Masonry Restoration at the Schönau City Church

Building design
Masonry restoration work was carried out at the Protestant town church in Schönau in the Odenwald. Photo: Dengel-Bau.
Masonry restoration work was carried out at the Protestant town church in Schönau im Odenwald. Photo: Dengel-Bau.

About 40 years ago, cement was considered a durable solution for historic buildings. Today, however, the Protestant town church in Schönau in the Odenwald shows that this assessment is not always accurate. Joints containing cement led to stress, moisture damage, and damage to the natural stone. During the current restoration, the conservators are therefore once again relying on historic lime mortar and traditional craftsmanship to preserve the historic church for the long term.

The Schönau City Church is one of the most significant medieval structures in Baden-Württemberg. It is the largest surviving building of the Cistercian monastery founded by Bishop Burkhard II of Worms in 1142. Until the year 1400, the monastery served as the family monastery and preferred burial site of the Counts Palatine of the Rhine. Consequently, the requirements for the masonry restoration were exceptionally high, as the goal was to preserve the historic structure while simultaneously ensuring its long-term protection.
About four decades after the last major renovation, significant damage had developed in the natural stone masonry. This was primarily caused by cement-based joint mortar, which was considered durable and resistant in the 1980s. Today, however, it is known that cement is often unsuitable for historic natural stone masonry. Its high strength and low permeability prevent the natural exchange of moisture between the STEIN and the joint. This creates stress, causes moisture to accumulate in the masonry, and increases frost damage. The result was cracks, spalling, sand loss, and extensive moisture damage affecting approximately 97 percent of the facade.
The goal of the current masonry restoration was therefore to completely remove the damaged cement joints and replace them with historic trass lime mortar. At the same time, the natural stone facade was to be cleaned and damaged areas professionally repaired. The client was the Steinachtal parish, while the Schönau Foundation provided funding for the project. The work was commissioned to Dengel-Bau, a Schöntal-based company specializing in historic preservation. The church’s roof had already been renovated by a specialized contractor the previous year.

Historical Materials Instead of Modern Standard Solutions

Before the actual work could begin, the restoration experts first analyzed historical mortar samples from various areas of the church. They examined binders, aggregates, and grain distributions in order to replicate the original recipes as accurately as possible. Particular attention was paid to reddish-colored joints, which presumably date back to a renovation in 1882. This later phase of construction was intentionally left visible and was therefore also taken into account in the material development. Based on the analyses, four different lime mortar formulations were developed. Regionally available sands, trass lime as a binder, and brick dust were used to produce the characteristic reddish coloration of individual joint areas. Before large-scale work began, extensive testing was conducted directly on the building. Only after the color effect, surface texture, and integration into the existing structure were deemed satisfactory were the final mixtures approved.
A particular challenge was that the church is constructed from three different types of masonry. The ashlar masonry has extremely narrow rub-joint joints and required particularly fine-grained lime mortar. Medium-grained mortars were used in the layered masonry, while the rubble masonry required significantly coarser aggregates to fill larger joints with minimal stress. This material-specific coordination is an essential feature of professional masonry restoration and contributes significantly to the longevity of historic buildings.
The actual work on the facade was carried out systematically from top to bottom. First, the experts carefully cleaned the natural stone surfaces. They then removed all damaged cement joints and repointed the masonry with the specially formulated trass lime mortars. In addition, larger gaps were filled with natural stone blocks, damaged edges were repaired with restoration mortar, and cracks were stabilized using injections. The restorers carefully backfilled hollow areas in the masonry to permanently secure the structure.

Precise craftsmanship down to the smallest detail

Numerous natural stone details also required the highest level of craftsmanship and precision. On the historic rosette window, the stonemasons restored damaged areas and carefully replaced missing pieces. Particularly challenging was the reconstruction of weathered corbel heads, where foliage and volutes were added based on historical models. The goal was always to preserve as much of the original material as possible while faithfully maintaining the historical design. Replacing the damaged gable stone on the roof presented an extraordinary challenge. Water infiltration and corroded metal fasteners had caused the natural stone near the weather vane to spall. In the workshop, the stonemasons faithfully recreated a new gable stone from Odenwald red sandstone. Using a chain hoist, the heavy stone was then lifted onto the roof and installed—following nearly the same principles as in the 12th century. The restoration also focused on the historic metal fasteners. Many of the centuries-old iron clamps were cleaned and preserved. However, severely damaged examples had to be replaced. Since the grade of iron originally used is no longer available today, the experts opted for custom-made stainless steel clamps, which a blacksmith crafted individually based on historical models. This ensured that the structure’s design and appearance were preserved.
A special finale to the work was the traditional lead casting of the clamp joints. This historic technique is now mastered by only a few specialists. After carefully cleaning the joints, the craftsmen modeled lateral boundaries out of clay and heated smelted lead directly on the scaffolding. The molten metal then had to be precisely poured into the prepared joints within a matter of seconds before it solidified again. After cooling, the lead was trimmed flush with the stone surface. This historic technique contributes to the permanent sealing and stabilization of the structure.

Heritage-Conscious Masonry Restoration for Future Generations

The work on the Schönau City Church demonstrates how important professional masonry restoration is for the long-term preservation of historic buildings. Instead of repairing individual areas of damage, the damaged sections of the facade were comprehensively restored. This involved the use of historic materials, carefully formulated mortar mixtures, and traditional craftsmanship techniques. The restoration combines modern damage analysis with historical knowledge and artisanal expertise. It demonstrates the contribution that material-appropriate masonry restoration can make to the preservation of historic buildings. At the same time, the project makes it clear that supposedly durable building materials such as cement are not always the right choice for historic structures. With the consistent return to lime mortars, masonry restoration is once again guided by the materials and construction methods that have proven themselves over centuries and are better suited to the requirements of historic natural stone facades.

Read more: The Restoration of the Buch Castle Church.

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Marble Architectural Awards 2014

Building design

Advertorial Article Parallax Article

Every year, the Internazionale Marmi e Macchine Carrara presents the “Marble Architectural Award” (MAA) for special projects in natural stone. This time around: a mausoleum, a lobby and a work of art called “Parallel Lives”.

Every year, the Internazionale Marmi e Macchine Carrara presents the “Marble Architectural Awards” (MAA) at the Carraramarmotec trade fair. The focus is always on one of six different regions. In 2014, this was North America, specifically the USA, Canada and Mexico. This shows clear trends and developments within each region. The winners have now been honored at this year’s CarraraMarmotec.

The Lakewood Cemetery Garden Mausoleum in Minneapolis (USA)
Photo: Paul Crosby

In the wake of the economic crisis after 2007, there was a clear trend towards medium-sized projects in North America. There was less demand for natural stone, but where it was chosen, great emphasis was placed on quality and finish. The use of natural stone from all parts of the world again demonstrates the globalization of trade.

The lobby of the building 135 Main Street, San Francisco (USA)
Photo: Matthew Millman

The first prize in the “Exterior” category went to HGA Architects and Engineers for the Lakewood Cemetery Garden Mausoleum in Minneapolis, in which white Carrara marble and various American granites were used. The winner in the “Interior” category is the Aston Pereira and Associates studio with the lobby for the 135 Main Street building in San Francisco. They used Greek marble, Jura limestone from Germany, Italian marble and French yellow onyx. And the winner of the “Urban Design” category is Jacobo Micha Mizrahi for his “Parallel Lives” in Vera Cruz (Mexico). The monument consists of various Mexican rocks.

“Parallel Lives” in Vera Cruz, Mexico
Photo: Archetonic/Eduardo Zaletas/Quitagrapas Estudio Mexico City

The projects honored with the Marble Architectural Awards are summarized in a catalog. This catalog places special emphasis on the stone itself, its technical details and its processing. The Carraramarmotec trade fair was last held in May 2014 in Carrara, Italy.

Trend analysis – The museum 3.0

Building design

to show the artist's working processes or to reveal unrecognizable layers of paint. Photo: Clair Obscur.

Art museums are breaking out of the building walls – into the digital space. Apps and online tours are now part of the permanent repertoire of art education. A survey of German consumers shows how this trend is reflected in the public. Advertorial Article Parallax Article On the website of the Amsterdam Rijksmuseum, almost every exhibit can be viewed zoomed in on in full-screen mode. […]

Art museums are breaking out of the building walls – into the digital space. Apps and online tours are now part of the permanent repertoire of art education. A survey of German consumers shows how this trend is reflected in the public.


3-D
Projection technology makes it possible, for example, to show the artist's work processes or to reveal unrecognizable layers of paint. Photo: Clair Obscur.

On the website of the Amsterdam Rijksmuseum, almost every exhibit can be viewed zoomed in on in full-screen mode. Johannes Vermeer’s Milkmaid from 1660 gazes absorbedly at the high-resolution beam of milk-white bliss. One pupil movement further on, a field with a red background vies for attention: this painting has been “liked” 10,806 times. Next to it, a scissor symbol encourages reproductive complicity: “Get creative”, “Download this work”!

Digital surfaces – apps on tablets and smartphones that wander through the halls in visitors’ hands – have also long been a familiar feature of museum spaces. In fact, this trend is closely linked to the exponential growth in visitor numbers at many art museums. The Staatsgalerie Stuttgart counted 375,694 tickets sold in 2015: an increase of 70 percent compared to the previous year, confirms Director Christiane Lange. New technologies – keyword “augmented reality” – are already on the rise. But can this trend, which focuses on the virtual, be sustained?

A survey conducted by the market research institute Promio on behalf of the media technology company fröbus among 1068 German consumers illustrates the reactions that different digital mediation methods evoke in visitors:

Proximity or distance to the object

The results of the survey show that the digital trend is currently moving back towards the object. Instead of keeping the works seemingly close but at a distance by clicking on a screen at home or integrated into the exhibition, the information conveyed by 3D visualization or projection directly on the object is gaining attention.

This impression is also confirmed by a cross-section of the current start-up scene in museum technology. Light choreography, turntables, 3D prints. The focus is on the work of art in all its facets: Details, reverse sides, as well as reconstructions of the original state are to be made accessible to visitors to the Museum 3.0 (replacing the digital-virtual 2.0). The Berlin start-up Clair Obscur, for example, has developed a new projection technology that can reveal the artist’s working process or hidden layers of paint directly on the painting. “It is important to us,” explains Lene Fischer, co-founder of Clair Obscur, “to create a closeness to the work, to tell the story of an object.”

interactive scape, who specialize in so-called multi-touch tables, choose a different way of communication. These release digital information when they are touched with a specially created haptic object. “Above all, a visit to a museum should be an experience – a tactile experience,” says Marcel Graf from interactive scape, describing their objective. This is particularly relevant in our digital age: “Our mediation concepts focus on a museum you can touch. An experience that you can’t have at home in front of a screen.”