Attachment 1 - Finalist Proposals — Emeryville City Council, November 19, 2024

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DESCRIPTION
Preliminary Artwork Production Budget / draft 8/15/22
40TH STREETSCAPE PUBLIC ART
Pete Goldlust & Melanie Germond
Amount
budgeted
Notes
Artist Design Fee 75,000 15%
Project Management Fee 25,000 5%
Engineering, fa
Plaza Sculptures / 4 sculptures
brication, concrete, delivery, installation, etc. (Estimate: DEKA) 167,000 Glass material and fabrication (by artists) 17,000
Post-mounted panels / 22 lampposts + 3 bus shelter posts (25 posts w/50 panels total) Fabrication, glass, assembly, etc. (Estimates: Supereous, Custom Powderworks) 64,900 Delivery 4,000
Bus shelter structural alteration / 3 post extensions (Estimate: Tolar Mfg) 4,500 Installation / inc. all equipment, materials, etc. (Estimate: DEKA) 5,000 Photography fees
Bus shelter interlayer graphics / 6 shelters
6,000
Fabrication and installation (Estimate: Tolar Mfg) 30,600 Community Outreach / City Icon & Mudflats Maker Week Celebration Design (included in overall project design fee) 0
Travel (airfare/lodging/transportation/food) 7,500
Coordination / Joey Enos, Community Liaison 5,000
Administration 5,000
Workshops / Honoraria, publicity, misc. expenses 6,000
Materials / art supplies, publicity, printing, misc. 3,000 Professional services (additional engineering/surveying/electrical/etc.) 3,000 Studio overhead (project-related space/equipment/utilities/etc.) 8,000 Travel / installation (airfare/lodging/transportation/food) 4,000 Documentation of Artwork (photography/video) 1,500
Permits / Fees 1,500
Insurance (general & professional liability/auto/installation/etc.) 6,500 Contingency 50,000 10%
Total $500,000

8/1/24, 2:16 PM SendCutSend

Page 1 of 1 ends

S856B230 S856B230
Aug 1, 2024 2:12 PM
1 Line
07_POLYCARBONATE.ai
Emeryville_sample_01_bat_rays_d

13.631 x 11.574 in
(.118")
Polycarbonate-Clear Qty: 2
Item total: $96.18
Pete Goldlust
Ship To: Bill To: Subtotal:

Shipping:

Tax:

Total:
$96.18
$0.00
FREE
Visa (x8903)
$96.18 PAID
DOWNLOAD INVOICE
Invoice
Date
3/18/2024
Invoice #
20204187
Bill To
Pete Goldlust
Ship To
PO Terms
Due on receipt UofO
Project Att:

Balance Due
Payments/Credits
Total
Thank you...we appreciate your business
Router Cutting & Fabrication
Laser Cutting, Waterjet Cutting
Description Quantity Price Each Amount
Back .050" 1 155.00 155.00
Front Middle C- 1/8" 1 551.00 551.00
.050" 5'x10' 1 145.00 145.00
1/8" 5'x10' 1 345.00 345.00
$1,196.00
$1,196.00
$0.00
Estimate
Date
7/17/2023
Estimate #
2020782
Pete Goldlust
Customer:

Project Att:

Router Cutting & Fabrication
Laser Cutting - Waterjet Cutting
Description Qty Rate Total
02 Front A .050" 5052 Laser Cutting 1 183.00 183.00
02 Front A .125" 5052 Laser Cutting 1 326.00 326.00
02 Front A .187" 5052 Laser Cutting 1 482.00 482.00
02 Front A .25" 5052 Laser Cutting 1 788.00 788.00
03 Front B .050" 5052 Laser Cutting 1 110.00 110.00
03 Front B .125" 5052 Laser Cutting 1 197.00 197.00
03 Front B .187" 5052 Laser Cutting 1 284.00 284.00
03 Front B .25" 5052 Laser Cutting 1 464.00 464.00
04 Back .050" 5052 Laser Cutting 188.00 88.00
.050" 5052 Material 1 138.00 138.00
.125" 5052 Material 1 341.00 341.00
.187" 5052 Material 1 547.00 547.00
.25" 5052 Material 1 739.00 739.00

Estimate
Date
8/20/2024
Estimate #
2020840
Pete Goldlust
Customer:

Project
Emeryville
Att:

Router Cutting & Fabrication
Laser Cutting - Waterjet Cutting
Description Qty Rate Total
Bezel, Laser Cutting, 5'x10' 1/4" 304 Mill Stainless Steel 1 2,086.00 2,086.00 Face, Laser Cutting, 5'x10' 16ga 304 #4 Stainless Steel 1 2,216.00 2,216.00 Holder, Laser Cutting, 5'x10' 1/4" 304 Mill Stainless Steel 1 2,006.00 2,006.00

40th Street Streetscape Project
UrbanRock Design [Russell Rock and Jeanine Centuori]

________________________________________________________

PUBLIC ART PROPOSAL

An integrated art project for the City of Emeryville, CA

JEANINE CENTUORI RUSSELL ROCK
TITLE: ROLLING ALONG
Our concept for the 40

NARRATIVE
th Street Art Project embraces the theme of Bringing Nature into the Urban Streetscape with a playful rendition of the wide range of fauna found surprise and delight.

These engaging pieces are visceral in nature- as they are back lit and vivid, they evoke against the sky, a squirrel in a tree, a raccoon on the ground, and a seal in the water. that are projected against a background that represents their habitat- a bird image would hold one large cone that invites viewing. The viewer sees one of four animals The installations for the plazas are interactive and sculptural in nature. Each plaza

3. Plaza Installations
icon would be further refined and finalized after community engagement sessions. collective spirit of the community– all are riding together on a path. The vision for the displayed along the streetscape. This group of animals represent the comradery and drawing is that of a grouping of several animals derived from the collection that are The icon is very much a work-in-progress. The concept displayed in this preliminary

2. Icon
specific animals, vehicles, and personality-types would be chosen. these “props” would be used to initiate community engagement sessions where the personality-types are meant to capture the spirit and ethos of Emeryville. As such, displaying differing personalities. The range of animals, wheeled vehicles, and animals that are personified as riders of a diverse array of wheeled vehicles while laminate) that are double-sided (viewable from both sides). These drawings portray attached to streetlight poles and bus shelters with drawings (custom high pressure For the streetscape component, a series of about twenty episodic drawings would be

1. Streetscape Installation
within Emeryville.

form is
would be powder-coated, each with a different color. The wall thickness of the cone ¼ inch, the round base plate is 3/8 inch thick, the image disc is 3/8 inch thick, and the vertical element is a 6-inch diameter tube with a ¼-inch wall thickness. All

envision.
would be reviewed and revised by an engineer. Here is an example of what we that we have used many times for our public sculptures. The exact specifications and stamped by a California Licensed Structural Engineer. This proposed detail is one The footing and connection detail for these artworks would be reviewed, approved, Engineering and Footing Details

Powder-coat Colors:
color by Tiger Drylac with an anti-graffiti clear top coat. seams and connections are to be welded. Each sculpture is a different powder-coated Upon final approval of the artwork, preparation would begin for the installations INSTALLATION procedures & Timeline

TOTAL TIME 25 weeks
Installation of Plaza Artworks 1 week
Installation of Streetscape Artworks 1 week
Shipping Artworks to Emeryville 1 week
Site Preparation / Foundations
Fabrication of Art Elements & 12 weeks
Engineering and Permits 4 weeks
& Community Outreach
Design Development 6 weeks

Fabrication and Installation Timeline
and the installation of the streetscape artwork.
(UrbanRock Design) anticipate performing the installation of the (4) plaza sculptures securing equipment rentals, and coordination with the general contractor. We including: identifying staging areas at the site, obtaining traffic control permits, BUDGET

Community Meeting (materials, travel) $5,000
Structural Engineering $5,000
Artist Fee (18%) $90,000
Professional Fees
_________________________________________________________________

ITEM AMOUNT
________________________________________________________________$100,000 Installation
___________________________________________________________________$9,000 (4) Sculptures / Crating and Shipping to Emeryville, CA $8,000 Streetscape Artwork / Crating and Shipping to Emeryville, CA $1,000 Shipping
_________________________________________________________________$264,200 (4) Plaza Sculptures (by Made in America, quote attached) $236,000

(by UrbanRock Design) $10,000
Preparation of attachment mechanisms
(from Warnco Banding Items, tax and shipping added to quote) $1,000 Hardware for Artworks-- Brackets, Buckles, and Band
(by Fossil Graphics, quote attached / tax added to quote) $17,200 Production of Artworks
(20) Streetscape Artworks
Fabrication and Material Costs

Contingency

__________________________________________________________________$72,000 Artist Travel (for installation) $1,500
Installation Labor for streetscape artwork/ 5 days $7,500 Traffic Control Fee $15,000
Equipment Rental / Extended boom forklift $2,000
Equipment Rental (bucket lift for 5 days) $10,000
Plaza Sculptures
Artist Travel (for installation) $1,500
Installation Labor for streetscape artwork/ 5 days $7,500 Traffic Control Fee $15,000
Equipment Rental / Extended boom forklift $2,000
Equipment Rental / bucket lift for 5 days $10,000
Streetscape Artworks
$54,800

TOTAL $500,000

__________________________________________________________________$54,800

Hardware for Streetscape Artworks

From:

Warnco Banding Items
Ron Felscher
Date:

Cc:

To:

Tuesday, August 13, 2024 at 07:37 AM PDT
D00999
Good morning Russell,
2-Bolt Straight Leg 200/300 SS Brack-It 50/Box $ 504.66/Box C206R9 BAND-IT 3/4" 201SS (.030) Band 100'/Roll -Red Tote $ 87.50/box C25699 3/4" BAND-IT 201SS Buckles 100/Box $ 124.30/Box I would have to order the first item, probably a couple of weeks.

Ron Fe
Thank you.

We will pay the UPS shipping charge.

The other parts are in stock.
lscher
Warnco, Inc.

Operations Manager
s(4) Plaza Sculptures

Estimate
Date
8/12/2024
Estimate #
53 Name / Address

URBAN ROCK DESIGN
MIA Made in America Fine Art
Project
Total
Description Qty Rate Total

VIEW CONES ON PEDESTAL DIMENSIONS OF EACH CONE
FABRICATION OF 4 CONE SCULPTURES
' LONG x 2' DIAMETER x 9" DIAMETER
200,000.00 200,000.00
1/4 PLATE FOR CONE SHAPE
ROLLING PLATE 10,000.00 10,000.00
POWDER COATING 8,000.00 8,000.00
WATERJET CUTTING 10,000.00 10,000.00
14 - 16 WEEKS TO FINISH JOB
20'-6 in x 1/4 in THICK TUBE
(2) 4' x 8' x 3/8"
MATERIAL ALUMINUM (8) 4' x 8' x 1/4 in PLATE 8,000.00 8,000.00 $236,000.00
WARRANTY / Streetscape Artworks
Information, Order # and your actual Warranty. Please save that document for your records.

With each order you will receive a “Project Detail Sheet” which includes your Contact state to state, therefore, some limitations stated above may not apply to you. warranty gives you specific legal rights, and you may also have other rights, which vary from factors affecting the image that dramatically impact the standard viewing of the graphic. This material and image degradation is expected over time as normal wear. It applies solely to installation or fabrication will be disallowed. This limited warranty acknowledges that some Claims resulting from misuse, willful destruction, acts of God, force majeure, improper This warranty is supplied to the buyer in place of all other warranties, expressed or implied. protection and peace of mind.
preferences. Your new graphic is covered by its own 10-year warranty. This ensures continuous your graphic, ensuring your design remains up-to-date and aligned with your current needs or applied towards a replacement panel. You have the flexibility to make subtle modifications to is solely to provide a 100% credit for any unused duration of your warranty, which can be other economic loss. Fossil is committed to your complete satisfaction and as such our liability limited to, loss of anticipated profits, costs of installation, repair, removal, disposal, shipping or special, indirect, collateral, incidental, consequential or exemplary damages such as, but not connection with or arising from the purchase, use, or inability to use this product, or for any have no obligation or liability to any person or entity for any loss, damage or injury in will any oral statement constitute a warranty or amend a specific warranty. Manufacturer shall Manufacturer does not give warranty as to merchantability or fitness for a particular use, nor of your purchase.
under “Resources” and contains information that may affect your warranty and the enjoyment Installation Guide” and “Care & Maintenance”. These documents are found on our website To ensure the best results from your purchase, please review Fossil’s “Panel Thickness and manufacturing defects that cause fading, delamination, peeling, blistering or cracking.

Aluminum Composite Graphic™ and AG – Acrylic Graphic graphics will be free of purchase, that under normal use its’ CHPL – Custom High Pressure Laminate; ACG™ – Fossil Industries, Inc. (Manufacturer) warrants for a period of ten (10) years from the date of MAINTENANCE PLAN: Streetscape Artworks
Pre-Clean:
graphics looking clean and bright.
smooth and inert that an annual soap & water washing should be all that is needed to keep FOSSIL Graphics are protected with our exclusive finish and are easy to clean. The surface is so

CLEANING FOSSIL PANELS
Prior to applying any chemical solutions, it's important to pre-clean the panel to Mild Cleaning Agents:

or when they are hot, as this can affect the cleaning efficacy and the panel's integrity. avoid cleaning panels when they are exposed to sunlight remove any surface particles that may become abrasive when wiping the surface. Additionally, For mild cleaning needs, many stains can be effectively wiped off using Strong Cleaning Agents:

40, and Windex. Be sure to follow the manufacturers suggestions.

Fantastic Multi-Purpose Cleaner, Plastix Cleaner, Simple Green, Soap & Water, Vinegar, WDinclude 3M Citrus Adhesive Remover, Alcohol, Household Bleach, Clorox All Purpose Cleaner, difficult stains like permanent marker and dried latex paint. Other recommended products Graffiti Remover by Rust-Oleum®, an environmentally friendly product proficient in removing graffiti, several effective solutions are available. Our top recommendation is Krud Gutter a damp cloth. For more comprehensive cleaning, disinfection, or removal of tougher stains and Tough stains on FOSSIL Graphics: Some staining agents, especially treatment such as Meguiar's® PlastX™ Clear Plastic Cleaner & Polish.

Minor blemishes, nicks and light scratches can be concealed using a polymer based surface PANELS: SURFACE REPAIR
Wood Protector® to the sides of your panel on an annual basis. sealant such as Nu Finish (www.nufinish.com) polymer auto wax or Thompson's Waterproofing of your FOSSIL Graphics looking vibrant and to protect the edges from chafing, apply a liquid The top surface of your FOSSIL Graphics does not require any maintenance. To keep the sides PANELS: MAINTENANCE
suggestions.
repeat the procedure until the stain is removed. Be sure to follow the manufacturers satisfied with the result of the cleaning,
follow cleaning agents procedure with a detergent rinse and a water rinse. If you are not other solvents should be tested on a small, non-conspicuous area first. Use a soft cloth and Hydroxide; Hydrochloric Acid and Sulfuric Acid (35%). Do not use Goof Off or MEK. Use of Solvent; Kerosene; Turpentine; Lacquer Thinner; Mineral Spirts; Chromic Acid (30%); permanent marker and dried latex paint. Other recommended products include: Xylene Oleum®, an environmentally friendly product proficient in removing difficult stains like removal. Once again, our top recommendation is Krud Gutter Graffiti Remover by Rustthose with grease bases paint or ink, will require the use of a strong cleaning agent for MAINTENANCE PLAN Plaza Sculptures
The piece has the following powder-coated colors:

Tiger Drylac Color RAL 6034, RAL 5012, RAL 6011, and RAL 1016 will be possible to apply a suitable chromate pretreatment on site, apply a suitable primer and the maximum corrosion resistance, it is necessary to replace the pretreatment. In some cases it exposed, it is certain that the underlying chromate film has been damaged. In order to achieve Where mechanical damage to the powder coating has occurred such that the substrate is Damage Repair
a chamois.
water is high in mineral salts, finish powder coated metal cleaning with deionized water and/or metal that has been exposed to cleaner with copious amounts of fresh clean water. If the local caustic cleaners (especially kitchen and bathroom detergents) and paint thinners. Always flush chemicals for cleaning or any contact with powder coatings are gasoline, kerosene, xylene, residues. Under no circumstances should strong solvents be used. Examples of inappropriate detergent and then rinsed with clean water to ensure complete removal of any solvent and the area that has been wiped with solvent should be washed with a solution of mild liquid surfaces. After removal of the surface contaminant, the solvent should be dried from the film, small and unobtrusive area should be tested prior to attempting to use solvents on significant possible solvent should be used (e.g. methylated spirits, white spirits or isopropyl alcohol). A absolutely necessary to remove materials from the surface, such as adhesives, the weakest Any use of a solvent-based cleaner will void any warranty that is issued. Where a solvent is Avoid Solvents
you would treat your car paint.

Avoid harsh, abrasive cleaners such as steel wool and scourers. Treat the powder coating as Avoid Abrasives
possible.

Only filtered water should be used to clean and rinse powder coated products whenever fluoride, and other minerals commonly found in hard water or ground water in certain states.

Unfiltered water often causes staining on outdoor products due to sulfur, iron oxide, chlorine, coated finish, and pay attention to where the wind blows the water from sprinkler systems. the finish as well. Avoid using unfiltered tap water or ground water when cleaning the powder the pressure is strong enough to move the metal surface, it may be strong enough to damage harsh cleaning solutions. It is very important that low pressure be used in pressure cleaning. If filtered water under low pressure. Mild detergent may be used, but do not use chlorine or The most efficient method of cleaning powder coated surfaces is with a pressure washer using Pressure cleaning
on exterior applications needs to be cleaned 2 – 3 times per year.

Once applied, powder coating needs to be properly cared for, just like any paint. Powder used

CARE AND MAINTENANCE
C

recommended method of damage repair.
aluminum is essential to the repair process. Application of a suitable touch-up paint is the only pretreatment is not possible, the application of a high performance etch primer to the accordance with the recommendations above. Where on-site application of a chromate repaint the damaged area in

ONTACTS
Russell Rock and Jeanine Centuori- UrbanRock Design
Public Artists

Fossil Industries Inc.

Graphics Fabricator
Made in America
Carlos Fuentes
Metal Fabricator
TBD
Foundation Contractor
TBD
Engineer

COMMUNITY ENGAGEMENT STRATEGY
may also fill in the blank card with an adjective.”
“choose 3 of these qualities that best represent the environment of Emeryville. You Cards would be prepared and distributed to participants. They would be prompted to 1 Emeryville Environment
process.
artwork. A sense of ownership and common ground would be achieved with this This process is meant to allow for accessible and open dialog and discussion about the then inform the selections of Icon designs, Streetscape Artwork, and Plaza Installations. animals would then be chosen in a similar manner. These foundational ideas would community in qualitative terms with the use of adjectives printed on cards. Local The strategy for these sessions are to prompt participants to first think about the

Emeryville?”
of the local environment and community spirit, which of these best represents Participants would be prompted with the following: “referring to your chosen qualities These images of Streetscape Artwork would be printed at full-scale. 5 Streetscape Artwork
Emeryville?”
of the local environment and community spirit, which of these best represents Participants would be prompted with the following: “referring to your chosen qualities These images of Icon Designs would be printed at full-scale. 4 Icon Designs
Emeryville.
iconic local animals from the Sky, Trees, Ground, and Sea that best represent view cone would illustrate the experience. Participants would be asked to identify four Models of these Plaza Artworks would serve to clearly illustrate the form, and a large 6 Plaza Artwork
Artwork and graphics inspired by the
Overall Concept & Identity of Place
Presented by Scott Donahue, John Northmore Roberts, Lesley Gasparetti PHASE TWO 8/22/24
Final Conceptual Design Proposal
City of Emeryville 40th Streetscape Public Art Project
GH¿QLQJ characteristics of the City of Emeryville communicate the unique identity of this place while drawing visitors into and through the 40th Street corridor.

The free-standing pieces in each of the four plazas are individual artworks that, together, design.

The artworks, combined with new city graphics abstracted from the artwork, capture the city’s richness and enhance the street create a family of images, enlivening the multi-block experience and adding dramatic punctuation at key pedestrian locations.

Up to twelve sculptures affixed to street light poles plus four larger free-standing pieces within the new neighborhood plazas UHÀHFWIRXUGH¿QLQJFKDUDFWHULVWLFVRI
Innovation (creativity). Each of the plaza sculptures captures one of these themes, lit from within. The 12 simpler pieces affi Emeryville—Waterfront Wildlands (nature), Emeryville Connects (bikes & connectivity), All Are Welcome (diversity), Art & xed
to street-light posts on both sides of the street (at least one per block) include details from the major themes with a focus on The rhythmic experience of the artworks while travelling on a bus, in a car, riding a bike, or walking provides a distinctive l Emeryville’s natural setting.
inear
identity to the corridor day or night when seen up close or from afar linking the bayfront wildlands with the urban core. The works in the plazas are slightly removed from the street’s travel lanes, highlighting the quieter more nuanced neighborhood experience. urban grid leading toward the vegetated upland at the
rippling through the concrete paving and curving inland from the bay simulate a series of small waves superimposed on the The plazas themselves are reconceived as eddy-like spaces often found at the margins of wetlands. Stained concrete bands bioretention basin. Each plaza sculpture is located within this high ground, reminiscent of the beloved PXGÀDW sculptures that once graced the Emeryville shoreline. Stainless steel phrases embedded in the concrete relate the characteristic theme of each plaza. :D\¿QGLQJ and identity graphic options, UHÀHFWLQJ the city’s GH¿QLQJ characteristics consistent with the artworks, will be UH¿QHG

PLAZA SCULPTURES

MATERIALS AND SIZES
and selected through a creative public outreach process. (4 with forms 3D scanned to preserve a reproducible record) x Mounted on 5" diam x ¼" thick steel pipe (same as light poles) min. 10’ above ground extending to 16’ height set in concrete footings within bio-retention planters.
x Made in two parts, each 3' high x 4' wide x 4' deep weighing up to 250 lbs, or 500 lbs total. x Material is 3/8" to ½" WKLFNFDVW)RUWRQJ\SVXPZLWK¿EHUJODVVDQGLQWHJUDO pigment with additional ¿berglass rebar and mounting hardware. Additional color using water glass by Keim mineral paints. 6DFUL¿FLDODQWL-graf¿ti coating on exposed surfaces.
x Integral micro lighting powered by solar panel embedded in top.

LIGHT POLE SCULPTURES (up to 12 with forms 3D scanned to preserve a reproducible record) x Mounted on street light poles min. 10’ above ground extending to 12' height with stainless steel sign brackets. Designed to meet light pole structural loads and maintenance rqts.
x Made in two parts +/- 1'-6" wide x 1'-6" high x 2' deep weighing up to 30 lbs each, or 60 lbs total. x Four separate sculptures will be cast from molds three times each for a total of 12 pieces. x Material, additional color, and anti-graf¿ti coating same as Plaza Sculptures.

PAVING INSERTS and STAINED CONCRETE BANDS (stainless steel embedded in concrete paving) x Lettering – ¼" thick laser-cut stainless steel 6" high x ½" wide affixed to Àat bar by SS rods. x Wave bands – Color-stained scored concrete bands, avg. 6" wide x +/- 10' length within existing poured concrete paving. x Located within plazas a minimum of 3’ from known utility lines.

PLAZA SCULPTURES – Attachments & Lighting (for detailed specifications see appendix) The attachment hardware for the Plaza sculptures will be custom fabricated for this project. I have used this design pole attac

ATTACHMENTS
hment
successfully on a much larger installation of public art. Rising Expectations consists of three components. Inside the sculpture are The compression brackets are tightened inside the sculptures. During installation compression is applied by tightening the bolt compression brackets which have welded steel supports for the shell of the sculpture. s on
brackets. The upper funnel shape has a two-part hatch cover that each bracket through the access hatch on the lower ellipsoid shape. The upper funnel shape forms are using the same compression looks a little like a funnel-shaped itself and has a water drainage hole The lighting design for the Plaza sculptures uses standard garden lighting fixtures repurposed for the sculptures. The fixtures

LIGHTING
that goes down through the center of the pole and drains out the bottom. of this
type that I have many years of experience with are Urpower. These lights have their easily serviced solar panel separate from the 10 of these solar panels will be installed in the top of the funnel shape sculpture out of public view. Five spotlights will fa automatically with light levels. Hardware cloth wire mesh will protect these panels from bird nesting. lighting fixture with wired connections between the two. The panels contain the battery for the nighttime power and are turned on and off ce upward
illuminating the funnel-shape from below. The individually inset LED lights will be in the underside of the ellipsoid facing down to viewers in the Plaza. These inset lights will be appropriate to the content of each sculpture. In the All Are Welcome example shown, the little LED lights will illuminate the upside-down city, kind of like how we view San Francisco, and the spot lights will illuminate the underside of the birds above. In the Emeryville Wildlands sculpture, the diving penguins are illuminated from below with the eyes of the fish below lit by the LED lights. For the Emeryville Connects sculpture, the map is illuminated from below and the front and rear tail lights of bicycle riders are lit by LED. For the Art & Innovation sculpture, the DNA forms are lit from below and the gauges, dials, and LIGHT POLE SCULPTURES – Attachments
other equipment behind the hands are lit from within by LED. (for detailed specifications, see appendix)
The public art sculptures proposed for this project rely on a cast material Forton gypsum and fiberglass. I have used this material for over 30 years. A project of mine in Palo Alto, entitled Headwaters (right) is constructed of this material and has endured for 27 years without any damage or needed repairs. The sculptures that are proposed for these 40th St. locations would all be at 10 feet or higher.

Each of the two components of the sculptures will be attached to the poles with standard signage hardware, which is sufficient to withstand the wind and gravity forces. This hardware is all stainless steel supplied by Grangers and its brand name is Tapco. This The pieces are configured and sized to extend +/- 1’-6” from the face of the poles so that they will not conflict with the rout attachment mechanism will allow for easy removal and re-installation if the pieces need to be removed in the future. ine
maintenance tasks, such as changing light bulbs. They are smaller than the 3’ x 3’ signs that are allowed to be attached to the poles, with a smaller wind loading effect than the signs—a primary consideration for pole stability. Based upon our experience elsewhere, the combined weight of 60lbs max. (30 lbs max each component) should not affect the structural integrity of the poles. Structural No maintenance is possible. However dust and dirt will settle on the sculptures enhancing some relief work but diminishing the

MAINTENANCE
certification will be completed as part of the final design. color.

Once a year hosing down with water of the sculptures will enhance the color. LED light bulbs do burn out and lithium ion batteries do wear out. The garden repurposed lighting may have to be replaced. Judging from my light fixture the endurance would be at least five years, probably more. The lightbulbs can be changed by accessing them through the hatch of the ellipsoid form. The solar panels can be replaced by accessing them through the upper side of the funnel form. Scans of each of the sculptures will be provided for the City’s use as an accurate depiction in case a replacement or repair is needed. In addition, molds of the light pole sculptures will be provided Installation
for casting replacements or additional pieces if needed in the future.

Procedures
The plaza sculptures will be located within the new bioretention basins at each plaza. Installation of the concrete piers, bolt

SCULPTURES
PLAZA
s, and steel
poles for the sculpture will require close coordination of the scheduling and site access with the work of the general contractor overseeing the plaza construction. Installation of the sculptures on the poles will also require coordination but can be installed after the The sculpture pier locations will be shown on the artist site plans, reviewed and approved by the city, and coordinated with th major plaza construction is complete.
e city’s
engineering improvement plans. The proposed locations will be marked by the general contractor subject to the approval of the artist.

The 18" diameter piers will be drilled to the specified depth using standard drilling equipment followed by assembly and installation of the reinforcing and city inspection. Poured concrete will include installation of the j-bolts. Once the concrete is sufficiently cured, the poles will be delivered to the site and bolted to the concrete piers.

Subsequent installation of the sculptures on the poles will be scheduled when the plaza is clear and fully accessible to the artist, best before the final landscape installation. The artist will deliver and install the pieces using his own equipment. The lighting of the sculptures is integral to the sculptures and will not require connections to outside power sources. The Plaza sculptures will be installed using a rolling A-frame and chain hoists. Scaffolding will be used to make the connections of the compression brackets. The individual The stainless-steel lettering inserts will be fabricated off-site and delivered for installation by the artist’s sub-contractor

PAVEMENT INSERTS
parts will be delivered using my truck and my labor to install. as an integral
part of the concrete paving reinforcement. The final location of the pieces as shown on the artist site plans will have been reviewed and approved by the city and coordinated with the city’s engineering improvement plans. The final location will be subject to the approval of the artist. The pieces will be installed to be flush with the finish grade of the concrete paving. Coordination of the scheduling and site access with the general contractor will be required. The concrete pour and finishing will be by the general contractor for the plaza. concrete installation sub-contractor according to the plans and subject to the approval of the artist. The concrete bands will coordinated with the city engineering improvement plans. The bands will be scored into the concrete by the general contractor’s The stained and textured concrete wave bands will be shown on the artist site plans, reviewed and approved by the city and STAINED CONCRETE “WAVE BANDS”
be textured
by the concrete installer consistent with the etched concrete specified in the city improvement plans. A separate sample of the textured concrete will be poured for approval of the texture and subsequent staining. Approximately 30 days after the concrete pour, the general The light pole sculptures will be mounted to twelve existing light poles using stainless steel mounting hardware 10 feet above

LIGHT POLE SCULPTURES
contractor will apply stain to the “wave bands” to match an approved sample. the
sidewalk at their lowest point. Installation of the sculptures will be coordinated with the city of Emeryville for a proper time. Traffic mitigation will be used. Scaffolding assembled for this purpose will be temporarily installed at each light pole sequentially. I will be using my own equipment and labor to do these installations. I will be using my truck for this installation and will provide evidence of commercial liability insurance.

EMERYVILLE 40
TEAM DONAHUE TH STREET ART – BUDGET
1) ARTIST FEES & PROJECT MGMT (20%) $ 100,000
August 22, 2024
x SD $ 60,000
x JNR $ 30,000
x LG $ 10,000
2) SUBCONSULTANTS $ 28,000
x Structural Eng $ 8,000
x Landscape Arch $ 10,000
x Graphic Design $ 10,000
3) MATERIALS, FABRICATION, INSTALLATION $ 283,500
x Plaza Sculpture piers and poles install $ 28,000
x Stainless Text
o Fabrication $ 47,500
o Install ($63/lf) $ 5,000
x Stained Concrete bands add ($10/sf) $ 3,000
x Plaza & Light Pole Sculptures (SD) $ 200,000
4) INSURANCE (SD) – allowance $ 3,000
5) TRAFFIC CONTROLS – allowance $ 3,000
6) PERMITS – allowance $ 10,000
7) CONTINGENCY (10%) $ 50,000
8) OTHER $ 22,500
x Workshop Process $ 22,500
x 2 Workshops, preparation, summary $ 15,000
x 2 Presentations $ 2,500
x Web Development $ 3,000
x Survey review $ 1,500
x Facility rental $ 500
TOTAL $ 500,000

Community Outreach Design Process for Iconographic Wayfinding Image To reach community consensus on an iconographic
GOAL
ZD\¿QGLQJLPDJHIRUWKH&LW\RI(PHU\YLOOH
x

OBJECTIVES
7RDOLJQWKHSUHIHUUHGZD\¿QGLQJLPDJHWRWKHDSSURYHGSXEOLFDUWWKHPHVRIWKHWK6WUHHWVFDSH3XEOLF$UW3URMHFW x 7RGHYHORSDSUHIHUUHGZD\¿QGLQJLPDJHWKDWUHÀHFWVFUHDWLYHFRPPXQLW\LQSXWUH¿QHGWKURXJKDFUHDWLYHRXWUHDFKSURFHVV o Design Team to conduct two public community workshops under the sponsorship of the project’s Working Subcommittee appointed by the City Council, facilitated and advertised by staff, to review options and select a preferred approach— :NVKS3UHVHQW¿QGLQJVWRGDWHDQGUHFHLYHLQSXWRQRSWLRQV:NVKS5HYLHZUH¿QHGRSWLRQVDQG¿QGFRQVHQVXV on Preferred Option. Concurrently conduct on-line survey of preferences for options reviewed at each workshop. o Present the art and urban design concepts approved for the 40th Streetscape Public Art Project as the basis for FRQVLGHUDWLRQRIZD\¿QGLQJRSWLRQV
o 5HYLHZDWOHDVWWKUHHLQLWLDORSWLRQVIRUZD\¿QGLQJLPDJHVGHYHORSHGE\WKHWHDPWREHFRPSOHPHQWDU\WRWKHDSSURYHGWK Streetscape Art Concepts as a prompt for discussion.
o Receive input on the initial options and discuss potential additional options or ideas suggested by the community. Reach FRQVHQVXVRQRSWLRQVWREHUH¿QHG
o 5H¿QHXSWRVL[RSWLRQVUHÀHFWLQJLQLWLDOFRPPXQLW\LQSXWIRUUHYLHZDQGGLVFXVVLRQLQDVHFRQGZRUNVKRS)DFLOLWDWH discussion to develop consensus on a Preferred Option.
o 'HYHORS¿QDOZD\¿QGLQJLPDJHVIRUDSSURYDORIWKH:RUNLQJ6XEFRPPLWWHHWKDWUHÀHFWVFRQVHQVXVFRPPXQLW\LQSXW x $SSURYDORIWKH¿QDOLFRQRJUDSKLFZD\¿QGLQJLPDJHE\3XEOLF$UW&RPPLWWHH7UDQVSRUWDWLRQ&RPPLWWHH%LNHDQG3HGHVWULDQ Advisory Committee, and City Council.
'HOLYHU¿QDOFDPHUD-UHDG\HOHFWURQLF¿OHVRI¿QDODSSURYHGGHVLJQWRWKH&LW\RI(PHU\YLOOH

System Components - The Forton™ MG System consists of four components (an alpha gypsum and three specialty additives).

Component 1 - Alpha Gypsum: You can not use just any gypsum/plaster product. You must use an Alpha Gypsum such as FGR 95 from Component 2 -
USG Corp., Densite HL from Georgia Pacific, Crystacal R from British Gypsum or equivalent.

VF-812: White liquid. 50% solids polymer that crosslinks with Component 3 and gives Forton™ MG water resistant properties.

Component 3 - MF-415 Resin: Fine white powder. Enhances physical properties of the overall mix.

Component 4 - Ammonium Chloride Hardener: Crystalline Powder - looks like sugar. Added as a pH adjustor to ensure the proper crossan accurate digital gram scale to weigh Parts A and B properly. Do not use an analog scale or attempt to measure components by To minimize dust inhalation, we recommend wearing a NIOSH approved dust mask while weighing and mixing components. You must use Important: Use only fresh materials. Old materials (gypsum, polymer) will give inconsistent results.

MEASURING & MIXING...
linking of the VF-812 and the MF-415 Resin.
volume.

Important: Components must be mixed in proper sequence. A power mixer should be used to mix all components.

2. Combine All Dry Ingredients: Combine Alpha Gypsum + MF-415 + Hardener

1. Shake or stir VF-812 well. Dispense required amount into mixing container. by weight into a suitable size mixing container. Mix dry components thoroughly with mixing paddle, power mixer, etc. until well blended. If adding fillers such as bronze powder, blend with dry components before adding to VF-812.

3. Sift dry ingredients into VF-812 liquid and mix all components with a power mixer. Continue mixing until all dry powder components are thoroughly dispersed (minimum 90 seconds).

Mix Design - Component quantities will vary depending on the size of the batch you are making. Below is a standard Forton™ MG mix design:

Parts By Weight
Accelerating Forton™ MG -
Working times and demold times will vary depending on mass, environmental temperatures and use of accelerator.

The set and demolding times of the FMG system can be reduced by the use of an accelerator. For hand Mix the Forton™ MG components into a creamy slurry. Then add the accelerator while mixing. A good starting point is to add 1 ta layup a solution of 1 lb of FMG Accelerator (Aluminum Sulfate) into 10 lbs of water can easily be made. blespoon
of accelerator for every 10 lbs of gypsum in the mix. The goal is to add just enough to accelerate the set time but not cause a snap set.

Retarding Forton™ MG -
Note: Local conditions and mix design can affect the strength of an accelerator. Experimentation will be required.

Some applications may call for a large quantity of Forton™ MG to be mixed and poured in a single mold (mass casting) or for “master batching” (a large amount is mixed and poured into many different molds for production casting). To achieve the longer working time and demold time necessary for these applications, citric acid can be added to the mix. A good starting point is to add citric acid in a quantity of 0.05% of the weight of the gypsum in the mix. The citric acid should be premixed into the VF-812 prior After thoroughly mixing components, the mixture is ready to be poured into a mold. For best results:

POURING & APPLICATION...
to adding dry components.

1. Pour a small amount of the Forton™ MG mix into the mold and brush or slush a face coat on all surfaces. This helps to break surface equivalent. This helps to eliminate any clumps or unmixed material that could affect the surface finish. tension and ultimately reduce air bubbles. Tip: Slowly pour the face coat material through a window screen, kitchen colander or

2. After a face coat is applied, the remaining mixture can be slowly poured into the mold.

Further Reducing Entrapped Air - Air bubbles are sometimes a concern with polymer modified gypsums and will vary depending on conditions. There are additional steps you can take to help reduce entrapped air:

2. Pressure - Requires pressure vessel and compressor. After mixture is poured into mold, place mold in a pressure vessel and s

1. Vibration - By placing the filled mold on a vibrating table, air will rise and dissipate from the mold surface. ubject
mixture to 60 PSI (4.2 kg/cm2) air pressure for one hour. NOTE: Molds must also have been cured under the same pressure. Otherwise, when the Forton™ MG is pressure cast in the mold, air bubbles trapped in the rubber will compress and the casting will be distorted.

Pressure Casting is the only way to completely eliminate bubbles from your mix. Vacuuming material does not work.

Alpha Gypsum VF-812 Polymer MF-415 Resin Hardener
100 50 10 0.48
Making Architectural Elements - Hand Lay-Up Technique - Forton™ MG can be reinforced with all typical “E” glass fiber reinforcements used in the composites industry. This includes continuous strand surfacing mats up to bi-axial and tri-axial woven glass fiber fabrics. Therefore, Forton™ MG can be used in a wide range of production/laminating processes. ASTM 1355 requires that a minimum of 5% glass fiber reinforcement is used. The flexural properties of Forton™ MG are very responsive to the amount and type of glass fiber Hand Lay Up Using Fiberglass Matting -
reinforcement used, up to 15% of the composite weight.

For best results, use ¾ oz. or 1 oz. Chopped Strand Mat or Continuous Strand Mat. Mix Forton™ MG at the “standard” mix design and brush a face coat into a mold. Let set until the appearance starts to turn from shiny to dull, or until you can no longer see your fingerprint if touched. Mix another batch and brush a layer over initial face coat. Lay matting over fresh material and let material penetrate matting. Brush with a clean paint brush, applying light pressure over surface to minimize entrapped air. After a uniform coating is attained, apply another layer of matting and brush again. Apply a minimal amount of Forton™ MG - just Hand Lay Up Technique Using Chopped Glass -
enough to wet out the surface. Repeat as necessary until 3⁄8” (10 mm) thickness is attained.

Another technique for making strong, lightweight elements is to mix chopped fiber directly into the Forton™ MG standard mix. Adding chopped fiber takes much less time than layering chopped matte. The chopped How To Proceed -
fiber will be added to the mix as a percentage of the total weight. Fiber can be added in concentrations of 5% to 12%.

A face coat should first be applied to the mold surface. This initial coat should be the standard Forton™ MG mix design and contain no fiber. This ensures a fine surface finish with no exposed fibers. Next, a backup mix can be created that will have fibers added. Calculate the total weight of Forton™ MG required for the backup mix. Based on this, calculate and dispense the amount power mixer until fibers are uniformally dispersed. Do not overmix. Apply mixture with gloved hand or spatula over face coat. An of fiber needed (5%-12% of the total weight). Fibers should be added to a thoroughly mixed Forton™ MG Slurry. Mix thoroughly with a other

FINISHING & PERFORMANC
application may be required to attain 3/8” (10 mm) thickness.

E...

Post Finishing - After elements have fully cured, they can be sanded or sand blasted to achieve the desired surface texture. “Wet For Exterior Use, Apply A Sealer -
Sanding” is advisable to minimize dust particles and build up on sand paper.

Because the Forton™ MG system substantially reduces the water absorption rate of alpha gypsums, elements made with Forton™ MG are suitable for exterior use. Elements must, however, be sealed with a suitable siloxane sealer or concrete / masonry sealer such as Euclid Chemical Baracade Silane 40 WB or Baracade Silane 100 C. Elements can also be painted with Making “Cold Cast Bronze” Elements -
an outdoor acrylic paint.

Reproducing the look of bronze is a common application for Forton™ MG because you can achieve the look of real bronze at a fraction of the cost. For making solid castings, the following proportions will work well. –325 mesh bronze powder is recommended and should be pre-mixed with dry Forton™ MG components prior to adding to VF-812.

Parts By Weight
Optional: Pigments can be added to the system to affect the finished look of the cold cast part. For example, adding a dark pigment (black or dark brown) to the mix will give the final casting added definition and dimension when working with bronze powder. Powdered iron Post Finishing Cold Cast Bronze Elements -
Metal powders (bronze, copper, brass, nickel silver, etc.) are available from Smooth-On or your Smooth-On distributor. oxide pigments and SO-Strong™ color tints work well with the Forton™ MG system.

To bring forth the metallic finish, buff with 0000 steel wool. Patina coloring can then Adding Pigments And Fillers -
be achieved using various cold patinas. Casting should be sealed with wax, lacquer or clear acrylic spray to prevent oxidation.

Because Forton™ MG blends easily with different materials, realistic effects can be achieved with the addition of various pigments and/or fillers. Liquid or dry pigments can be added during mixing. Other metal powders can be added parts by weight to original mix formula. Quarry Tone™ fillers from Smooth-On can be added to give a granite look. Adding malachi to attain specific metal finishes (copper, pewter, silver). A marble finish can be attained by adding marble dust (calcium carbonate), 150 te will
fillers are pre-mixed with dry components by weight. Amount give a realistic porcelain finish. Wood grain finishes can be attained by adding powdered pecan shells or similar fillers. Metal powders and of filler to be added depends on desired effect. Some experimentation may be necessary.

Alpha Gypsum VF-812 Polymer MF-415 Resin Hardener Powder Bronze
100 70 10 0.48 150

©2023
Keim Mineral Coatings of America, Inc
Stand 01/17 USA
previous elastomeric co
cement fiber siding. Do not use on floors or
stucco, terracotta, brick, masonry and
and silicone resin-based coatings, acrylic
when renovating or coating sound acrylic
paint surfaces. It provides added adhesion
exterior previously painted and difficult to
Mineral Bonding Primer is used to bond to

FIELD OF APPLICATION
uniform. Fills small cracks up to 1/32”.
uneven and aged masonry appear more
primer has a sanded texture and can make
providing a uniform mineral surface. This
when multiple types of masonry are present,
It provides tenacious adhesion and is ideal
painting with mineral paints and limewash.
tough to paint surfaces for subsequent
previously painted surfaces, glossy and
primer designed to prepare exterior
Mineral Bonding Primer is a sol-silicate

PRODUCT DESCRIPTION
PRIMER

EXTERIOR MINERAL BONDING

TECHNICAL DATA SHEET
atings or oil base

PRODUCT PROPERTIES
Limewash.
coats of a KEIM Mineral Masonry Paint or
coat/primer; it must be over coated with 2
and can only be used as a base
Mineral Bonding Primer is not a finish coat
painted surfaces.
x
pressure
never peel due to hydrostatic
Moisture vapor permeable, will
x
lose adhesion
coatings and fuses—won’t peel or
Penetrates masonry and existing
x
painted surfaces (as outlined)
mechanical bond to previously
Copolymer modification provides
x
overall appearance
limewash topcoats and improves
for subsequent mineral and
Provides a uniform mineral surface
x
surfaces
Apply to a variety of mineral
x
noxious smoke in case of fire
Noncombustible—won’t add fuel or
x
resistant—no pesticides used
Naturally mold, algae and fungus
x Subtle, sand texture
Density
Technical data

1.6 g/cm³
VOC (ASTM D6886) < 1 g/liter
Organic Content < 5%
Cured pH value Approximately 11
Vapor Diffusion sd (H2O) = <0.01 m
Coefficient
Water Absorption
1504)
(acc. to DIN EN
W=0.20 kg/m2 h 0.5
(ASTM E96)
Vapor Permeability 77 Perms
Flashpoint Non-Flammable
ASTM D3273/D3274
Mildew Resistance
growth
Passes—No fungal
TECHNICAL DATA SHEET – CONTACT PLUS® SOL-SILICATE SANDED BONDING PRIMER ©2023
Keim Mineral Coatings of America, Inc
Stand 01/17 USA
ISO 2813
Gloss at 85°
Flat

0.5 Mineral Matte
EPA
Environmental Compliance
sf/gallon
Mineral Bonding Primer applied at 275—325
All test results performed on 1 coat of
YES

LEED YES

CARB YES

SCAQMD YES
Greenguard Gold YES
Cradle to Cradle YES
brush, roller or airless spray.

Mineral Bonding Primer may be applied by

APPLICATION
needed before painting.
removed. Repair damaged areas as
and loose latex or acrylic layers must be
Old, oil base paints, loose substrate layers
would prevent penetration and bonding.
moss, algae and other substances that
clean and free of dust, grease, oils, salts,
The substrate must be sound, solid, dry,

SURFACE PREPARATION
Masonry Paint and Limewash.

Use as a primer system for Keim Mineral

SPECIFICATIONS/SYSTEMS
White Matte Flat
Colors:
x Brush - Use a nylon/polyester brush
x
roller cover
Roller - Use a ½" to ¾” nap synthetic
x Airless Spray
o Pressure: 3000 psi, minimum
o Tip: .035 in
o
siphon tube only
pump, use 30 mesh filter on
Remove filters from gun and
and rising and below 95
Ambient and substrate temperature: 40°F
Application conditions
dry 12 hours or overnight before recoating.

Ready to use, apply as supplied. Allow it to
Prime coat
○F. Do not apply it in
application for a mi
sunlight, wind, and rain during and after
Protect coated surfaces from direct
direct sunlight or on sun-heated substrates.
nimum of 12 hours.
coverage dependent.

Drying times are temperature, humidity and
Drying times
@ 40-50°F @ 50°F +
Coverage
Recoat: 24--48 hours 12 hours
Touch: 4--6 hour 2--4 hours
SUBSTRATE COVERAGE*
Brick and Masonry 200—250 SF/GAL
Cement fiber Siding 250—300 SF/GAL
CMU Block (smooth) 100--150 SF/GAL
CMU Block (split faced) 50—75 SF/GAL
Portland Stucco 125—176 SF/GAL
consumption. Apply
equipment used will all IMPACT
application conditions and type of
experience. Surface texture, porosity,
*Stated values are based on our
test area to determine
Do not mix with water or other products.

Mixing with other products
in water during work breaks.

Tools should be kept in the paint material or
solvent to prevent rusting of the equipment.
equipment with a compliant cleanup
water. After cleaning, flush spray
immediately after use with soap and warm
Clean spills, spatters, hands, and tools
Cleaning
actual coverage on your surface.

KEIM Fixative is a cl

1. PRODUCT DESCRIPTION
KEIM FIXATIVE + CONSOLIDANT

TECHNICAL DATA SHEET
ear binder, thinner and
Fixative as an anti-dusti
more uniform topcoat appearance. Use KEIM
surfaces that are highly porous resulting in a
also helps to minimize variable porosity across
coverage of subsequent mineral topcoats. It
surfaces to reduce absorbency and extend
permeable primer on very porous masonry
Granital. Also use KEIM Fixative as a vapor
Paints. It may be used as a dilution for KEIM
systems, KEIM Purkristalat and KEIM Décor
pure silicate-based, two-component paint
Use KEIM Fixative as a binder and dilution for

2. FIELD OF APPLICATION
existing colors.
natural in appearance without altering
which leaves the masonry surface completely
and develops a natural mineral matte finish
potassium silicate. It dries completely clear
consolidation agent made from pure, liquid
ng finish on interior or
penetrating action stre
damaged masonry, brick and stone. The
Fixative as a mild consolidant for friable and
masonry to eliminate future dusting. Use KEIM
masonry dust and elements and consolidates
masonry surfaces. Fixative “ties down” loose
exterior brick, stone, stucco, concrete or any
ngthens and restores
Recommended Uses:
untreated stone.
moisture to a slower rate, then that of an
but it will limit the absorption of ambient
not a sealer as the stone remains breathable,
level. It fills voids and consolidates them. It is
bonding the molecular structure on a cellular
weakened and decayed masonry by re-
Interior and exterior
Above grade

and brick
Aged, decayed and friable masonry
Cast and precast concrete
Natural stone
Stucco surfaces
permanently with the su
KEIM Fixative penetrates and bonds

3. PRODUCT PROPERTIES
bstrate, is highly
to weathering and is
moisture vapor permeable, extremely resistant
incombustible. KEIM
Technical data
environmental impact
• Environmentally friendly with low
• Low viscosity allows deep penetration
• Resistant to acid rain and pollution
• Hinders fungal and mold growth
• UV resistant
• Non-flammable
• High binding power and fixing action
• Extremely moisture vapor permeable
crust
• Non-film forming, will not develop a hard
• Extremely weather resistant
polymers
those in original substrate—no synthetic
• Forms covalent chemical bonds, similar to
Fixativ contains no organic additives.

Specific weight approx. 1.17 g/cm³
Penetration Depth Class II:= 10 mm
Active Content 100%
pH value 11.3
ASTM E 96
Vapor Permeability 93+ perms
Solubility in water Fully miscible
VOC < 1 g/liter
Color: Clear (tea colored)
Environmental Compliance

EPA YES

LEED YES

CARB YES

SCAQMD YES
Fixative. Depending on surface porosity, level
be thoroughly soaked and saturated with
For proper performance, porous surface must

4. SPECIFICATIONS/SYSTEMS
Pretreat highly absorben

6. APPLICATION
algae must be completely removed.
release agents, curing compounds, moss and
grease. Loose areas, dirt, oily substances,
sound, dry, clean and free from dust and
The mineral substrate must be absorbent,

5. SURFACE PREPARATION
applications may be required.
of decay, etc. multiple and successive
TECHNICAL DATA SHEET – KEIM FIXATIVE + CONSOLIDANT
t or sanding surfaces
Dilute Fixative with clean
or as a consolidant:
water in ratio of 1:1,
Dilute Fixative with clea
Anti-dusting applications:

Fixativ.

Soak 5 kg of color powder in 4 liters of KEIM
To mix with Purkristalat or Décor Paints:
is extremely porous, sanding or decayed.

Multiple coats may be required if the surface
surface with brush, roller or airless spray.
1:2 or 1:3. Apply diluted Fixative by flooding
n water in a ratio of
absorbency of the substr
to be applied by flooding depends on the
have to be cleaned beforehand. The quantity
must be clean, dry and absorbent and may
be clean. The surface of the building material
heated substrates. Equipment and tools must
rising. Do not apply in direct sunlight or on sunAmbient and substrate temperature: 40°F and Application conditions
Refer to relevant technical data sheet.

To dilute Purkristalat, Décor Paints, or Granital:
porous, sanding or decayed.
coats may be required if surface is extremely
with brush, roller or airless spray. Multiple
1:3. Apply diluted fixative by flooding surface
ate (apply onto trial
treated with Fixative.
area). Nonabsorbent surfaces cannot be
Avoid direct sunlight
coverage dependent.

Drying times are temperature, humidity and
Drying times
12 hours.
during and after application for a minimum of
surfaces from direct sunlight, wind and rain
and exposure to strong wind. Protect coated
@ 40-50°F @ 50°F +
Reapply or topcoat: 10--24 hours 10 hours
Touch: 4--6 hour 2--4 hours
Coverage*
immediately after use with water.

Clean spills, spatters, hands, and tools
Cleaning
SUBSTRATE COVERAGE*
Cast or Pre-Cast Concrete 250—300 SF/GAL
Fiber Cement Siding 250—300 SF/GAL
Portland Stucco 125—175 SF/GAL
brick
CMU Block (smooth) and 75—100 SF/GAL
fluted)
CMU Block (split faced or 25—50 SF/GAL
Gunite/Shotcrete 75—125 SF/GAL
Masonry
Brick/Natural Stone 200—250 SF/GAL
production conditions will foreapplication, using desired mixing ratio and under used will all vary consumption. Only a test
application conditions and type of equipment
smooth surfaces. Surface texture, porosity,
*Stated values are based on our experience on
cast consumption
of the system components accurately.
4-liter (1.05 gal) and 24 li

7. PACKAGING
ter (6.34 gal) Steel Pail
painted surfaces. Not for use below grade.

Do not apply to polished stone or previously

LIMITATIONS
Not Applicable

HAZARDOUS SUBSTANCE CLASS
waste regulations.
accordance with local, state and federal
Dispose of completely emptied containers in

9. DISPOSAL
heat and direct sunlight.
under cool, frost-free conditions. Protect from
Approx. 12 months in tightly closed container

8. STORAGE

10. SAFETY INSTRUCTIONS

Provide appropriate prot
KEIM Fixative is alkaline.
ection for surfaces
The information a
supersedes all earlier editions.
improve the products or their application. This edition with. We retain the right to make modifications to
Standard building industry practices must be complied
suitability of our products for the intended application. duty of establishing for themselves, with due care, the those purchasing and applying our products from the
contractual relationship. In particular, they do not release the selection of our products and do not establish a
verbally or in writing, are intended to provide assistance in Our recommendations for application, whether given
extensive development work and practical experience.

The stated values and properties are the result of
Keep out of reach of children.
from splashes.
plenty of water. Protect the eyes and skin
areas must be rinsed off immediately with
splashes on surrounding surfaces or traffic
sidewalks, pavers, landscaping, etc.). Any
which are not to be treated (e.g. glass,
nd recommendations set forth in this
Technical Data Sheet are based upon tests conducted
by or on behalf of KEIM Mineral Coatings. Such
the time of pub
subject to change and pertain to the product offered at information and recommendations set forth herein are
lication. Consult
for the latest in product
technical information.

Environmental Compliance
Clear, slightly cloudy gel—dries clear
Color and Appearance
TECHNICAL DATA SHEET PSS 20 Eco Graffiti Protection System

EPA YES

LEED YES

CARB YES

SCAQMD YES
allow excess water to run o
Thoroughly pre-wet substrate with clean water and
dust, grease, and silicone. For absorbent substrates:

The substrate must be sound, clean, and free of oil,

4. SURFACE PREPARATION

ff. Surface should be
Substrate must be clean
For non-absorbent substrates:
or pools).
saturated but not show signs of surface water (puddles
and dry at the time of
PSS 20 is applied to the surf

5. APPLICATION

application.
ace in two or three coats
using airless spray equipment at a pressure of 1450 -
overlapping pattern should
2900 psi. When spraying, both vertical and horizontal
be used, which together
will correspond to a normal coat of PSS 20. Do not
above 90
apply in hot conditions. Application in temperatures
F may lead to rapid evaporation of the water
◦
in the finish leading to adhesion problems.
dependent.

Drying times are temperature, humidity, and coverage
Drying times

Note: PSS 20 is very slippery in its liquid state.
@ 40-50°F @ 50°F +
Touch: 4--6 hour 2--4 hours
Recoat: 24--48 hours 24 hours

Coverage*

SUBSTRATE COVERAGE*
Masonry or Brick 100—200 SF/GAL
Natural Stone Masonry 100—250 SF/GAL
Cast or Pre-Cast Concrete 150—250 SF/GAL
Portland Stucco 75—125 SF/GAL
Mineral Paint Finish or Mural 150—250 SF/GAL
Metal Surfaces 200—250 SF/GAL
surfaces
*Stated values are based on our experience on smooth
and are for one coat. Multiple coats will require
more material. Surface texture, porosity, application
conditions will forecast consumption accurately.
consumption. Only a test application under production
conditions and type of equipment used will all vary
Graffiti on the PSS 20 protecti

6. GRAFFITI REMOVAL

solvent to prevent rusting of the equipment.
flush spray equipment with a compliant cleanup
after use with soap and warm water. After cleaning,
Clean spills, spatters, hands and tools immediately
Cleaning
ve film can be easily
removed with hot water, without the need for
pressure washer fitted with
chemicals. Remove soiled PSS 20 with a hot water
an adjustable fan nozzle.

Saturate the surface to soften the outer layer of PSS

20. The water temperature should be between 60-70°
damaging the surface. On so
C. Use the least amount of pressure possible, to avoid
ft surfaces, a pressure of
less than 250 psi is recommended. When the PSS 20
protective film is saturated, it will swell and begin to graffiti is no longer bonded,
“slough” off. Peel off together with the graffiti. As the it can be easily collected
come into contact with the
and disposed of in the solid state. The graffiti does not actual surface and there is
no “ghosting” or etching of the surface. Once the
Further details on applicatio

20 should be reinstalled immediately.
surface is cleaned and dried, a replacement coat of PSS n and graffiti removal are
cool, frost-free conditions. Pro
Approximately 2 years in tightly closed container under

8. STORAGE

25-liter plastic jerry can

7. PACKAGING

available from Keim.
tect from heat and direct
accordance with local,
Dispose of completely emptied containers in

9. DISPOSAL
sunlight.
state, and federal waste
n/a

HAZARDOUS SUBSTANCE CLASS

regulations.
surfaces. Do not apply below 38
PSS 20 should not be used on floors or other horizontal

10. LIMITATIONS AND CAUTIONS
TECHNICAL DATA SHEET PSS 20 Eco Graffiti Protection System F or above 90
◦ F.◦
When removing PSS 20 be careful as it is slippery once

11. SAFETY INSTRUCTIONS
removed with hot water.

Provide appropriate protection for surfaces which are
areas must be rinsed off im
etc.). Any splashes on surrounding surfaces or traffic
not to be coated (e.g. glass, natural stone, ceramics
mediately with plenty of
out of reach of
water. Protect the eyes and skin from splashes. Keep
children.
for application, whether given verbally
development work and practical experience. Our recommendations The stated values and properties are the result of extensive

or in writing, are intended to
aid in the selection of our products and do not establish a applying our products fr
contractual relationship. They do not release those purchasing and om the duty of establishing for themselves,
application. Standard building indust
with due care, the suitability of our products for the intended ry practices must be complied
The information and recommendations
editions.
products or their application. This edition supersedes all earlier with. We retain the right to make modifications to improve the set forth in this Technical
Shee
Data
t are based upon tests conducted by or on behalf of KEIM herein are subject to change and
Mineral Coatings. Such information and recommendations set forth pertain to the product offered at
the time of publication. Consult
for the latest in product technical
information.