Bit Magazine
January 2001, pages 14 - 16

Artbeton on the Quo Vadis Set

Last March we looked into the technology of creating concrete surfaces that simulate practically any natural substance. Because of the enthusiastic response of our readers, and in light of the unusual effects in production on the set of the film Quo Vadis, we've decided to return to the subject.

As we wrote in our March 2000 issue, Artbeton technology is based on special processes for the production of concrete surfaces. We detailed the techniques for imprinting and coloring fresh concrete (so-called stamping is the most common) as well as three variants of that technology: the simulation of smooth, multicolored stone slabs; the production of vertical surfaces, and the overlaying of a new layer over old and/or damaged concrete.

As you recall, Artbeton technology can be used to create virtually any interior or exterior surface, in imitation of virtually any natural material: granite blocks, fired bricks, stone or marble slabs, even oak planks. The enormous range of patterns and colors allows for truly endless customizing possibilities, especially since the techniques can be used to produce 3-D elements, not just flat surfaces.

This time, though, we're not looking at the technology, but at the possibilities it offered set designers working on the film Quo Vadis. Let's see what visual effects were wrought by this collaboration of filmmakers and pavement manufacturers - the Wroclaw firm Artbet.

Work on the Set
The filmmakers got interested in Artbeton technology when it became clear that recreating ancient stone roads of a precisely-specified color and complicated form was going to be an unusually demanding and time-consuming task. Achieving a worn, weathered look, complete with ruts and cracks, would - if natural stone were used - entail extensive polishing and shaping, which would significantly prolong the preparation of the set, not to mention the problems in finding and transporting large quantities of adequate raw material.

In the case of imprinted concrete, on the other hand, the only issues were creating the necessary patterns and achieving the colors the set designers required. The timing was perfect, since the Wroc³aw firm had been working for some time already on the independent production of molds. So Artbet accepted the challenge. After studying historical materials and photos provided by the set designers, they produced a sample pavement - and it was accepted at the first meeting with the film crew.

Janusz Sosnowski, the head set designer for Quo Vadis, set very strict standards for the molds and dyes, and above all for the naturalism, realism and expressiveness of the pavement reproductions. Using imprinting technology with specially-produced patterns and dyes, Artbet specialists produced approximately 500 meters of stone paving to "play the role" of the Roman cobblestones of Trans-Tiber. After seeing this first job, and the technological possibilities, the set designers offered Artbet the production of the paving and steps of the Roman Forum. Here entered the first marble-like tiles, which called for a different technology: etching rubbed concrete with specially formulated substances. It soon became clear that all the paving for the scenes to be shot in Poland would be made by Artbeton technology: roads, squares, courtyards, tiles in the palace chambers. And as the work proceeded, it turned out that Artbeton technology is also ideal for creating the (functioning!) fountains in various courtyards and palace chambers.

One advantage of the technology that the filmmakers particularly appreciated was the possibility of correcting the pavement coloring in the final stage of production. Despite months of study and planning, the set designers couldn't predetermine the precise shade of the paving, which also had to be coordinated with the vertical elements of the set.

Every element of the set had its own character and coloring, and the correlation between the paving and the vertical elements (walls, columns, etc.) was very significant. Teams of set designers oversaw all this, and all of them were intent on maximal visual effect. The paving was given additional patina.

Other elements created from imprinted concrete included the lion runs in the Coliseum, constructed in the Warszawianka stadium, and the prison pavements; the rubbed-and-etched technique was used in the imperial palace, where 800 square meters of pavement were created from scratch: poured, rubbed, expansion-jointed and treated to create a marble effect.

It's worth noting that while the vertical parts of the sets were temporary constructions (made mainly of plaster and cardboard or styrofoam), the paving had to be built to last through the actors, horses and film equipment moving around on them. All the pavements had a (minimum) four-centimeter layer of concrete and additional reinforcement. That's why the cement flooring was the only set decoration to survive the now-famous fire in the Roman Forum - and once it had been washed down, it was still usable, with no loss of form or color.

All together Artbeton's work on the set took four months, including the preparation of the special patterns and dyes as well as the production of 6500 m2 of pavement - each meter of which had to be inspected and accepted by the head set designer. Every piece had to be crafted with care, so that the camera crew and director could rest assured that every detail met all the standards and was reproduced as realistically as possible.

Off Screen Appearances: Historical Streets, Squares and Walkways
The possibility of creating an endless range of custom-designed patterns means Artbeton technology can be used to simulate virtually any pavement type, making it invaluable in renovations of old lanes and alleyways, town squares, walkways and castle grounds. It's worth noting that in cases of partial damage, it's possible to replace the missing fragments with treated-concrete simulations that are indistinguishable in appearance from the original material.

The photos show some of the most characteristic uses of imprinted concrete, on the sets of Universal Studios and private residences in the United States. The possibilities and effects are often stunning: It's hard to believe those are ordinary cement slabs, however specially treated. Look at the painstaking reproduction of the 1920s alley, paved in cobblestone, with a gutter running down the middle; or the street recreated so realistically that - even though this is newly-poured concrete - traces of the former trolley tracks are carefully preserved, along with myriad other details.

Natural concrete paving also has interior uses, in restaurants, discos, museums, churches or malls. Here we find both imprinted and rubbed concrete, etched with special substances to create (for example) a marble-tile effect. In both methods, graphic elements such as company logos can be worked into the paving.

Artbeton pavements are durable and require no costly or time-consuming maintenance. They're attractively priced as compared to stone paving, since they don't entail quarrying raw materials. And it's an unusually fast method that significantly cuts down on the timeframe of the entire project.

The plusses of Artbeton paving:
- a uniform base needing no intermediate layers, glue, tiles or mortar joints
- an enormous range of textures and colors
- improved resistance to pressure and scratching
- frost-proof
- environment-friendly nonporous base safeguards against chemical seepage
- permanent coloring
- resistant to extremes of weather, chemicals, acids, salt, UV
radiation and motor oil
- remains moss-free
- doesn't sink
- won't crack even at high temperatures

by Gra¿yna Marciniak and Sebastian Osowski

Roman road to Trans-Tiber: where Artbeton's Quo Vadis adventure began.

The "marble" tiles in the palace chambers are from etched rubbed concrete.

It's hard to believe the flooring in Vinicius's chamber is "just" treated concrete.

The pavement and steps of the Roman Forum are made of imprinted concrete.

A "stone" fountain in Crispus's courtyard

A brilliant reproduction of a 1920s alley

The wide range of patterns allows the pavement to be perfectly harmonized with the character of the building.

Flagstones or imprinted concrete?

An alley in all its detail - even the traces left by old streetcar tracks are reproduced

A two-level "brick" walkway precision-reproduced using a special radial-matrix system.