artifact, it was found that it consists of wood (jujube, walnut, Iranian pine, poplar or Tabrizi and plantain), bone, and metal (silver and brass), and the triangles were made of Brass, bone and wood, and the layers used are of silver, and underlying structure is of wood. The damages observed on this artifact include corrosion products forming in the parts where the silver metal has been applied, darkening of the polish, distortion and separation of connections in the underlying structure, and distortion and separation and shedding in some parts, which these damages have led to the deterioration of patterns. After removing the previous incorrect repairs and cleaning the darkened polish and strengthening the distortion of the underlying structure and inlay decorations, reconstruction, balancing and final strengthening have been done.


 

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