GLASS AND CERAMICS Agnès Gall Ortlik*

Barcelona, Spain
gallortlik@yahoo.fr
Géraldine Bussienne
Brussels, Belgium
gerbus@skynet.be
Pau Maynés
Barcelona, Spain The mural
*Author for correspondence by Joan Miró
at Barcelona Airport:
conservation issues
about a monumental
work of art

Keywords: Miró, Artigas, architectural Introduction

ceramic, mural, preventive conserva-
tion, cleaning, restoration At the request of Fundación AENA, owner of the works of art exhibited
in Spanish airports, the mural of Joan Miró at Barcelona airport has
Abstract been treated three times since 2005 (Figure 1). A work of exceptional
The mural by Joan Miró in the airport at Barce- monumental dimensions (50 × 10 m), it is constituted of 4865 enameled
lona, an emblematic art piece of the city, was stoneware plates in bright colors, each one measuring 26 × 38 cm and
treated between 2005 and 2010. Created and
installed in 1970, this wall, 10 meters high by
weighing 6  kg. The mural was made by the Catalan artist Joan Miró
50 meters wide, is made of 4865 stoneware in collaboration with the ceramist Josep Artigas, and was inaugurated
plates glazed in primary colors. Its condition in 1970. Since then, this ceramic mural had been neither treated nor
has deteriorated due to its location in a very studied in detail.
busy airport terminal, a very contaminated
atmosphere, and by the presence of a heavily
deteriorated superficial polyurethane varnish.
A bus accident created another kind of dam-
age in 2009. The intervention consisted of a
historical, technological and analytical study
of the work, the exhaustive documentation
of its condition, its superficial cleaning, the
restoration of the damaged ceramic plates,
and the definition of possible strategies to
assure its long-term preservation.

Résumé
Le mural de Joan Miró à l’aéroport de Barce-
lone, une œuvre d’art emblématique de la
ville, a été traitée entre 2005 et 2010. Créé et
installé en 1970, ce mur de 10 mètres de haut Figure 1
sur 50 mètres de large est constitué de 4865 The mural of Miró during the intervention. Photography: Agnès Gall Ortlik
plaques de grès glaçurées dans des couleurs
primaires. Son état s’est dégradé en raison
The specificity of this intervention lies essentially in its monumental
de son emplacement dans un terminal d’aé-
roport très fréquenté, dans une atmosphère character. While the ceramic conservator usually works in the laboratory,
très contaminée, et par la présence d’un ver- it was necessary in this case to adapt the equipment and organization
nis polyuréthane superficiel sévèrement dé- to an outdoor architectural work of art. Three intervention campaigns
gradé. Un accident de bus est venu ajouter un
were carried out in 2005, 2009 and 2010. The work was divided among
autre type de dégât en 2009. L’intervention a
consisté en une étude historique, technologi- two teams, the first dedicated to the intervention on the wall, and the
que et analytique de l’œuvre, une documen- second to the management and coordination of the project, as well as to
tation exhaustive de son état, son nettoyage the acquisition and transportation of the necessary materials and tools.
superficiel, la restauration des plaques de
The number of participants totaled 17: a project coordinator and an
céramique endommagées, et la définition
de stratégies possibles en vue d’assurer sa assistant, six conservators, four interns, a technician, two architects, a
préservation à long terme. scientist, a scaffolding engineer, a photographer and an artist-ceramist.

1

GLASS AND CERAMICS
Resumen
El mural de Joan Miró del aeropuerto de Bar-
celona, una emblemática obra de arte de esa
ciudad, fue tratada entre 2005 y 2010. Creada
e instalada en 1970, esta pared de 10 me-
tros de alto y 50 metros de ancho tiene 4865
baldosas de cerámica de gres esmaltadas en
colores primarios. Se ha deteriorado por estar
ubicado en la terminal de un aeropuerto con
mucho tráfico, expuesto a una atmósfera muy
contaminada y por la presencia de un barniz
superficial de poliuretano gravemente de-
teriorado. Un accidente de autobús en 2009
causó también otro tipo de daños. La inter-
vención consistió en un estudio histórico, tec-
nológico y analítico de la obra, una documen-
tación exhaustiva su estado de conservación,
una limpieza superficie, la restauración de las
baldosas de cerámica dañadas y la definición
de posibles estrategias que garantizaran su
preservación a largo plazo.
Figure 2
The kiln named “Mashiko”, of the
noborigama type, in Gallifa. Photography:
Pau Maynés Tolosa
The mural by Joan Miró
at Barcelona Airport:
conservation issues
about a monumental
work of art
In order to have access to all the surface of the mural, a movable scaffold
was installed. As an indication, the volume of materials used during
the first intervention (three months in 2005) was close to 50 liters of
acetone, 10 liters of ethanol, 50 sponges, 6600 meters of self-adhesive
tape, 14 kilos of cotton.
Technical study and condition of the wall
Amongst the ceramic murals that Miró and Artigas made together, the
one at Barcelona Airport is the sixth of a series that began in 1958
with a wall for the UNESCO building in Paris (Pierre et al. 1974).
Today, little information remains about the Barcelona project: only
some drawings and a 1:10 scale model, exhibited at the Joan Miró
Foundation in Barcelona. The kiln used to fire the stoneware plates still
exists and is used at the factory in Gallifa (Central Catalonia) by the
son of Josep Artigas, Joan Gardy Artigas (Figure 2). A Japanese kiln
of the noborigama type, it has three ascending firing chambers and a
single chimney at the end. This characteristic facilitates the draught
of the kiln. The glazed ceramics made in this type of direct-flame kiln
have the particularity of creating “surprises” in the aspect of the glaze
(Rhodes 1999). This characteristic, along with the great freedom of Miró
and Artigas in the way they applied glazes, gives irregular and unequal
results in the effects of color and light on the ceramic surface. Miró
and Artigas knew how to deal advantageously with these incidents in
order to give the mural a heterogeneous surface aspect that animated
the huge colored zones.
Once fired in Gallifa, the stoneware plates were mounted on a cement
wall on the exterior façade of terminal B (currently called T2). The
assembly began with the bottom right plates (each plate is numbered at
the back with black paint), each of which is fixed with only a cement
mortar applied to the back, without covering the joints between them.
The Filmoteca in Barcelona has a film showing the mounting process
made by the photographer Francesc Català-Roca.
The mural is located on an outside wall of the oldest airport building, thus
near the sea, in an industrial zone, and it is directly exposed to the public
outdoors. From the point of view of its condition, these characteristics
determine the observed degradation. The surface of the wall was very
dusty and dirty in 2005. An abundant presence of black dust, beach sand,
bird excrement, droplets of paint, stickers and graffiti was found on the
surface of some of the plates. Chewing gum, cigarette butts and papers
were also found between the joints.
Other damage observed was considered related to the manufacturing
process, like the losses of glaze due to the system of firing used, the
iridescence on the green enamels, and the presence of lime points due
to the incomplete baking of the plates or the presence of fine cracks.
Other larger cracks can be attributed to the defective system used to
mount the plates on the wall.
2
 The mural by Joan Miró
at Barcelona Airport:
GLASS AND CERAMICS conservation issues
about a monumental
work of art

But the most visible deterioration in 2005 was the result of an undocumented
intervention on the wall: at an unspecified date, the surface of the mural
was completely covered with a polyurethane varnish (identified by infrared
spectrometry analysis). This type of varnish is currently used to protect
airplanes, boats, automobiles or outdoor furniture. It is also commonly
used in Spain to protect facades from humidity and air pollution. This
varnish was applied over the ceramic wall after the assembly of the mural
in 1970 and without the agreement of the artists (a fact confirmed by the
ceramist’s son, Joan Gardy Artigas). In 2005, most of the varnish was so
deteriorated that it strongly disturbed the visual appreciation of colors,
shapes and surface characteristics. On most of the plates, the varnish had
whitened and was cracked, like a peeling dry skin. Only on the porous
red-colored plates did the varnish still adhere well to the surface.

After the first intervention was carried out in 2005, an accident in 2009,
caused by a bus, affected a quarter of the mural and left irreversible damage
(broken and detached plates, scratches, etc.).

The 2005 intervention: elimination of the

polyurethane varnish

As a result of the first assessment of the condition of the wall, it was

decided to remove the varnish in order to improve the appearance of
the mural and to avoid additional deterioration (Gall-Ortlik 2006). The
re-varnishing of the mural after cleaning was not considered because
glazed stoneware is a stable and resistant material in outdoor conditions
and does not need the protection of a synthetic material that deteriorates
quickly and is hardly reversible.

The treatment of the wall was done progressively by vertical zones of

4 meters in width from the movable scaffold that was manually pushed
from left to right of the mural. The cleaning process began first by vacuum
cleaning the surface and the joints, with paintbrushes and brushes made of
natural fibers and synthetic smooth acrylic fiber sponges. The polyurethane
varnish was then removed by using two different techniques: on the plates
where the varnish was already flaking, it was removed mechanically; on the
plates where the varnish still adhered, a solvent treatment was applied.

Figure 3
Mechanical elimination of the varnish with
self-adhesive tape. Photography: Agnès
Gall Ortlik
Figure 4
The star before and after cleaning.
Photography: Pepo Segura
The mechanical removal of the varnish was done with self-adhesive tapes.
After comparative testing, the best results were achieved with a classic
“masking tape” (Tesa 4329, Beiersdorf AG). The operation consisted in
applying tape bands and removing them after 24 hours, the most effective
length of time (Figure 3). After this first step, a second application was
sometimes necessary to eliminate all varnish residues. The final adjustments
were done with a plastic self-adhesive tape with stronger sticking power
(Advance AT8 Floor Marking Tape), with flexible scalpel blades or, in a
few cases, with fiberglass brushes.
The use of a solvent treatment was necessary on the red plates, since the
varnish had strongly adhered to its porous surface and it was not possible

3
 The mural by Joan Miró
at Barcelona Airport:
GLASS AND CERAMICS conservation issues
about a monumental
work of art

to remove it mechanically. Tests were performed using gels containing

low toxicity solvents such as ethanol, acetone, toluene and white spirit
(Wolbers et al. 1990), but the best results were obtained using a toxic paint
stripper containing methylene chloride (Capaz-V, made by Molemist, a
local varnish, paint and detergent maker). This gel has a slightly acidic pH
(between 5 and 6) and presents the advantage (even if very toxic) of being
very effective and fast (it works in less than a minute), thus remaining
for a very short time in contact with the surface of the glaze. The gel was
applied with a paintbrush in very thin layers after cleaning the surface with
acetone. Once the gel had acted on the varnish, the surface was rubbed
with a brush that cracked the disintegrated varnish. The paste was then
gathered with a paper towel or cotton. The surface was next cleaned with
white spirit and finally rinsed with acetone, to avoid any gel residues.

The lower part of the mural (the bottom three plates) was especially dirty
and had a strong scent of urine. In order to eliminate these residues, this
zone was cleaned using a high pressure steam cleaner.

After the elimination of the varnish, all the plates were cleaned with
acetone and, after that, with a mixture of water and ethanol (80/20 in
Figure 5
The car after the accident. Photography: weight) to eliminate the residual dirt. The plates treated with the gel were
Fundación AENA cleaned with pure ethanol in order not to run the risk of introducing mixed
water to paint stripper residues in the pores of the glaze. Lastly, a final
dusting with a vacuum cleaner and brushes facilitated the elimination of
the residual bits of cotton and paper (Figures 4 and 5).

The 2009 intervention: re-attaching, gap filling and

re-touching broken plates

On February 4th, 2009, a bus parked in front of the mural had a problem
with its brake system and started moving without its driver. The bus crashed
into the middle of the ceramic wall and ended its trajectory at the left end
of the mural, after having scraped against half of it (Figure 5). Nobody
was injured, but 355 plates were damaged, 62 reversibly (painting stains
from the surface of the bus) and 293 irreversibly. 275 plates showed
abrasions and scratches, 16 had been broken and 90 had some amount
of loss, especially in the corners (Figure 6). The marble frame at the left
of the mural was also broken in its lower part, as was the metallic fence
at the bottom.

Figure 6
Drawing of the damaged areas in 2009

4

GLASS AND CERAMICS
Figure 7
Retouching of gap‑filled areas in 2009.
Photography: Pau Maynés Tolosa
The mural by Joan Miró
at Barcelona Airport:
conservation issues
about a monumental
work of art
The conservation treatment after the accident consisted of cleaning,
re-attaching, gap filling and re-touching the deteriorated lower part
of the mural. This work was carried out in one month by a team of six
people.
Fragments from 16 broken plates were re-attached with an epoxy adhesive
(Araldite AW106 + HV953U). The detached plates were also re-attached
to the mural using the same adhesive. Ninety plates were in-filled with
a “home-made” material and in-painted with Golden MSA Colors and
Varnish.
The mixture used to fill the losses was developed in Belgium by Mr. de
Haineau, who was in charge of the Stone department at the Institut Royal
du Patrimoine Artistique in Brussels. Mr. de Haineau proposed an epoxy
resin emulsified in water to produce a strong and light filling material
with a similar texture to ceramics. This low density and high adhesive
emulsified resin (Araldite AW 106 + HV953U) has since been used
successfully in Belgium on different outdoor projects. The fillers may vary,
depending on the desired effects: barium sulfate to improve the plasticity
of the mixture, terracotta powder to give the color, hollow-glass bubbles
or cristobalite sand to increase the grain of the mixture (Driesmans et al.
1998). The mixture used on the Miró mural was composed of two parts
of hollow-glass bubbles (Scotchlite S22), two parts of barium sulfate and
one part of cristobalite sand. After the resin and catalyst had been mixed
together, the same weight in water is gradually added to the mixture, until
obtaining a white and creamy texture. The fillers are then added to it
and the material is ready to apply. When the polymerization is complete,
this filling material can be sanded with diamond files or sandpaper. This
material presents many advantages: it is not expensive, it is easy to work
with and it is not toxic if inhaled after setting; it can be easily shaped
and retouched and it possesses a high mechanical strength which works
well in outdoor conservation conditions.
The paints and varnishes used to retouch the losses (Figure 7) were Golden
MSA colors and varnishes, acrylic products dissolved in mineral spirits
(MSA = Mineral Spirit Acrylic), developed to improve the stability of
acrylic paints (Golden 2004). The Golden varnishes have Ultraviolet
Light Stabilizers (UVLS), form a stronger and less permeable film
than water-borne acrylic emulsion varnishes, and are thus suitable for
both interior and exterior use. Both paintings and varnishes have been
used and give good results both in exterior and in artificial ageing tests
(De  Clercq and al. 2008, Szmit-Naud 2006). They are easy to apply
(with a brush or airbrush) and less toxic than polyurethane resins.
The 2010 intervention: preventive conservation
The system used to mount the 4,865 ceramic plates to the wall had
already been identified in 2005 as fragile (there are no cement joints and
some plates were already loose at that time). This risky condition was
confirmed after the bus accident: as a result of the crash, a plate was
5

GLASS AND CERAMICS
Figure 8
Detail of a plot inside a joint in 2010.
Photography: Pau Maynés Tolosa
The mural by Joan Miró
at Barcelona Airport:
conservation issues
about a monumental
work of art
completely detached at the top left of the mural as were others in the
bottom area. After close examination of the plate’s adhesion to the wall,
more were found to make a hollow sound when gently knocked with a
wooden hammer. To avoid the risk of a plate falling on a passer-by, it
was decided to consolidate the entire mural to improve the adhesion
of the plates to the wall and among the plates themselves.
The intervention consisted of two different operations. To reaffix the plates
with a hollow sound to the wall, a liquid epoxy adhesive (Araldite 2020)
was inserted behind 122 plates. To redirect the weight of the mural to
the ground, an epoxy paste (the same used to fill the losses in 2009) was
applied inside the horizontal joints (Figure 8). Almost all the joints were
treated, except those that were too thin to allow the introduction of the
consolidation material.
Maintenance of the mural
These three interventions have been followed up with regular maintenance
of the mural. For such a work of art, being as it is exposed outside,
regular care is an important factor in its preservation. In this case, it is
interesting to note that two months after the first superficial cleaning
of the mural there was already a significant layer of dust on the glazed
ceramic plates. In 2009, after four years, the surface of the mural was
as dirty as ever. A regular cleaning of the mural is then advisable, every
year or every two years.
Conclusion
The mural designed by Joan Miró and Josep Artigas at Barcelona airport
is an architectural ceramic wall in a crowded public area, exposed to
many types of deterioration and risk of damage, from pollution to
vandalism.
The three interventions performed in recent years have consisted in
cleaning and removing a varnish, repairing damages caused by a bus
accident, and consolidating the fragile structure of the mural. These
treatments also presented the occasion to examine each plate individually
and to make a detailed assessment of its condition after 35 years of
outdoor exhibition. The mural is now stabilized and can be appreciated
in its former beauty by travelers and airport workers.
Valorization of this exceptional work of art by the public should be
an important issue to ensure that the wall is respected and protected.
The current rod at 20 cm above the ground does not effectively protect
the lower ceramics. On the contrary, it induces people to sit on it and
rest against the mural. It would be advisable to find a better protection
system: for example, to place a higher barrier further away from the
wall. A sign identifying the wall and prohibiting its approach would
also be very helpful.
6
 The mural by Joan Miró
at Barcelona Airport:
GLASS AND CERAMICS conservation issues
about a monumental
work of art

Acknowledgements

The authors would like to thank Anne Lechat and Dominique Driesmans for
sharing their experience with us, as well as Liam Higgins for revising the
text. Our heart is with all the conservators and technicians who participated
in this project. Visca el Barça!

References

De Clercq, H., J. De Clercq, and K. Raymakers. 2008. Durability of

patinating products for stone materials in the exterior environment. Restoration of Buildings
and Monuments/Bauinstandsetzen und Baudenkmalpflege 14(3): 225–238.
Driesmans, D., and A. Lechat. 1998. Jean-Baptiste Loor (1824–1888), Saint
Joseph à l’Enfant, 1847. Bulletin de l’IRPA, 1994/1995, 26: 227–228.
Gall-Ortlik, A. 2006. The mural of Joan Miró at the Barcelona airport: topics around
the conservation of a monumental contemporary work of art. In 16th International Meeting
on Heritage Conservation, Valencia, 2–4 November 2006, 178–183. Valencia: Editorial de
la Universitat Politècnica de València.
Golden, M. 2004. Mural paints: current and future formulations. Los Angeles: The
J. Paul Getty Trust.
Horie, C.V. 1987. Materials for conservation: organic consolidants, adhesives and
coatings. Oxford: Architectural Press, Butterworth-Heinemann.
Pierre, J., and J. Corredor-Matheos. 1974. Céramiques de Miró et Artigas.
Paris: Maeght.
Rhodes, D. 1999. Clay and glazes for the potter. Philadelphy: Chilton Companion.
Szmit-Naud, E. 2006. Stabilité de la couleur et réversibilité des matériaux contemporains
pour retouches des peintures. In Couleur & temps: la couleur en conservation et restauration.
12es journées d’études de la SFIIC, Paris, Institut National du Patrimoine, 21–24 juin 2006,
66–75. Champs-sur-Marne: SFIIC.
Wolbers, R., N.T. Sterman, and C. Stavroudis. 1990. Notes for workshop
on new methods in the cleaning of paintings. Los Angeles: the J. Paul Getty Trust.

Materials list
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7
 The mural by Joan Miró
at Barcelona Airport:
GLASS AND CERAMICS conservation issues
about a monumental
work of art

Cristobalite sand
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