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Paint Factory Makurdi
CHAPTER ONE -- [Total Page(s) 5]
Page 5 of 5
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The industrial Revolution with the use of capitation
ushered in such keen completion among early industrialists that some old
buildings and other available large spaces were acquired for loom shops
and other industries. This was the period for birth of industrial
architecture from the period of birth to the present day, Industrial
Building Types or Industrial Designs has passed through three main
stages;
 Period of construction in wood and stone with water power.
 Period of construction in bricks and metal (cast and wrought iron at first, steel later) with steam power.
 And period of modern construction in reinforced concrete with electricity as a source of power.
By
1925, this last phase experienced a new architecture creation –
INTERNATIONAL STYLE – which was first noticed in the industrial designs
of Peter Behrens in Germany and Auguste Perret in France between 1911
and 1924.
These works and most other modern examples revealed the
design philosophy of almost all today’s meritorious industrial building
as an emphasis on lines and planes instead of mass. Standard design
became:
• A long rectangular multi-window structure with a central cupolar or furnace itself.
• Large monitors for interior day lighting.
•
A possible massing of all units of an industrial building into one
imposing single structure depending, however on the sizes of the
individual units of the complex
1.11 HISTORY OF PAINT MANUFACTURE
Paint
is a thin protective or decorative coat or a subdivision of surface
coating. Painting, the art of laying colour on a surface, therefore
necessitated the development of paint.
Paint was first developed in
the prehistoric times when the early men recorded most of their
activities in colours on the walls of their caves. These crude paints
consisted of coloured earth or clays suspended in water. However, the
use of paint dated as far back as 1500 B.C. when the earliest paint
works discovered in caves of Lascaux, France, Attemira and Spain were
believed to have been done.
The Egyptians artist, during the early
civilization was a paint formulator. He devised his paint mostly from
natural pigments from resins, chalk, tale, clay etc. this could be
regarded as mixture. However, by 1500 B.C. they imported such dies as
indigo and madder to make blue and red pigments. By 1000 B.C. they had
developed a varnish from the gum of Arcacis tree (gum Arabic) which
contributed to the performance of their arts.
Coloured crayon
pigments and clay binder were used in Asia, while before 600 B.C.
calcined mixtures and organic pigments were developed.
Vehicles were
prepared from gum Arabic, eggulute, gelatin and bees max. In our local
traditional architecture, ‘Uri’, ‘Nzu’, cowdung etc. were used to
prepare paints.
During the medieval and classical period more
specialized form of paint was developed. This is known as oil paint. The
substrate is generally canvas although other surfaces may be used. The
colour consists of concentrated pure pigments ground to a thixotropic
paste in refined or bleached vegetable oil, generally linseed. The
pigments have an influence on the drying rate uniform. This is done by
making the vehicle of a fast-drying colour more saturated oil such as
popyseed, and adding a small fraction or cobalt soap to the blacks and
other slow drivers.
The discovery of oil paints brought a great
improvement in the art of painting. The 15th Century brought with it the
knowledge of perspective in which objects could be represented in three
dimensions. In this period, however, and to a more partial extent even
is the earlier classical epoch, efforts were being made to widen the
horizon of painting and to embrace with it the scope of its
representations not only solid objects in themselves, but much objects
as a whole in space, in due relation to each other and to the universe
at large.
It was reserved, however, for the masters of 17th century
perfectly to realize this ideal art, and in their hands painting as an
art of representation is widened out of its fullest possible limits and
the whole of nature in all its aspects becomes for the first time the
subject of the picture. The development of painting since the 17th
century gave rise to the modern and more specialized method of paint
production.
CHAPTER ONE -- [Total Page(s) 5]
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