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A P P LY I N G C O N C R E T E TO P P I N G S

MIX VOLUME FIVE APRIL 2000

TIPS

MIX
F I V E C O M M O N R E A S O N S F O R A P P LY I N G C O N C R E T E TO P P I N G S :
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To apply a cost-effective veneer of decorative concrete, which may contain special aggregates and coloured pigments.
To make flush uneven floor levels.
To make a barrier against rising damp (a vapour barrier is placed between the existing slab and the topping).
To cover an unsatisfactory, damaged, or worn surface.
To contain in-slab heating systems, retrospectively installed.
Purpose-made levelling compounds are typically less than 10 mm thick. The thickness of a topping can be up to 70 mm, however a
topping containing a 10-mm aggregate would usually be in the range of 25-40 mm. A topping thicker than 70 mm should be considered
as an independent slab and designed and reinforced accordingly.

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HERZOG & de MEURON EXPOSED


CAST-IN STONE
POST AND BEAM BRAWN
SPECIFYING JOINT SEALANTS FOR PRECAST
MIX TIPS applying concrete toppings

K E Y P O I N T S TO C O N S I D E R :

Preparationbonded toppings Pre-hardened concrete should be screeded to an even surface, and allowed to stiffen so that it can carry foot traffic that makes slight
impressions in the surface but does not displace. Hardened concrete must be roughened, clean and structurally sound. Grease, oil or paint,
which could affect the bond, must be removed. Old concrete surfaces that are disintegrating must be chipped back to a sound substrate.
Smooth concrete should be scabbled backto reveal the coarse aggregateto give a key for the new topping. Finally hose and scrub the
surface to remove all dust, dirt and detritus before placing the topping.
Preparationunbonded toppings Unbonded toppings are placed on a smooth, structurally sound slab, and separated from same with a bondbreaker, usually a plastic
membrane.
Joints The area of toppings should, generally be limited to 15-m2 sections. The length of a section should not exceed 1.5 times its width.
Isolation joints Isolation joints should be formed where the topping abuts walls, penetrations (columns, pipework) or other structures, and allows the topping
and adjacent structure to move independently.
Contraction joints Contraction joints are formed grooves or saw cuts in the surface, which create a line of weakness that controls the shrinkage cracking and
minimises random cracking. When toppings are placed over existing hardened slabs it is crucial that new joints are aligned with those in the
Construction joints existing slab to avoid uncontrolled cracking in those areas.
If an area greater than 15 m2 is to be placed, divide the area with construction joints. Construction joints can be simple square finished butt
joints with a break to the full depth of the topping. If reinforcement is used it must continue across the joint.
MIX VOLUME FIVE APRIL 2000

C&CAA

ISSN

Bonded topping slabs A bonded topping is a layer of concrete that is placed on top of a pre-hardened structural slab or a suitably prepared hardened slab. In
the first case the topping is placed while the slab is still in its plastic or workable state. This allows bonding of the two as they harden
simultaneously, effectively resulting in a monolithic unit. Generally, reinforcement is not required if the topping thickness is not greater than 50
mm. Reinforcement can be used, however, to help control shrinkage cracking: F42 fabric is positioned (and supported by bar chairs) 20 mm
below the top of the slab. Concrete can also be reinforced with steel fibres. Polypropylene fibres are also available and will help control
shrinkage cracking but do not increase the tensile strength of concrete as do steel bars, fabric or steel fibres.
Unbonded topping slabs Unbonded toppings are usually adopted when the topping needs to be greater than 50 mm. They are prevented from bonding with the existing
substrate by separating the two with a bond breaker, usually a plastic membrane. To help control shrinkage cracking, the topping is reinforced
with F52 fabric positioned (and supported by bar chairs) 20 mm below the top of the slab.

1441-1709

Levelling compounds Levelling compounds are usually mixed with water, screeded onto the concrete surface and trowelled smooth. It is essential to follow
the manufacturers advice about the limitations of their products and their instructions for use.

Pfaffenholz

HERZOG & de MEURON EXPOSED


P FA F F E N H O L Z S P O RT S C E N T R E R E V E A L E D
Examples of Karl Millards experiments with set retarders.

Cement & Concrete Association of Australia

The concrete surface finish of Herzog & de Meurons Pfaffenholz Sports Centre (Basel,
Switzerland) excited much interest in 1993 but remained veiled in secrecy until recently. The
technique makes use of concrete set retarders, widely used to produce exposed-aggregate
finishes. Set retarders are chemical agents that are applied to the surface of the formwork, or
form liner, to slow the setting time of the surface of the concrete panels; and in the case of
pavements they are applied directly to the concrete surface. The strength of the retarder can
be varied to affect the surface of the concrete to different depths. Below the surface, the
unaffected concrete hardens to its specified strength at the normal rate. The concrete panel is
lifted from the mould, usually within 24 hours. The cement paste under the influence of the set
retarder is removed by water spraying and brushing to reveal underlying aggregates.

skin for the human body can be compared to a building.


Rigorous experimentation with different screen-printed images
resulted in the first printed precast concrete panels being used in
1993 on the Pfaffenholz Sports Centre, for which Swiss precast
concrete manufacturer Brodtbeck carried out exhaustive panel
tests. It was the first building executed with this technology,
explains Erich Diserami of Herzog & de Meuron. It has been
widely used in the past for decorative ornamentation, but only
with simple geometric images, certainly nothing as complex as a
photo.

The following extracts from the August 1999 issue of the RIBA Journal (Concrete Couture by
Miriam Cadji) outlines the technique. MIX Volume 2 (April 1999) reportedand illustrated
similar experiments by Karl Millard.

At Pfaffenholz, a photographic image of a cluster of pebbles was


enlarged to the point of near abstraction, and the finished effect is
that of patchwork camouflage.

The technique of etching images on to glass is well establishedits printing on to the concrete
that is the magical part. In fact, there is no great mystery to the process. Simply put, it makes
use of a chemical concrete retarder, Serelith.

The images are produced by selectively exposing the underlying


aggregates of the concrete panels. The process begins with a
mirror image of the selected drawing or photograph being screenprinted, using a reactive paint which acts as a retarder, on to a
sheet of extruded polystyrene (the image appears as tiny dots like
those in a newspaper). This sheet is then fixed to the bottom of
the formwork into which the concrete is poured. After two days of

Herzog & de Meuron developed the concept with French construction chemicals manufacturer
Pieri, taking it a step further from its traditional use as a retarder and combining the technique
with textile processes. We are interested in fashion, asserts Jacques Herzog. The artificial

curing it is turned out and hosed down. Where the concrete has been in contact with the
retarder dots it sets more slowly, as the chemicals delay the curing. Then the panel is washed
clean, the image appears as the aggregates are exposed.
For best results, the original drawing, or black and white photograph must be a good quality
with crisp detail and contrast, but the process allows for a subtle three-dimensional effect
which can be achieved by varying the concentration of the retarder. The stronger the retarder,
the deeper the etching. For this effect, correct concrete mix is essential and the grading of the
sand and aggregate is crucial.
There are technical as well as aesthetic advantages to the process. Firstly, durability is
improved, as the exposed cement matrix surface is denser and stronger than the fair face
surface. Secondly, a rough surface allows less water ingress than a smooth one, as it
encourages water dispersal, reducing cracks, joint leakage and discolouration. And thirdly,
exposing the aggregate reduces the risk of attack from acid rain.
There are limitations to the technique, however. The size of the printed sheet cannot exceed
1.0m x 1.2m, so for larger images, such as the Karl Mair department store where the image is
3.0m x 3.5m, the photograph was divided into sections, and 12 individual sheets butted up
against each other create the finished effect.

Leading Concrete Knowledge

EDITOR
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GRANT ROBERTS
Email: grant@ccaa.com.au
Locked Bag 2010
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Telephone
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WEST PERTH WA 6872
Telephone
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LIBRARY

WEBSITE
DISCLAIMER

HOTOGRAPHY CREDITS

DESIGN/PRODUCTION
PRINTING
SCANNING

Finished precast panel

Greenhill Executive Suites


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EASTWOOD SA 5063
Telephone
08 8274 3758
Facsimile
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info@ccaa.com.au
www.concrete.net.au
The Association is a non-profit organisation
sponsored by the cement industry in Australia to
provide information on the many uses of cement and
concrete. This Guide is distributed by the Association
for that purpose. Since the information provided is
intended for general guidance only and in no way
replaces the services of professional consultants on
particular projects, no legal liability can be accepted
by the Association for its use.
PFAFFENHOLZ: Karl Millard concrete set retarders;
El Croquis p.93 Hisao Suzuki; Dean Boothroyd.
LA TERRAZZA: Trevor Mein; Rainer Strunz
FREEMASONS HALL: Fritz Kos from Constructional
Review, February 1969 pp.38-41.
All images by C&CAA unless otherwise noted.
MIX
Levenspiel [lev@netspace.net.au]
Vaughan Printing
ABB GRAPHIX

VOLUME FIVE APRIL 2000

C&CAA

CAST-IN STONE
L A T E R R A Z Z A A PA R T M E N T S

Distinctive precast concrete panels


like giant marble mosaicsare the
signature of an apartment building
designed by Architects Nation Fender
Katsalidis. The development is a
conversion of a light industrial building
and comprises retail tenancies at
ground level and 48 single and multiple
bedroom apartments in the four storeys
above. The four decorated boxes
cantilever over the footpath and
dominate the solid and void modulation
of the street elevation. They are
supported by the existing reinforced
concrete slab at first floor level and
restrained by the new slab at the third
floor.
Carrara marble was cut to irregular
shapes and arranged face down in the
casting bed. The concrete mix was
coloured with a black mineral oxide
pigment, which, together with a
common bluestone coarse aggregate,
produced a dark grey mix in contrast
with the white marble. The concrete
was placed over the backs of the
marble pieces and carefully compacted
by hand so the pieces were not moved.
The panels were lifted onto their backs
and the faces were polished with a
hand-operated terrazzo grinder. The
result is like a hybrid of Japanese
crackle-glazed ceramics and crazy
paving.
Ceramic tiles can also be fixed to
concrete with purpose made adhesives
suitable for the particular conditions
particularly humidity. The tiles should
have no more than 3% moisture
content.
FIXING STONE TO CONCRETE
Stone is fixed to concrete with
mechanical anchors. The fixings should
be flexible to allow variations of in-plane
movement of the concrete and the
stone resulting from concrete shrinkage
and temperature variations. They should
also be designed to deal with stresses
from handling, transport and service
loadsparticularly wind suction.
The concrete and stone are separated
by a bond-breaker to prevent adhesion.
The bond-breaker can be a polythene
film or a spray on compound. This will
also act as a moisture barrier to impede
the migration of efflorescence to the
face of the stone. Stresses resulting
from shrinkage can be minimised by
manufacturing the precast backing
panels with low-shrinkage concrete.
Those resulting from differences in
thermal expansion can be minimised by
using aggregates in the mix with a
thermal coefficient that approximates
the stone. Polishing stone will not affect
its strength, however flamed or bushhammered finishes will.

Marble
pieces in
the
casting
bed

PROJECT: La Terrazza Apartments


LOCATION: Elgin Street, Carlton, Victoria
ARCHITECT: Nation Fender Katsalidis
STRUCTURAL ENGINEERS: Barry Gale Engineers
CONTRACTOR: LU Simon
PRECAST CONCRETE CONTRACTOR: Eltrax Pty Ltd
MARBLE MASONARY: TTI Marble & Granite
PROJECT COMPLETION: 1999

Finished
precast
panel
being
hoisted

Construction photographs courtesy of Rainer Strunz


All other images by Trevor Mein

"

"
"

Typical anchor for marble veneer (left) and granite veneer (right).
Source: Stone Veneer-faced Precast Concrete Panels,
Prestressed Concrete Institute (of America) circa 1990.
MIX VOLUME FIVE APRIL 2000

C&CAA

POST AND BEAM BRAWN


FREEMASONS HALL 1967

SPECIFICATION GUIDE
J O I N T S E A L A N T S F O R FA C E - S E A L E D P R E C A S T

This is an abridged version of an article that appeared in National Precaster September


1999the newsletter of the National Precast Concrete Association of Australia (NPCAA),
and is published here with their permission. The NPCAA can be contacted on tel: 02 9890
8853.
KEY SELECTION CRITERIA
Application

Although there is some irony in building a Freemasons lodge of concrete


rather than stone, the off-form and sand-blasted finishes fit the brawny
pragmatism of the post-and-beam structureand perhaps the public
perception of Freemasonry.
The Freemasons Hall in Perth is an example of modern regionalism
architecture that appeared throughout the world at that time. Forbes &
Fitzhardinge were the winners in a limited competition in 1966, for the
design of the hall. It has the characteristics of the International Stylea
structural grid, rectangular volumes, flat roof, hovering planes and strip
windowsand a whiff of Le Corbusiers potent buildings of the 1950s,
namely Chandigarh and La Tourette, all brought together under a broad
roof canopy to give shade from Perths fierce sun.
The building is raised off the ground and carried on squat columns and a
cantilevered ribbed floor, which pushes the structure to its practical limits.
The walls are of load-bearing concrete masonry.

CORRECT JOINT DESIGN


Good joint width/depth profile
Concave sealant
surface
Depth/width ratio
correct.
Backing rod makes a
concave curve at the
base of the seal
increasing its base
dimension and its
ability to respond to
movement.

Life expectancy
Joint size

SEALANT TYPES
High performance
sealants

The open concrete screen at the entry depicting several Masonic symbols
has an austere and mysterious presence. By day it shines with the sunlight
from an internal light well, by night it is backlit.
Today the increasing use of load-bearing precast panels throughout
Australia would see such a post and beam expression of a reinforced
concrete frame as the exception rather than the rule, although precast
concrete frames are widely used.

PROJECT: Freemasons Hall


LOCATION: Terrace Road, East Perth
COMLETED: 1967
ARCHITECT: Forbes & Fitzhardinge [Project Architect: Anthony Brand]
STRUCTURAL ENGINEER: D.H. Fraser
BUILDER: Hutcherson Bros Pty Ltd
PHOTOGRAPHS: Black and white photographs by Fritz Kos
Published in Constructional Review (Vol 42 No1), Feb 1969, pp.38-41

POLYSULPHIDE was for many years, used widely in masonry applicationsabove and
below waterbut has largely been replaced by polyurethane. Unlike polyurethane, it is
produced only as two-part and non-fire rated sealants. Polysulphide needs a primer in all
applications, has a high initial cost and slower application time.
POLYURETHANE is now preferred in all joint sealing applications in building construction,
other than glazing. It is available in one and two-part products, with fast or standard curing
times. It is certified variously for fire rating, acoustic rating, potable water and sewerage
applications.
SILICONE-based sealants are used in glazing applications because of their UV light
resistance. They are not suitable for masonry construction because of surface staining
and poor long-term adhesion on porous surfaces.

Plastic or
plasto-elastic sealants

ACRYLIC sealants are user-friendly because they are water-based. Their applications
are, however, limited to internal low-movement joints because they suffer from drying
shrinkage and hardening in the long-term, which together diminishes their ability to deal
with movement in panels.
BUTYL sealantsgun-applied and preformed extrusionsare used mainly in bedding or
compression seal applications.

JOINT DESIGN

The performance of a sealant depends on the spacing of joints, the joint design, surface
preparation and application. It is rare that sealants will be applied in ideal weather
conditions, the substrates will be in perfect condition, and the as-built joints will match the
drawings. By following four rules, however, the performance of the sealant is optimised
and the life of the joint prolonged.
The surface should be clean, dry and primed if necessary. Applying sealants to green
concrete can result in bubbling and loss of adhesion. The surface temperature should be
above 5o.
To behave correctly when panels move, sealants should adhere only to the sides of the
joint. Foam backing rods or bond-breaking tapes should be used to ensure this.
For typical joints, the cross-sectional depth of the seal should be at least one half of the
width, and never greater than the width. This may vary in narrow (10 mm) or wide (40 mm)
joints.
The setting time of the sealant determines when it can be brought into servicesubjected
to its in-service conditions. Polyurethane sealants with a standard curing period will cure
at a rate of 2-3 mm of depth per day in temperatures over 5o. Fast curing and two-part
products will be marginally faster. Acrylics and silicones skin quickly but have a slower
cure-through-depth time.

INCORRECT JOINT DESIGN


Joint too deep
No backing rodpoor
geometry to respond
to movement.
Cohesive tear
sealant can only
compensate for
movement at the
narrowest point. Tear
may develop if
movement exceeds
sealants limits at the
neck of the joint.

Examine the manufacturers technical information and test certification to evaluate the
sealants properties in relation to its in-service application. Seek advice from the suppliers
and independent opinions to determine if the sealant is suitable for the application. Assess
its performance in similar applicationspast and present. Look at current projects in the
vicinity, which are subject to similar conditions.
Consider the affect of in-service conditions on the life expectancy of the sealant and
specify accordingly for a reasonable service life.
The size and geometry of the joint, and the sealant must deal with the dimensional
changes of concrete panels (and consequently anticipated joint movement), which can
occur in more than one plane.

Joint preparation

Backing systems
Joint geometry

Setting time

FIRE AND ACOUSTIC RATED


SEALANTS
Fire-rated sealants

Acoustic sealants

The requirement for fire-rated sealants arose with the banning of mineral fibre wool
products from Australian building sites in the mid-1980s. Polyurethane is used widely in
all areas of external and internal fire-rated movement jointing because of its higher fire
rating, cost-effectiveness and ease of application (it does not need a primed surface).
Acrylics are acceptable in areas of low movement and away from direct or constant UV
light attack.
Today there is a greater emphasis on reducing sound transmission in residential and
commercial properties. Sealants must have acoustic sound transmission class (STC)
ratings. The STC rating is related to the specific density of the sealant in the cured state.
It is generally accepted that the higher the density, the better the STC rating. Acrylic
achieves on average 1.6, polyurethane approximately 1.5 and silicone 0.97. Although
acrylic has a higher density, the acoustic integrity is compromised when the sealant loses
its bond. One part fire-rated polyurethane is now preferred for acoustic joint sealing for a
variety of materials. It has the fire rating and the long-term adhesion and flexibility
necessary to maintain STC integrity.

MIX VOLUME FIVE APRIL 2000

C&CAA

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