Manhattan Beach City Council
December 3, 2024

9. Sand/prepare all surfaces and remove haziness at lower areas. Apply a unifying cl
ear gel coat throughout the bench.
a. If the work is performed on site, it is likely that dust and atmospheric soiling will settle on the fill surfaces as the material cures. This can only be m
itigated by de-installing the bench and bringing it to an indoor “clean” space.

10. Pol
ish all resin surfaces with an automotive clear coat polishing compound and m
echanical polisher to increase shine and reduce appearance of any fine su
perficial scratches.

11. I
f deemed necessary and appropriate, apply a sacrificial wax coating over the resin su
rfaces to help mitigate some deleterious effects of outdoor weathering.

12. Bronze Plaque:
a. Clean in same manner as sculptural bench.
b. M
itigate corrosion through mechanical and chemical means, taking care not
to mar original patina.
c. Polish raised letters and border to expose “free” copper. d. Heat plaque with a propane torch and patinate raised letters and border to a l
ight golden color. Once desired color is achieved, arrest patina devel
opment with distilled water.
e. Re- heat plaque surface and apply carnauba and microcrystalline paste wax f
ormula developed by the Getty Conservation Institute for high UV, heat, and marine environments.
f. Allow wax to cool and buff.
g. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen.

Estimated Treatment Costs: $ 12,775.00
Estimated Special Equipment Required:

Security fence with privacy screen, chain, and combination lock. Portable generator (if there are no power outlets nearby) and machine polisher.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital phot
ography. Provide a Dropbox link to all maintenance images as well as note any condi
tions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

5. If sacrificial wax was applied during more in-depth treatment, re-apply wax t o
bench f
ollowing general cleaning.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
131

CITY OF MANHATTAN BEACH PUBLIC ART CONSERVATION SURVEY
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A Conservation, LLC • June 2024

Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Stacy Dukes
Title: Untitled – Strand Bench Donated by The City of Manhattan Beach, Public Art Trust Date: 2008
Materials: GFRP, sealant, bronze
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 11th Street
General Condition: Excellent Good Fair X Poor
Description:

This artwork comprises a bench crafted from glass fiber -reinforced plastic. Unlike other Dukes benches, this particular bench lacks a clear coating, resulting in a rough and grainy texture. The legs are distinct from the bench seat, and the seam is filled with a solid-colored sealant, creating a clear separation. The legs, displaying a smoother and more yellow surface, still lack any visible signs of a clear coating. It appears as though a tan -colored epoxy or sealant material has been added to localized areas throughout the legs, giving them a patchier quality than the bench seat. The bench takes on a generally arched form with recessed curved shapes adorning the top surface. The overall color of the bench is natural sand. A small, square bronze dedication plaque is embedded in the low curb west of the bench.

Condition:

The bench appears to be structurally sound. The surface condition is fair. Unlike other benches, this one lacks a gel coating on its surface, revealing a natural, sanded texture.

However, the entire bench exhibits discoloration and staining, primarily concentrated on the legs but also evident on the seating surface. The legs suffer from dirt runoff and gum residue, and the caulking where the bench legs meet the pavement is deteriorating. The pavement caulking has eroded or pulled away, creating exposed openings/gaps that can accumulate debris and foster biological growth. The caulking above the legs shows signs of discoloration, likely due to mold and mildew development. Previous repair attempts are evident, with an unknown sealant or epoxy-like material used to fill holes throughout both legs without any sand aggregate. Where smaller “bug holes” in the casting of the legs have not been filled, the interiors of t
hese depressions are dark, either from soiling or bio growth.

The bronze dedication plaque is highly worn and tarnished. Blue green and red cuprite corrosion are present to varying degrees across its surface. 132

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A Conservation, LLC • June 2024

Previous Conservation Treatments or Condition:

An unknown sealant and/or epoxy-like material has been used to fill holes throughout both legs. It is not known if this is original to the artwork fabrication or if they were added at a later period after the work was installed.

Comments on Mounting:

The method of mounting is not visible but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar.

Comments on Location:

The bench is located along The Strand which is a dedicated pedestrian walkway. To the west is a drop off with some sand followed by a public parking lot, two-land bicycle path, and then the beach. The ocean is approximately 200’-300’ from the bench. Because of its proximity to a parking lot, the bench may be subjected ot higher concentrations of corrosive vehicle exhaust particulates. There are no overhanging tree branches or encroaching plants.

The work is highly accessible to the general public and likely receives more interaction than other benches because of its proximity to the Manhattan Beach Pier. The bench is in full sun throughout the day. It is not spot lit at night, but there is amble ambient light from nearby streetlamps to help deter vandalism. There are no known security cameras in the vicinity of the bench.

C
omments on Safety/Risk Management: None at this time.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Stanchions and caution tape to demarcate work area from the general public.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect stanchions and caution tape around work area.

3. Dr
y-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade masonry detergent. This may not resolve all surface soiling or staining.

5. Ri
nse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Remove or reduce extant accretions with organic solvents.

7. Remove failed sealant around feet and replace in kind.

8. In-paint light-colored fills throughout legs to better integrate color with adjacent surfaces. Apply a varnish to in-painted areas that has inherent UV light stabilizers.

9. A
pply a masonry sealant to all surfaces. This will not penetrate into the resin substrate, but may assist with any staining/discoloration of exposed sand aggregate. 133

CITY OF MANHATTAN BEACH PUBLIC ART CONSERVATION SURVEY
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A Conservation, LLC • June 2024

10. Bronze Plaque:
a. Clean in same manner as sculptural bench.
b. M
itigate corrosion through mechanical and chemical means, taking care not
to mar original patina.
c. Polish raised letters and border to expose “free” copper. d. Heat plaque with a propane torch and patinate raised letters and border to a l
ight golden color. Once desired color is achieved, arrest patina devel
opment with distilled water.
e. Re- heat plaque surface and apply carnauba and microcrystalline paste wax f
ormula developed by the Getty Conservation Institute for high UV, heat, and marine environments.
f. Allow wax to cool and buff.
g. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen.

Estimated Treatment Costs: $ 7,275.00
Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital phot
ography. Provide a Dropbox link to all maintenance images as well as note any condi
tions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
134

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RL
A Conservation, LLC • June 2024

Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Stacy Dukes
Title: Untitled - Strand Bench for Sara Hays Content
Date: Client to provide information
Materials: GFRP, resin coating, bronze
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 35th Street
General Condition: Excellent Good Fair Poor X
Description:

The artwork consists of a bench that appears to be made of glass fiber reinforced plastic with a thick clear gel coat over top. The legs are separate from the bench seat with the seam filled with a hard solid colored sealant. The gelcoat ties everything together. The bench is generally shaped in an arc form. There are recessed curve forms as well as raised ovoid forms. The overall color is beige with the legs appearing a more golden yellow than the top of the bench, which is milky and pearlescent in comparison. The edges also have a pink hue to them, possibly from the pigment used to impart the pearlescent quality. A small, square bronze dedication plaque is embedded in the low concrete curb to the west of the bench.

Condition:

While the bench currently appears to be structurally sound, the surface condition is fair to poor. The piece exhibits significant cracking, particularly in two (2) areas on the surface— one on the south end and another on the north end. These two long cracks are quite pronounced, with one creating a lip/stepped, and the other appearing to be quite deep through the substrate. Smaller cracks in the gel coat encircle these larger cracks and are also visible in the recessed curved lines elsewhere on the bench seat. Fine ambient soiling has become embedded in these cracks, making them more pronounced. A crack bisects the center of the bench seat on the underside. Discoloration is evident throughout the surface, presenting in various hues such as dark grays, yellow ocher, pink, and large clusters of black and brown. The darker areas of discoloration appear to be beneath the gel coating and embedded among the aggregate in the substrate. In the areas with larger cracks, the epoxy sealant is chipping, further contributing to discoloration and exposing the bench's original texture. Adjacent to these areas, the coating appears cloudy, which may mean it has delaminated from the substrate. Th e cracks and extent of discoloration and delamination may indicate that water is routinely getting into the bench structural system. If so, corrosion 135

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A Conservation, LLC • June 2024

may be forming on any internal armature/support, which may undermine the bench’s structural integrity. Additionally, an unknown black substance is present along the same sealant, possibly gum or an insect nest. The raised text and border of the dedication plaque have discolored from gold to dark brown with swaths of blue green and red cuprite corrosion forming.

Previous Conservation Treatments or Condition: Not available at this time.

Comments on Mounting:

The method of mounting is not visible, but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar.

Comments on Location:

The bench is located along The Strand which is a dedicated pedestrian walkway. To the west is a wood post fence and planter area followed by a two-lane bicycle path and then the beach. The ocean is within approximately 200’-300’ of the bench. The work appears to be in shade in the morning due to nearby buildings and in full sun in the afternoon. There are no overhanging tree branches or encroaching plants. It is not clear if there are sprinklers in the ad
jacent planter area that overspray the bench. The work is highly accessible to the public. It is not spot lit at night, but there is ambient light from nearby streetlamps. There do not appear to be any security cameras near help deter vandalism.

Comments on Safety/Risk Management: None at this time Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance: None at this time.

Treatment Priority: 1 Curatorial Priority:

Treatment Recommendations:

Due to the extent of cracks and damage throughout the substrate of the bench, we do not recommend treatment at this time. It is unknown if any internal armature components have been compromised due to water infiltration. The work should be deaccessioned. If the City would like a comparable bench, one should be fabricated from more robust materials.

Estimated Treatment Costs: N/A
Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

Maintenance is not recommended at this time due to how degraded the surface is. The bench should be de-accessioned and replaced with more robust material or another installation.

Estimated Maintenance Costs: N/A
Recommended Frequency of Maintenance: N/A
136

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A Conservation, LLC • June 2024

Examined By: Christina Varvi
Examined On: 11/9/23
Artist: Stacy Dukes
Title: Untitled - Strand Bench for S.M. Ellis
Date: Client to provide information
Materials: GFRP, resin, bronze
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 24th Street
General Condition: Excellent Good X Fair Poor
Description:

The artwork consists of a bench that appears to be made of glass fiber reinforced plastic. The bench appears to be a single casting, but possibly cast in multiple lifts. There are seams visible at the bench and the legs, but this is likely due to the formwork. The upper bench portion has more exposed aggregate with no visible coating. The legs are smoother with more of a “skin” compared to the seating element with less exposed aggregate. The bench is generally shaped in an arc form with recessed curving and swirl-like design elements. The overall color is that of natural sand. The seating element appears somewhat darker in color due to the exposed aggregate and darker grains of sand and small stones that comprise said aggregate. A small, square bronze dedication pla que is embedded in a low concrete curb to the west of the bench.

Condition:

Overall, of the bench appears to be in relatively good condition with no structural concerns noted and no visible losses anywhere throughout the surface. There are black transfer marks on the legs due to abrasion. There are white and dark gray accretions on the bench seat as well as chewing gum residue. The legs appear somewhat discolored, which may be due to general soiling and other atmospheric pollutants, dogs urinating on the bench, and/or any cleaning by City public works staff. The raised border and text of the dedication plaque have discolored from gold to dark brown due to weathering and oxidation. Blue green corrosion is also starting to take hold.

Previous Conservation Treatments or Condition: Not available at this time. 137

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A Conservation, LLC • June 2024

Comments on Mounting:

The method of mounting is not visible, but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar.

Comments on Location:

The bench is located along The Strand which is a dedicated pedestrian walkway. To the west is a steep sloping hill covered with plants followed by a two-lane bicycle path and then the beach. The ocean is approximately 200’-300’ from the bench. There are no overhanging tree branches or encroaching plants. There do not appear to be any sprinkler heads in the adjacent planter area that may overspray the bench. The work is highly accessible to the general public. The bench is in full sun throughout the day. It is not spot lit at night, but there is ambient light from streetlamps to help deter vandalism. There are no visible security cameras in the vicinity of the bench.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance:

Stanchions and caution tape to demarcate work area from the general public.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect stanchions and caution tape around work area.

3. Dry-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade masonry detergent. This may not resolve all surface soiling or staining.

5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Apply a masonry sealant to all surfaces. This will not penetrate into the resin substrate, but may assist with any staining/discoloration of exposed sand aggregate.

7. Bronze Plaque:
a. Clean in same manner as sculptural bench.
b. Mitigate corrosion through mechanical and chemical means, taking care not to mar original patina.
c. Polish raised letters and border to expose “free” copper. d. Heat plaque with a propane torch and patinate raised letters and border to a light golden color. Once desired color is achieved, arrest patina development with distilled water.
e. Re- heat plaque
surface and apply carnauba and microcrystalline paste wax formula developed by the Getty Conservation Institute for high UV, heat, and marine environments.
138

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A Conservation, LLC • June 2024

f. Allow wax to cool and buff.
g. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen.

Estimated Treatment Costs: $ 4,925.00
Estimated Special Equipment Required: None at this time Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
139

CITY OF MANHATTAN BEACH PUBLIC ART CONSERVATION SURVEY
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A Conservation, LLC • June 2024

Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Stacy Dukes
Title: Untitled - Strand Bench Donated by Timothy Mueller Date: Client to provide information
Materials: GFRP, resin coating, bronze
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 5th Street
General Condition: Excellent Good X Fair Poor
Description:

The artwork consists of a bench that appears to be made of glass fiber reinforced plastic with a thick clear gel coat over top. The legs are separate from the bench seat with the seam filled with a hard solid colored sealant. The gelcoat ties everything together. The bench is generally shaped in an arc form with recessed curved shapes throughout the top of the bench. The overall color is natural sand, though there is an additional coating over the seat which gives this area a milky, pearlescent quality. A small, square bronze dedication plaque is embedded in the low curb to the west of the bench.

Condition:

The overall condition of this bench appears to be good, with no large cracks into the substrate, losses, or other significant structural concerns noted. There is some gel coat loss along the seam between the upper and lower sections of the bench seat as well as “bug holes” from the casting process where there is no coating. Scuff and transfer marks are visible on the northwest, northeast, and south edges, along with a vertical scuff mark along the east side. Sticker residue is present on the north end leg facing east, and bird droppings were found along the surface of the bench. The extant clear coat on the dedication plaque is blanching and lifting from the surface. The raised border and text has discolored from gold to dark brown with blue green and red cuprite corrosion taking hold throughout the surface.

Previous Conservation Treatments or Condition: Not available at this time.

Comments on Mounting:

The method of mounting is not visible but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar. 140

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A Conservation, LLC • June 2024

Com
ments on Location:

The bench is located along The Strand which is a dedicated pedestrian walkway. To the west is a two-lane bicycle path and then the beach. The ocean is approximately 200’-300’ from the bench. There are no overhanging tree branches or encroaching plants, nor any nearby sprinklers that may overspray the bench. The work is highly accessible to the public. The bench is in full sun throughout the day. It is not spot lit at night, but there is ambient lighting from streetlamps in the area. There do not appear to be any security cameras near the bench.

Comments on Safety/Risk Management: None at this time.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Treatment would require security fencing to mitigate interaction with the public. Otherwise, the bench would need to be deinstalled for offsite treatment.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect security fence around perimeter of bench with privacy screen. Secure with chai
n and combination lock. Provide combination to the City.

3. Dry-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade detergent.

5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Remove or reduce extant accretions with organic solvents.

7. In-fill areas of missing coating along the edge/seam as well as other superficial losses with tinted resin to blend the areas of loss with the surrounding surfaces. a. Please note that the material used for infilling the missing resin will age
di
fferently than the original because they are different ages and chemical compositions. The fills will also be discernible up to a certain distance. b. If the work is performed on site, it is likely that dust and atmospheric soiling will settle on the fill surfaces as the material cures. This can only be m
itigated by de-installing the bench and bringing it to an indoor “clean” space.

8. Pol
ish resin surface with an automotive clear coat polishing compound and m
echanical polisher to increase shine and reduce appearance of any fine su
perficial scratches.

9. I
f deemed necessary and appropriate, apply a sacrificial wax coating over the resin su
rfaces to help mitigate some deleterious effects of outdoor weathering.

10. Bronze Plaque:
a. Clean in same manner as sculptural bench.
141

CITY OF MANHATTAN BEACH PUBLIC ART CONSERVATION SURVEY
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A Conservation, LLC • June 2024

b. Mitigate corrosion through mechanical and chemical means, taking care not
to mar original patina.
c. Polish raised letters and border to expose “free” copper. d. Heat plaque with a propane torch and patinate raised letters and border to a l
ight golden color. Once desired color is achieved, arrest patina devel
opment with distilled water.
e. Re- heat plaque surface and apply carnauba and microcrystalline paste wax f
ormula developed by the Getty Conservation Institute for high UV, heat, and marine environments.
f. Allow wax to cool and buff.
g. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen.

Estimated Treatment Costs: $ 8,275.00
Estimated Special Equipment Required:

Security fence with privacy screen, chain, and combination lock. Portable generator (if there are no power outlets nearby) and machine polisher.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital phot
ography. Provide a Dropbox link to all maintenance images as well as note any condi
tions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

5. If sacrificial wax was applied during more in-depth treatment, re-apply wax to bench f
ollowing general cleaning.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
142

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A Conservation, LLC. • November 2023

Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Stacy Dukes
Title: Untitled – Unknown
Date: Client to provide information
Materials: GFRP, resin coating, bronze
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 23rd Street
General Condition: Excellent Good X Fair Poor
Description:

This artwork consists of a bench primarily fabricated of glass fiber-reinforced plastic. Unlike other Dukes benches, this particular bench lacks a clear coating, resulting in a rough and grainy exposed aggregate texture. The legs are distinct from the bench seat, and the seam is filled with a solid -colored sealant, creating a clear separation. The legs, displaying a smoother and more yellow surface, still lack any visible signs of a clear coating. The bench takes on a generally arched form with recessed curved shapes adorning the top surface. The overall tone is general golden natural sand in color. There is no visible dedication plaque associated with this bench.

Condition:

The overall condition of this bench appears to be good, with no noticeable cracks, losses, or other structural concerns observed. However, it is notably dirty and discolored, particularly on the legs and especially the west-facing surfaces. Additionally, there are two pieces of gum along the bottom joints. These areas appear to be more yellow. A significant amount of discoloration is present under the bench, between the two legs, and on the southeast and northeast sections of the legs. This discoloration exhibits a mixture of brown, yellow, and red hues. The causes of the discoloration are unknown but could include (though are not limited to) graffiti tagging ghosting, biological growths, dog urine, or other atmospheric pollutants. Throughout the legs, there are fills with an unknown material within the little “bug holes”, visible throughout the bench. The same fill material was utilized to fill

a larger area on the lower south side of the bench. Black marks on the top surface resemble gum residue. On the east-facing side where the legs are located, there are two large black scuff marks. These scuff marks coincide with the area of discoloration. The joints on the bottom, between the top and the legs, seem to be in good condition overall. However, on the south end laying towards the east side, there appears to be some type of fill material. 143

CITY OF MANHATTAN BEACH PUBLIC ART CONSERVATION SURVEY
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A Conservation, LLC. • November 2023

Pr
evious Conservation Treatments or Condition:

There is evidence of previous repair attempts with an unknown sealant and/or epoxy like material to fill small holes throughout both legs of the bench, though it is not clear if these are later additions or if they were applied during the original fabrication process.

Comments on Mounting:

The method of mounting is not visible, but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar.

Comments on Location:

The bench is located along The Strand which is a dedicated pedestrian walkway. To the west is a steep hill covered with plants followed by a two-lane bicycle path and then the beach.

There are no overhanging tree branches or encroaching plants, nor any visible sprinklers in the planter that may overspray the bench. The ocean is approximately 200’-300’ from the bench. The work is highly accessible to the public. The bench is in full sun throughout the day. It is not spot lit at night, though there is ambient lighting from nearby streetlamps. There do not appear to be any nearby security cameras to help deter vandalism.

Co
mments on Safety/Risk Management: None at this time.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Stanchions and caution tape to demarcate work area from the public.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect stanchions and caution tape around work area.

3. Dr
y-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade masonry detergent. This may not resolve all surface soiling or staining.

5. Ri
nse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Remove any extant accretions with organic solvents.

7. Apply a masonry sealant to all surfaces. This will not penetrate into the resin substrate, but may assist with any staining/discoloration of exposed sand aggregate.

E
stimated Treatment Costs: $ 4,925.00
Estimated Special Equipment Required: None at this time 144

CITY OF MANHATTAN BEACH PUBLIC ART CONSERVATION SURVEY
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A Conservation, LLC. • November 2023

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital phot
ography. Provide a Dropbox link to all maintenance images as well as note any condi
tions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
145

CITY OF MANHATTAN BEACH PUBLIC ART CONSERVATION SURVEY
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A Conservation, LLC • June 2024

Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Stacy Dukes
Title: Untitled - Strand Bench for unknown
Date: Client to provide information
Materials: GFRP, bronze
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 39th Street
General Condition: Excellent Good Fair X Poor
Description:

Unlike other Dukes benches, this particular bench lacks a clear coating, resulting in a rough and grainy exposed aggregate texture. The bench is made from glass fiber reinforced plastic with sand aggregate. The legs are distinct from the bench seat, and the seam is filled with a solid-colored sealant, creating a clear separation. The legs, displaying a smoother and more yellow surface, still lack any visible signs of a clear coating. The bench takes on a generally arched form with recessed curved shapes adorning the top surface. The overall tone is general golden natural sand in color. There is no visible dedication plaque associated with this bench.

Condition:

The bench appears to be structurally sound. The surface condition is fair. Unlike other benches, this one lacks a gel coating on its surface, revealing a natural, sanded texture.

Ho
wever, the entire bench exhibits discoloration and staining, primarily concentrated on the legs but also evident on the seating surface. The caulking above the legs shows signs of discoloration, likely due to mold and mildew development. Previous repair attempts are evident, with an unknown sealant or epoxy-like material used to fill holes throughout both legs and along the edge of the seat without any sand aggregate. The color of the fill material varies, which may indicate they were done at different times. Where smaller “bug holes” in the casting of the legs have not been filled, the interiors of these depressions are dark, either from soiling or bio growth. Biological growth is developing on the south leg from the underside. It appears that the bench has shifted eastward, leaving the sealant attached to the ground but not on the bench. The bench has developed a large amount of dirt and debris at the bottom of the bench, specifically in the absent joints where the sealant has detached.

Previous Conservation Treatments or Condition:
146

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There appear to be multiple campaigns of non-sanded patches on the legs and edges of the bench. The fill material is two different colors, which may indicate they were done at different times. It is not clear if these were put in place during the original fabrication or at a later point in time.

Comments on Mounting:

The method of mounting is not visible, but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar. Bench has shifted slightly at one end sine we can see that the original sealant is in a different area on the concrete then where the bench currently sits.

Comments on Location:

The bench is located along the Strand which is a dedicated pedestrian walkway. To the west is a planter with some overhanging weeds and low plantings, but none are touching the or overhanging the bench. It is not clear if there are any sprinklers in the planter that may overspray the bench. This planter then leads to a parking lot and then the beach. The proximity of the bench to a parking lot means it may be subjected to higher concentrations of corrosive vehicle exhaust particulates. The work is also approximately 200’-300’ from the ocean. The work appears to be in shade in the morning due to nearby buildings and in full sun in the afternoon. There are no overhanging tree branches or encroaching plants. The work is highly accessible to the public and receives a lot of public interaction. The work is not spot lit at night, but there is ambient lighting from nearby streetlamps to help deter vandalism. There are no visible security cameras in the vicinity of the bench.

Comments on Safety/Risk Management: None at this time.

Recommended Site Improvements:

Trim back grass and plants from planter to prevent them from encroaching closer to the bench.

Access/Other Considerations Required for Treatment or Maintenance:

Stanchions and caution tape to demarcate work area from the public.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect stanchions and caution tape around work area.

3. Dr
y-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade masonry detergent. This may not resolve all surface soiling or staining.

5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Remove or reduce extant accretions with organic solvents. 147

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7. Remove failed sealant around feet and replace in kind.

8. In-paint light-colored fills throughout legs to better integrate color with adjacent surfaces. Apply a varnish to in-painted areas that has inherent UV light stabilizers.

9. Apply a masonry sealant to all surfaces. This will not penetrate into the resin substrate, but may assist with any staining/discoloration of exposed sand aggregate.

Estimated Treatment Costs: $ 7,275.00
Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Stacy Dukes
Title: Untitled - Strand Bench for unknown
Date: Client to provide information
Materials: GFRP
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 44th Street
General Condition: Excellent Good X Fair Poor
Description:

This artwork consists of a bench primarily fabricated of glass fiber-reinforced plastic. Unlike other Dukes benches, this bench lacks a clear coating, resulting in a rough and grainy exposed aggregate texture. The legs are distinct from the bench seat, and the seam is filled with a solid-colored sealant, creating a clear separation. The legs, displaying a smoother and more yellow surface, still lack any visible signs of a clear coating. The bench takes on a generally arched form with recessed curved shapes adorning the top surface. The overall tone is general golden natural sand in color. There is no visible dedication plaque associated with this bench.

Condition:

The overall condition of the bench is good, and it appears to be structurally sound. The legs exhibit different shades of beige throughout with darker orange staining occurring on t he northeast side of the north leg. There is evidence of extensive scratches and abrasions in the surface at this area as well due to public interaction. Potential previous repairs on the legs are noticeable, with fills using a white-gray color medium in small “bug holes” throughout the bench. The connection of the feet to the concrete pavement appears to be soaked with water. Following the water trail to identify the source, it seems to be drainage from two condos on the east side of the bench. Due to the constant water exposure the piece receives on the legs, the caulking at the bottom is lifting, and this continuous water exposure may pose a risk to the bench over time if any internal armature elements are becoming wet, which can promote corrosion. On the surface, there are small splotchy paint marks, including one (1) white mark on the southeast end and two (2) small dots of blue on the southwest end.

Examining the caulking below the seat that connects to the legs, there is a piece of old gum. 149

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Previous Conservation Treatments or Condition:

Fill material throughout the legs is non-sanded and a different color than adjacent surfaces.

It is not clear if this material was added during the original fabrication or at a later date.

Comments on Mounting:

The method of mounting is not visible, but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar.

Comments on Location:

The bench is located along The Strand which is a dedicated pedestrian walkway. To the west is planter which leads to a parking lot and then the beach. The ocean is approximately 200’- 300’ from the bench. The work appears to be in shade in the morning due to nearby buildings and in full sun in the afternoon. There are no overhanging tree branches or encroaching plants. It is not evident whether there are sprinklers in the adjacent planter area that may overspray the bench. Due to its proximity to a parking lot, the bench may be subjected to higher concentrations of corrosive vehicle exhaust particulates. The work is highly accessible to the public. The f eet of the bench may be routinely exposed to an influx of water from two (2) condominiums drains that that flow towards the bench and puddle at the bench’s legs. It is unknown how frequently this wetting occurs. If routine, then influxes of moisture/water can adversely impact the bench long-term.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

If it is not possible to add a drain or re-direct the water coming from the properties, consider elevating the bench on concrete footings several inches high so the legs are not exposed to the water influxes.

Access/Other Considerations Required for Treatment or Maintenance:

Stanchions and caution tape to demarcate work area from the public.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect stanchions and caution tape around work area.

3. Dry-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade m asonry detergent. This may not resolve all surface soiling or staining.

5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Remove or reduce extant accretions with organic solvents.

7. Remove failed sealant around feet and replace in kind. 150

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8. In-paint light-colored fills and abrasions throughout legs to better integrate color with adjacent surfaces. Apply a varnish to in-painted areas that has inherent UV light stabilizers.

9. Apply a masonry sealant to all surfaces. This will not penetrate into the resin substrate, but may assist with any staining/discoloration of exposed sand aggregate.

Estimated Treatment Costs: $ 7,275.00
Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/9/23
Artist: Stacy Dukes
Title: Untitled - Strand Bench for Wilkens Family
Date: Client to provide information
Materials: GFRP, resin coating, bronze
Dimensions: 18” H x 36” W x 96” L
Location: Strand and 10th Street
General Condition: Excellent Good Fair X Poor
Description:

The artwork consists of a bench that appears to be made of glass fiber reinforced plastic with a thick clear gel coat over top. The legs are separate from the bench seat with the seam filled with a hard solid colored sealant. The gelcoat ties everything together. The bench is generally shaped in an arc form with a raised fin across the center that somewhat delineates the seating into two separate areas. There are recessed curb forms as well as raised ovoid forms. The overall color is beige with the legs appearing a more golden yellow than the top of the bench, which is lighter with a milky, pearlescent quality. A small, square bronze dedication plaque is embedded in the low concrete curb to the west of the bench.

Condition:

The s
culpture appears to be structurally sound with no major losses noted. There is a 1” diameter loss of the gel coating at the southwest side of the bench, exposing the aggregate.

Another, smaller coating loss is visible on the leg below the larger area of loss. Networks of fine, hairline scratches were also noted in localized areas. At the southwest end, at the connection between the bench and leg, there is an unknown white accretion emanating from the sealant joint between the bench and leg element in two areas. This may indicate water is moving through the bench and out of the joint with minerals or soluble salts depositing on the exterior surface as water evaporates. There is also a crack forming along the sealant between the upper and lower sections, which may indicate corrosion jacking/expansion at internal armature components, which is causing elements of the bench to separate along seams. Chewing gum and a sticker are adhered to the surface. The raised border and text on the dedication plaque are shifting from gold to darker brown with blue green corrosion beginning to take hold on the surface.

Previous Conservation Treatments or Condition: Not available at this time. 152

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Comments on Mounting:

The method of mounting is not visible, but is likely some type of below grade footing into which the bench is anchored with pins and epoxy or mortar.

Comments on Location:

The bench is located along The Strand which is a dedicated pedestrian walkway. To the west is a low planter area followed by a two-lane bicycle path and then the beach. The ocean is approximately 200’-300’ from the bench. There is a set of steps leading to the bike path and beach immediately south of the bench. The work appears to be in full sun throughout the day. There are no overhanging tree branches or encroaching plants, but it is not clear if there are any sprinklers in the nearby planter that may overspray the bench. The work is highly accessible to the public as evidenced by its condition. It does not appear to be spot lit at night, but there is ambient lighting from nearby streetlamps. There do not appear to be any security cameras in the area that may further help deter vandalism.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance:

Treatment would require securit y fencing to mitigate interaction with the general public.

Otherwise, the bench would need to be deinstalled for offsite treatment.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect security fence around perimeter of bench with privacy screen. Secure with chain and combination lock. Provide combination to the City.

3. Dry-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.

5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Remove or reduce extant accretions with organic solvents.

7. Route cracks in sealant and along edges and fill with an exterior grade epoxy to blend with adjacent surfaces.

8. In-fill areas of missing coating along the edge/seam as well as other superficial losses with tinted resin to blend the areas of loss with the surrounding surfaces. a. Please note that the material used for infilling the missing resin will age differently than the original because they are different ages and chemical compositions. The fills will also be discernible up to a certain distance. b. If the work is performed on site, it is likely that dust and atmospheric soiling will settle on the fill surfaces as the material cures. This can only be 153

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mitigated by de-installing the bench and bringing it to an indoor “clean” space.

9. Polish resin surface with an automotive clear coat polishing compound and mechanical polisher to increase shine and reduce appearance of any fine superficial scratches.

10. If deemed necessary and appropriate, apply a sacrificial wax coating over the resin surfaces to help mitigate some deleterious effects of outdoor weathering.

11. Bronze Plaque:
a. Clean in same manner as sculptural bench.
b. Mitigate corrosion through mechanical and chemical means, taking care not to mar original patina.
c. Polish raised letters and border to expose “free” copper. d. Heat plaque with a propane torch and patinate raised letters and border to a light golden color. Once desired color is achieved, arrest patina development with distilled water.
e. Re- heat plaque surface and apply carnauba and microcrystalline paste wax formula developed by the Getty Conservation Institute for high UV, heat, and marine environments.
f. Allow wax to cool and buff.
g. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen.

E
stimated Treatment Costs: $ 10,175.00
Estimated Special Equipment Required:

Security fence with privacy screen, chain, and combination lock. Portable generator (if there are no power outlets nearby) and machine polisher.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

5. If sacrificial wax was applied during more in-depth treatment, re-apply wax to bench following general cleaning.

Estimated Maintenance Costs: $ 880.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Veronica Escopete
Title: Untitled - Utility Box #4
Date: 2020/2021
Materials: Vinyl wrap print
Dimensions: 33” W x 37.5” D x 64.5” H
Location: NW Corner of Manhattan Beach Blvd & Redondo Ave (along MBB)) General Condition: Excellent Good X Fair Poor
Description:

The artwork consists of a printed vinyl wrap mounted to a utility box that is located between the sidewalk and roadway near a very busy intersection. The printed imagery depicts a cartoon-like beach scene that includes dragons, surfing dolphins, and other surfing animals such as a horse and cat or a tiger as well as an alligator. There also appears to be an image of the Manhattan Beach pier with text and meaningful dates along the length of the pier. On the back of the box is the artist’s signature and the text “Beach Vibe” in script printed onto the vinyl. Overall, the original artwork for this printed image appears like it was hand drawn using marker and crayon or pastels. There are multiple colors used and overlaid with one another throughout the imagery.

Condition:

O
verall, the vinyl wrap appears to be in relatively good condition. There is adhesive residue as well as extant tape residue along the south face. There is also duct tape residue on the west side of the white, blue, and black plane. On the north face in the blue and white section there is evidence of red paint transfer as well as black transfer abrasion marks. The vinyl along the bottom edge of this face is also lifting with small losses along the bottom edge.

There is also a small loss in the vinyl under the handle, but this may be due to the method of installation required to get the vinyl around the handle. Small abrasions and disruptions to the vinyl surfaces were noted at the southeast corner as well as the northwest corner and in the white field of the north-facing plane. Moderate to heavy soiling was noted throughout the installation with heavier accumulations along horizontal surfaces as well as below the 155

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vents at the west side. There are also extensive spiderwebs in the recesses and along the bottom edges.

Previous Conservation Treatments or Condition: None at this time Comments on Mounting:

The vinyl wrap is presumably adhered with an adhesive on the verso as well as the application of heat during installation. It is unknown what type of surface preparation (if any) was performed on the utility box before application.

Comments o n Location:

The box is located at the northwest corner of a very busy intersection. It is highly accessible to vehicle traffic, which results in higher concentrations of corrosive vehicle exhaust particulates on the surface. It is also highly accessible to the public and shows signs of damage due to public interaction. There is ambient light from nearby streetlamps in the evening. There are no overhanging tree branches or encroaching plantings. The box is in full sun throughout the day. There do not appear to be any security cameras in the area that may help deter vandalism.

Comments o n Safety/Risk Management: None at this time Recommended Site Improvements: None at this time
Access/Other Considerations R equired for Treatment or Maintenance:

Because the south face of the box is within two (2) feet of the roadway, any work done in situ would need to be performed in conjunction with traffic cones and partially closing the shoulder of the road for worker safety. Depending on City traffic codes, this may require permits and/or the use of a subcontracted traffic control company.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling. a. Rinse with distilled water and dry with microfiber cloths.

4. Remove or reduce appearance of extant accretions, particularly black transfer marks and sticker adhesive residue, with organic solvents and/or polishes that will not adversely impact the vinyl substrate.

Estimated Treatment Costs: $ 2,830.00 + traffic control/permits 156

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Estimated Special Equipment Required:

Stanchions and caution tape.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling.

4. Rinse with distilled water and dry with microfiber cloths.

5. Remove extant accretions, particularly stick residue, with organic solvents that will not adversely impact the vinyl substrate.

6. Visually inspect surfaces for signs of additional damage and notify the City accordingly.

Estimated Maintenance Costs: $ 910.00 + traffic control/permits Recommended Frequency of Maintenance: Biennially
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A Conservation, LLC. • June 2024

Examined By: Damiana Yousef
Examined On: 11/8/23
Artist: Joanna Garel
Title: Butterfly Mural
Date: 2020
Materials: Acrylic and spray paint
Dimensions: Varied
Location: Manhattan Beach Civic Center Plaza Stairwell
General Condition: Excellent Good Fair X Poor
Description:

The artwork consists of a painted mural enveloping all sides of an elevator building shaft and stairwell that serve as entrances into an underground car garage. The elevator shaft boasts a flat roof supported by four pillars at each corner, seamlessly connecting the roof to the lower wall element of the elevator shaft and encircling stairwell. The mural itself is a vibrant tapestry of nature-inspired elements, featuring butterflies, bees, and floral patterns. The color palette includes light blue and pink, metallic gold, silver, and blue. The southeast elevation showcases a butterfly whose wings frame the elevator doors, a prominent butterfly at the top of the building, a solitary bee on the proper right, and a gold geometric form bordering the top of elevator doors. Adjacent to the elevator are two vents. The southwest elevation exhibits a large butterfly at the center, surrounded by delicate floral elements. The northwest façade continues with the blue background, featuring two butterflies with floral motifs. The northeast façade, boasts three butterflies and a bee, creating a harmonious composition.

Within this section, a recess/niche accommodates a white storage bin that is locked. Next to this opening, a wall adorned with painted floral elements enhances the artistic ambiance.

All three of these elevations are on a light blue background. Descending the stairwell, both the southwest and northeast walls maintain the blue color scheme, with gold-painted railings. The northwest wall and the lower section of the northeast wall are painted in a pristine white. Throughout these internal walls, large gold bees make a bold and consistent appearance.

Condition:

This mural is currently in fair condition, with the building demonstrating overall structural soundness. Notably, there is a substantial crack where the west pole of the structure meets the lower wall. This crack appears to have undergone a prior repair, evident by the remnants 158

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of some caulking medium. This crack may pre-date the mural as some mural paint appears to extend into the interior of the crack itself. The eave of the roof on the northwest side is exhibiting extensive corrosion, with corrosion runoff products impacting and staining the lower wall of the building. Corrosion spots are also visible along the entire bottom edge of the roof. Upon entering the stairwell, there is a noticeable presence of corrosion runoff, accompanied by chipping and bubbling paint. The walls inside the stairwell exhibit prominent streaks of dirt runoff. Additionally, the gold-painted bees and gold-painted railing within the stairwell display an oxidized layer, imparting a green tint to the affected areas.

RLA hypothesizes that metallic bronze pigment might be blended with the paint binder to create this gold paint. As the binder breaks down and the metallic flake is exposed to oxygen, it becomes tarnished, first turning brown and then green as corrosion forms. Further testing may be needed to confirm. This mural shows accumulations of dirt, debris, spider webs, and bird droppings throughout various sections. These accumulations are particularly noticeable, und
er the eave, along the stairs, and around the perimeter of the building.

Previous Conservation Treatments or Condition:

On the inside white walls, some areas have been overpainted. A light wash of white paint is observed on the blue walls in the stairwell. Additionally, there is evidence of past crack filling on the west pole. The nature and purpose of these treatments remain undetermined, and it is possible that they were carried out by city maintenance rather than a professional art conservator.

Comments on Mounting:

The mural elements are painted onto concrete masonry unit walls. The surface prep and primer (if any) used below the mural to promote adhesion are not known at this time.

Comments on Location:

This work is situated near a bustling street, adjacent to a parking lot, within a parking garage, and near a fire station. Because the stairwell and exterior surfaces are within and surrounded by cars, they are exposed to higher concentrations of corrosive vehicle exhaust particulates.

The installation site experiences significant foot traffic, serving as a stairwell to a parking garage. Although there are no overhanging plants nearby, planters are positioned on the northwest and east sides, standing three ( 3) to six (6) feet away from the mural. Notably, these planters are equipped with a drip irrigation system, so there does not appear to be any sprinkler overspray hitting the mural surfaces. Most of the above grade surfaces are exposed to full sun throughout the day. The installation site is less than a mile from the ocean, so is subjected to higher concentrations of ambient salts and humidity, which can promote corrosion of metals, including metallic flake paint pigment.

Comments on Safety/Risk Management: None at this time.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Ladders and a rolling baker’s scaffold
Treatment Priority: 3 Curatorial Priority:
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Treatment Recommendations:

Please Note: We recommend that City Public Works addresses larger issues of corrosion and cracking on the above-grade structure prior to treatment being performed on the artwork in case secondary damage occurs to the installation.

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect and utilize a rolling bakers’ scaffold to access the upper areas of the surfaces.

3. Conduct t esting on the gold paint of the bees to see if the paint is metallic bronze flake pigment paint.

4. Dry-brush surfaces to remove loose particulate matter and surface soiling.

5. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.
a. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Attempt to remove or reduce corrosion runoff staining on mural surfaces with polishing compounds and possibly organic solvents on dampened cotton swabs.

7. Remove areas of lifting, bubbling mural paint to sound material. a. Prime and in-paint areas of loss to blend with adjacent surfaces.

8. If approved by the City and artist, consider re-painting some elements that were originally made with metallic bronze pigment paint that have tarnished and discolored to brown and blue green.

9. Apply an exterior-grade varnish to all surfaces that have inherent UV light stabilizers. Glossier finish is recommended. This will help prolong the color of the mural, but also help slow/mitigate staining from vehicle exhaust and future corrosion runoff products.

Estimated Treatment Costs: $ 26,300.00
Estimated Special Equipment Required:

Ladders and baker’s scaffolding.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future.

2. Erect and utilize a rolling bakers’ scaffold to access the upper areas of the surface.

3. Dry-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.

5. Rinse with distilled water to remove detergent residue and dry .

6. If there are any breaches in the mural coating or varnish, seal in kind to mitigate additional damage and loss.

Estimated Maintenance Costs: $ 5,225.00
Recommended Frequency of Maintenance: Every 3-5 years
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Greg Gould
Title: Untitled - Utility Box #6
Date: 2020/2021
Materials: Vinyl wrap print
Dimensions: 17.5” W x 17” D x 48.5” H
Location: North side of Manhattan Beach Blvd across from Arts Center General Condition: Excellent Good X Fair Poor
Description:

The artwork consists of a printed vinyl wrap mounted to a utility box that is located between the sidewalk and roadway near a very busy intersection. The printed imagery depicts a cartoon landscape with multiple geese and clouds in the sky, cats tails, Pons, frogs, and trees throughout all five planes of the box. The color scheme is ombre blue to white, hombre green to light green, as well as other shades of blue, green, brown, and black.

Condition:

O
verall, the vinyl wrap appears to be in relatively good condition. There are multiple areas of abrasion that have broken through and compromise the vinyl wrap, but overall, the integrity of the wrap is still in pretty good condition. The largest area of abrasion is along the top edge that faces west. Other large abrasions a nd damage are located at the southwest edge and scratches and small perforations throughout the top plain. Multiple small abrasions that are less than a quarter of an inch in diameter are peppered throughout the other faces.

At the north face there is a white accretion mark through the trunk of the tree. At the west face there is applied black marker graffiti amongst the bird figures. The surfaces are moderately soiled throughout due to the heavy vehicle traffic nearby. There are also accumulations of spiderwebs in recessed areas. There is a mound of soil and small rocks piled up against the southwest corner of the box.

Previous Conservation Treatments or Condition: None at this time Comments on Mounting:

The vinyl wrap is presumably adhered with an adhesive on the verso as well as the application of heat during installation.
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Comments on Location:

The box is located along the north side of Manhattan Beach Boulevard, which is a four lane roadway, each side with a shoulder. There is a very high volume of vehicle traffic along the street. It is highly accessible to vehicle traffic, which results in higher concentrations of corrosive vehicle exhaust particulates on the surface. It is also highly accessible to the public and shows signs of damage due to public interaction. There is ambient light from nearby streetlamps in the evening. There are no overhanging tree branches or encroaching plantings. The box is in full sun throughout the day.

Comments o n Safety/Risk Management: None at this time Recommended Site Improvements:

Remove accumulations of rocks and soil from around the base of the utility box.

Access/Other Considerations Required for Treatment or Maintenance:

Because the south face of the box is within one (1) foot of the roadway, any work done in situ would need to be performed in conjunction with traffic cones and partially closing the shoulder of the road for worker safety.

Treatment Priority: 3 Curatorial Priority:

Treat
ment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling. a. Rinse with distilled water and dry with microfiber cloths.

4. Remove or reduce appearance of extant accretions, particularly black transfer marks and applied graffiti, with organic solvents that will not adversely impact the vinyl substrate.

5. Remove lifting areas of final wrap at areas of abrasion damage down to sound material.

6. Though the vinyl cannot be repaired in-kind in the field, we recommend applying something at the edges and areas of loss to secure the wrap so that it does not continue to peel in these areas as well as visually re-integrate the color loss. a. In paint areas of vinyl wrap loss with an exterior grade conservation paint system.
b. Apply conservation grade varnish over in painting that has i nherent UV light stabilizers.

7. Compound skyward/horizontal surface of top of box with automotive or plastic polishers to try and remove some oxidated material from the surface.

8. Encapsulate skyward/horizontal surface of box with a clear coat/varnish to slow additional degradation of the vinyl and extant color.
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9. Attempt to re-adhere lifting edges of vinyl with an exterior grade adhesive that is compatible with both aluminum and vinyl substrates.

Estimated Treatment Costs: $ 2,730.00 + traffic control/permits Estimated Special Equipment Required: Stanchions and caution tape.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling.

4. Rinse with distilled water and dry with microfiber cloths.

5. Remove extant accretions, particularly stick residue, with organic solvents that will not adversely impact the vinyl substrate.

6. Visually inspect surfaces for signs of additional damage and notify the City accordingly.

Estimated Maintenance Costs: $ 910.00 + traffic control/permits Recommended Frequency of Maintenance: Biennially
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Examined By: Damiana Yousef
Examined On: 11/8/23
Artist: Mags Harries and Lajos Heder
Title: Light Gate
Date: 2015
Materials: Stainless steel (unknown alloy), glass, prismatic film, grout Dimensions: approximately 150 in sq diameter
Location: City Hall near intersection of Highland Ave. & 14th Street General Condition: Excellent Good Fair X Poor
Description:

The sculpture consists of two (2) stainless steel rings that intersect at an angle, creating a visually striking profile when viewed from the side. The west-leaning ring is predominantly enclosed with five (5) vertically oriented panes of laminated glass. This disc features a 6- foot-high keyhole opening in the center. The glass consists of three laminated panes with translucent prismatic film sandwiched in between, which casts shadows in varying colors on the surrounding pavement. The panes are secured with integral stainless steel tabs lined with neoprene and stainless steel hardware. The piece is securely bolted to the floor, with a square plate positioned directly under the keyhole opening. The title, artist name, and date are engraved into this mounting plate. On the east side, a metal pla te embedded in the ground bears the inscription "Sunset November 14 and January 27." On those two dates, the sunset aligns with the keyhole in the sculpture. Stainless steel banding embedded in the concrete forms two half-circle shapes around the sculpture on the pavement, with two spotlights on each side. These half circles remain unconnected, creating an inviting opening to walk through the piece. The stainless steel metal exhibits a machined finish throughout, including the mounting plate and embedded metal banding. There appears to be cementitious grout around the perimeter of the sculpture base/mounting plate.

Condition:

The sculpture appears to be structurally sound and is in relatively good condition. It was assessed from ground level using binoculars, but all top surfaces were not visible from this point of view. The stainless steel surfaces exhibit varying degrees of superficial corrosion throughout the entire piece, affecting every bolt, weld, and joint. The alloy of the stainless steel is unknown, but based on how it is reacting to the environment, it is likely 304 rather than 316 (marine-grade). The corrosion appears to be superficial and not impacting the overall structural integrity of the installation. The stainless surface ha s also tarnished and 164

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darkened over time with exposure to the elements. The glass is attached to the metal with two bolts on either end. On the west-facing side, the bottom disc-shaped bolt cover on the north end is missing. The recessed screw/bolt is still in place. Additionally, corrosion is emanating from beneath the spherical bolt covers at the base plates. The grout on the ground appears to be disintegrating and is missing in some areas around the perimeter of the base.

Areas of missing grout are accumulating dirt and efflorescence is visible. While there is some accumulation of dirt, debris, bird droppings, gum, and spiderwebs, it is not excessive.

Previous Conservation Treatments or Condition:

According to the City, the glass was replaced in 2019 with laminated/embedded prismatic film added as a new feature.

Comments on Mounting:

The central sculpture is securely mounted into the concrete pavement with eight (8) bolts through integral baseplates. There may be additional anchoring poles that have been inserted below grade for additional stability. The curved banding and date plate are also embedded into the concrete and may have pegs or bosses on their verso to assist wi th mounting them with epoxy.

Comments on Location:

The sculpture has been installed directly into the sidewalk adjacent to Manhattan Beach City Hall. It is sited along a busy roadway and thus is exposed to higher concentrations of corrosive vehicle exhaust particulates. It is also less than a mile from the ocean, so is subjected to high concentrations of corrosive ambient salts. This area of the City experiences moderate to heavy pedestrian foot traffic and the sculpture is meant to engage public interaction. The work is somewhat accessible to cars and could be struck if a vehicle left the roadway. There are no encroaching plants, overhanging tree branches, or sprinklers within proximity to the installation. The work is in full sun throughout the day. There are two up lights embedded in the sidewalk, but RLA did not view the work in the evening to see if they are operable. There is also ambient lighting from nearby buildings and streetlamps. There are also security cameras throughout the civic center plaza and City Hall to help deter vandalism.

Comments on Safety/Risk Management: Replace missing bolt disc cover on the sculpture.

Recommended Site Improvements: None at this time.

A
ccess/Other Considerations Required for Treatment or Maintenance:

Ladders and/or a rolling baker’s scaffolding will be required to reach the upper surfaces.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Cordon off work area with stanchions and caution tape. 165

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3. Dry-brush surfaces to remove loose particulate matter and any debris.

4. Rinse surfaces with distilled water from a low-pressure hose and clean the scu
lpture, base, and plaque with a solution of distilled water and, a conservation- grade detergent using soft, natural-bristle brushes and/or microfiber cloths.

5. Rinse with distilled water and dry with microfiber cloths.

6. Utilize a citric acid-based chemical passivating and brightening gel to address areas of superficial corrosion and tarnish.
a. Apply gel to all surfaces and allow to dwell per the manufacturer’s sp
ecifications.
b. Ri
nse with distilled water and dry.
c. Repeat application one additional time if deemed necessary.

7. If deemed necessary, hand polish localized areas of tenacious tarnish that are not removed using the passivating/brightening gel cleaner.
a. Remove polish residue with organic solvents.

8. Apply one to two (1-2) sacrificial coats of clear carnauba paste wax to stainless steel surfaces to help slow return of tarnish and corrosion.

9. W
ork with artist’s studio and fabricator to have missing bolt disc cover fabricated if attic stock does not exist.

Estimated Treatment Costs: $ 11,700.00
Estimated Special Equipment Required:

Ladders and/or baker’s scaffold
Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

5. Re- apply sacrificial wax coatings to stainless steel surfaces.

Estimated Maintenance Costs: $ 3,000.00
Recommended Frequency of Maintenance: Annually
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Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: David Hertz
Title: DuBose Sculpture Bench
Date: 1996
Materials: Concrete, shell, glass, sealant
Dimensions: Client to provide information
Location: Strand and 16th Street
General Condition: Excellent Good Fair X Poor
Description:

The installation consists of two individual chairs— one with space for two (2) people, and the other for a singular person. The chairs have been cast in separate sections, although it is not evident how they are assembled; they are likely pinned and secured with epoxy or mortar in some fashion. Both elements exhibit a blocky form. The color of these seats is an off-white beige embedded with shells, possibly mother of pearl or nacre. The concrete appears to be pigmented throughout the entire material, creating a generally homogenous appearance.

Recessed text is embedded in multiple concrete segments on different planes of the chairs (North, East, and South sides). Additionally, there is a cool gray cube piece on the north corner of the single-seat chair. It is unclear if this is original to the fabrication or a Dutchman repair that has been carried out at a later date.

Condition:

The overall condition of the installation elements appears to be fair. Networks of hairline cracks are present throughout both elements, with wider cracks near the lower edges of the chairs. It is likely that there is embedded rebar throughout the elements, and if it is corroding, this may be contributing to some of the larger cracks observed. Material losses are evident along the bottom edges of both chairs, particularly on the east-facing side, which faces the pedestrian sidewalk. The applied sealant is deteriorated at many of the joints, exhibiting cracks and pulling away from the edges. It remains unclear if any type of sealant or other coating has been applied to the elements. The horizontal surfaces that people touch or sit on are more saturated and darker in color compared to other surfaces, as well as the inner vertical faces where both sides of the chairs face each o ther. Additionally, there are mottled discolorations of darker concrete on the vertical faces of both chairs. Gum accretions and light to moderate surface soiling were noted on both seating elements, particularly along the bottom recesses.
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Previous Conservation Treatments or Condition: None at this time.

Comments on Mounting:

The method of attachment of each element to the concrete pavement is not visible. However, they are likely secured in place with metal pins and epoxy or mortar into the pavement.

Comments on Location:

The seating elements are located along The Strand which is a dedicated pedestrian walkway.

To the west is a steep hill drop off covered with plants followed by a two-lane bicycle path and then the beach. The ocean is within 200’-300’ of the bench, subjecting the installation to ambient salts, which are corrosive. There are no overhanging tree branches or encroaching plants and there do not appear to be sprinklers in the planter area that overspray the seating elements. Both chairs are highly accessible to the public and exhibit damage and wear from extensive public interaction. The chairs are in full sun throughout the day. They do not appear to be spot lit at night and no surveillance cameras were visible to help deter vandalism.

Comments on Safety/Risk Management: None at this time.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Treatment will require security fencing to mitigate interaction with the public. The seating elements are likely too heavy to de-install and take off site for treatment. Additionally, it would require breaking up the surrounding pavement to move them, which would likely cause secondary damage to the chairs and require additional repair to the pavement after they were re-installed.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect security fence around perimeter of the chairs with privacy screen. Secure wit h
chai
n and combination lock. Provide combination to the City.

3. Dry-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade masonry cleaner.

5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

6. Remove or reduce extant accretions with organic solvents.

7. Route and inject cracks wider than 1/16” with micro-injection grout compatible w
ith concrete substrates.

8. Patch losses and cracks with a conservation-grade patching mortar that is com
patible with concrete substrates. Tint mortar to blend with adjacent surfaces.

Utilize comparable aggregate to original casting.
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a. Note: Due to the age difference between the original casting and repairs, it may not be possible to source the exact same aggregate material and/or size aggr
egate.

9. Remove and replace any deteriorated sealant at chair joints in kind.

10. Test light surface honing and/or application of clear vapor permeable sealant to try and r
e-saturate the concrete surfaces that have oxidized and become somewhat bl
eached by prolonged UV exposure and weathering.
a. Sealant has the added benefit of helping to mitigate future staining.

Estimated Treatment Costs: $ 19,575.00
Estimated Special Equipment Required:

Security fence with privacy screen, chain, and combination lock. Portable generator (if there are no power outlets nearby) and masonry polisher.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital phot
ography. Provide a Dropbox link to all maintenance images as well as note any condi
tions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conser
vation-grade masonry cleaner.

4. Ri
nse with distilled water to remove detergent residue and dry with microfiber cloths.

5. If sealant was applied, perform “water test” to determine if sealer must be re- applied per the manufacturer’s specifications.

Estimated Maintenance Costs: $ 1,625.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/9/23
Artist: David Hertz
Title: Escobar Sculpture Bench
Date: 1992
Materials: Concrete, shell, glass, sealant
Dimensions:

Chairs: 36.5” L x 29.5” D x 36” H
Table: 26.25” W x 37” D x 18” H
Location: Strand and 17th St
General Condition: Excellent Good Fair X Poor
Description:

The installation consists of two (2) individual armchairs that flank either side of a central coffee table-like form. The table and the chairs have been cast in separate sections, though it is not evident how they are assembled. They are likely pinned and secured with epoxy or mortar in some fashion. All three (3) elements are very blocky in their form. There are two different colors. Some sections are light green pigmented concrete embedded with clear, green, and brown bottle glass. The other sections are light peach in color and embedded with shells (mother of pearl or nacre). The concrete appears to be pigmented throughout the entirety of the material and is generally homogenous. Recessed text is embedded in multiple concrete segments on different planes of the chairs. Hard sealant ha s been added to several joints on both chairs, but it is not clear if this is original to the fabrication or if it has been added at a later date.

Condition:

Overall, the installation elements appear to be in fair condition. There are networks of hairline cracks throughout all three (3) elements with wider cracks near the lower edges of the chair that is at the south end of the installation. There is likely embedded ferrous rebar throughout the elements and if it is corroding this may be resulting in some of the larger cracks observed. There are material losses along the bottom edges of both chairs and the top edge of the table element at the east-facing surfaces which abut the pedestrian pathway.

Street cleaning vehicles and other City-owned vehicles also use this pathway as an access road. There are multiple areas of lost shell and embedded glass. Many of the larger glass fragments that are embedded are cracked and spalled. The applied sealant is deteriorated at many of the joints and is cracked and pulling away from either edge. There is evidence of 170

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previous repairs on the southern bench including epoxy or sealant injections at larger cracks and partial rebuilding of the back of the chair arm. It is unclear if any type of clear sealant or other coating has been applied to the artwork components. The surface coloration is mottled throughout all three (3) elements. Horizontal surfaces that people touch or sit on are more saturated and darker in color compared to other surfaces as well as the upper vertical face of the west-facing sides of both chairs where people lean back against the element.

There are also mottled discolorations of darker concrete on vertical faces of both chairs and the table element.

Previous Conservation Treatments or Condition:

There is evidence of previous repair attempts with an unknown sealant and/or epoxy-like material to fill larger horizontal cracks as well as partially rebuild the back side of a chair arm at the south chair.

Comments on Mounting:

The method of attachment of each element to the concrete pavement is not visible. However, they are likely secured in place with metal pins and epoxy or mortar into the pavement.

Comme
nts on Location:

The seating elements are located along The Strand which is a dedicated pedestrian walkway.

To the west is a steep hill drop off covered with plants followed by a two-lane bicycle path and then the beach. The ocean is within 200’-300’ of the bench, subjecting the installation to ambient salts, which are corrosive. There are no overhanging tree branches or encroaching plants and there do not appear to be sprinklers in the planter area that overspray the seating elements. Both chairs are highly accessible to the public and exhibit damage and wear from extensive public interaction. The chairs are in full sun throughout the day. They do not appear to be spot lit at night and no surveillance cameras were visible to help deter vandalism.

Comments on Safety/Risk Management:

Cracked or spoiled and loose glass elements should be repaired or removed so that there are no sharp edges on surfaces that people can touch or sit upon.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Treatment will require security fencing to mitigate interaction with the public. The seating elements are likely too heavy to de-in stall and take off site for treatment. Additionally, it would require breaking up the surrounding pavement to move them, which would likely cause secondary damage to the chairs and require additional repair to the pavement after they were re-installed.

Treatment Priority: 2 Curatorial Priority:
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Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect security fence around perimeter of the chairs with privacy screen. Secure with chain and combination lock. Provide combination to the City.

3. Dry-brush surfaces to remove loose particulate matter and surface soiling.

4. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade masonry cleaner.

5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.
a. Due to the dark gray/black soiling, multiple passes may be required and/or attempting to further reduce staining with poulticing.

6. Remove or reduce extant accretions with organic solvents.

7. Route and inject cracks wider than 1/16” with micro-injection grout compatible with concrete substrates.

8. Utilize rotary tools to remove incompatible and visually detracting epoxy fill material from concrete surfaces.

9. Either remove pieces of spalled or broken glass or stabilize by injecting with a low- viscosity epoxy formulated for use on glass.
a. Please Note: All epoxies yellow with age and prolonged UV exposure. The application of epoxy is not reversible, and it may saturate/stain/darken the concrete substrate below and around the embedded glass areas.

10. Sand any rough/sharp glass edges so they are rounded and cannot scratch pedestrians.

11. Patch losses and cracks with a conservation-grade patching mortar that is compatible with concrete substrates. Tint mortar to blend with adjacent surfaces.

Utilize comparable aggregate to original casting.
a. Note: Due to the age difference between the original casting and repairs, it may not be possible to source the exact same aggregate material and/or size aggregate.

12. Remove and replace any deteriorated sealant at chair joints in kind.

13. Test application of clear vapor permeable sealant to try and re-saturate the concrete surfaces that have oxidized and become somewhat bleached by prolonged UV exposure and weathering.
a. Sealant has the added benefit of helping to mitigate future staining.

Estimated Treatment Costs: $ 23,875.00
Estimated Special Equipment Required:

Security fence with privacy screen, chain, and combination lock. Portable generator (if there are no power outlets nearby) and masonry polisher.

Recommended Maintenance:

1. Document maintenance with a written report and high-re solution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future. 172

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2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of distilled water and a conservation-grade masonry cleaner.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

5. If sealant was applied, perform “water test” to determine if sealer must be re- applied per the manufacturer’s specifications.

Estimated Maintenance Costs: $ 1,625.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Kathleen Keifer
Title: Untitled – Utility Box #9
Date: 2020/2021
Materials: Vinyl wrap print
Dimensions: 33” W x 24” D x 65” H
Location: Manhattan Beach Blvd. & Manhattan Ave.

General Condition: Excellent Good Fair X Poor
Description:

The artwork consists of a printed vinyl wrap carefully affixed to a utility box situated between the sidewalk and the roadway along a bustling street. The printed imagery depicts a beach scene, showcasing a single lifeguard house on each side of the box. While both sides of the box display the same composition of imagery, they are differentiated by their color scheme; two (2) sides feature a blue hue, while the other two (2) sides exhibit a red hue. Each side with the same color theme showcases a lifeguard house, with one depicted in a realistic form and the other in silhouette.

Condition:

Overall, the vinyl wrap appears to be in fair to poor condition. It is located within several feet of a busy street, subjected to a lot of vehicle exhaust and foot traffic due to its proximity to a convenience store, resulting in high public interaction. The south-facing side, closest to the sidewalk, bears the brunt of these conditions. It exhibits multiple areas with sticker adhesive residue and deep engraved tags /incised graffiti, along with a section where the vinyl is deeply abraded, yet still attached. Additionally, there is a missing section of vinyl at the top left when facing the utility box on this side. The east-facing side of the box has sticker adhesive residue and vinyl abrasion, predominantly affecting the top printed color layer but not extending all the way to the box. A piece of vinyl covers a hole on one (1) side of a top element on this face, though it is uncertain whether this was an oversight during fabrication.

On the west-facing side, there is sticker adhesive residue, while the north-facing side, facing the busy street, has a missing piece of vinyl. Due to the high traffic nature of the roadway, the surfaces exhibit extensive soiling from corrosive vehicle exhaust particulates, mainly concentrated on the top surface of the box.
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Previous Conservation Treatments or Condition: None at this time.

Comments on Mounting:

The vinyl wrap is presumably adhered with an adhesive on the verso as well as the application of heat during installation. It is unknown what type of surface preparation (if any) was performed on the utility box before application.

Comments on Location:

The box is located at Manhattan Beach Blvd. and Manhattan Ave., a very busy intersection.

It is highly accessible to vehicle traffic, which results in higher concentrations of corrosive vehicle exhaust particulates on the surface. It is also highly accessible to the public and exhibits signs of extensive damage due to public interaction. There is ambient light from nearby streetlamps in the evening. There are no overhanging tree branches or intentionally planted plants that are encroaching upon the artwork. There is a planter immediately to the north of the box, but there do not appear to be sprinklers that overspray onto the piece. The east-facing and top horizontal surfaces are the most exposed to prolong to UV light and exhibit the most color loss and deterioration.

Comments on Safety/Risk Management: None at this time.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Any work done in situ for maintenance would need to be performed in conjunction with stations and caution tape as the box is immediately adjacent to the sidewalk. Enough space must be maintained along the sidewalk for ADA compliance.

Treatment Priority: N/A Curatorial Priority:

Treatment Recommendations:

No treatment is recommended at this time. The incised graffiti throughout the surfaces is very pervasive and visually detracting. In-painting over such scratches may seal the openings in the surface, but the marks will still be highly visible and detract from the overall aesthetic.

Estimated Treatment Costs: Not Applicable
Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digita l
phot
ography. Provide a Dropbox link to all maintenance images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Spr
ayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation gr
ade detergent using microfiber cloths to remove atmospheric soiling.

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5. Remove extant accretions, particularly stick residue, with organic solvents that will not adversely impact the vinyl substrate.

6. Visually inspect surfaces for signs of additional damage and notify the City accor
dingly.

Estimated Maintenance Costs: $ 910.00 + traffic control/permits Recom
mended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/06/23
Artist: KidWiseMan
Title: California Dayz
Date: 2019
Materials: Spray paint
Dimensions: Varied
Location: Parking lot across from City Hall
General Condition: Excellent Good Fair X Poor
Description:

The installation consists of two (2) separate sections of linear mural painted onto concrete masonry unit walls. The shorter segment wall is four (4) courses high. The larger segment wall is five (5) courses high. Each wall has a rounded cement parge coat topping to shed water. According to the city the artwork was painted using spray paint. The imagery is very geometric with abstracted waves with a sunset background, triangular mountains, and other shapes in rainbow colors with black and white elements for contrast.

Condition:

Overall, the two (2) mural sections are in fair condition. The walls upon which the murals are painted appear to be structurally sound. There are vertical hairline cracks throughout each wall, but these appear to pre-date the mural as various paint colors are observable within the cracks themselves, indicating that the artist painted directly over the cracks without having them repaired first. Each mural segment is experiencing physical degradation to varying degrees. The shorter segment at the entrance to the parking lot appears to receive full sun throughout the day, and therefore is exhibiting more color fading and loss due to prolong exposure to strong UV light. Both murals are exhibiting paint loss presumably due to abrasion. The shorter segment has more abrasion and associated paint loss on top of the parge coat presumably where people routinely sit on the surface. The longer mural segment 177

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exhibits paint loss along the parge coat and primarily at the top two courses of CMU blocks.

The exact reason for this is unknown, but it may pertain to the way that the parge coat on this wall segment sheds water as well as being out of more direct sunlight. It does not appear that either wall segment was primed before they were painted, as in areas of coating loss there is no visible extant primer. There also does not appear to be a protective UV coating over the painted surfaces. At the larger wall segment there is a plant growing at the joint between the vertical wall and asphalt parking lot. There is also and approximately three inch (3”) long gouge in the concrete surface near this plant resulting in coating and dimensional concrete loss. At the north end of the larger segment vines are also growing on an area of the wall approximately 4 to 5 feet wide over the entire face of the wall in this section. Both wall segments exhibit black transfer abrasion marks due to vehicles and or other public interaction.

Previous Conservation Treat ments or Condition: Not available at this time Comments on Mounting:

The mural segments appear to be painted directly onto the concrete without any primer.

Comments on Location:

The mural segments are located on vertical walls at a public parking lot across from City Hall and the main library. The smaller segment is adjacent to the sidewalk that abuts the street and is at the entrance and exit to the parking lot. This low wall appears to receive full sun throughout the day and more public interaction as it is close to the sidewalk and where people routinely enter and exit. Its lower stature makes it more amenable for people to sit on the parge coat. The long mural segment is located along the back or west wall of the parking lot which abuts what appears to be a residential building. This segment appears to be in full shade, at least in the afternoon. It may have full sun during the morning. Both mural segments face east /northeast. Because of its purpose as a parking lot as well as its close proximity to a relatively busy roadway, both murals are exposed to vehicle exhaust particulates which can soil the surface. Additionally, the mural walls may be subjected to higher concentrations of vibration from cars routinely passing through the parking lot and along the busy roadway.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

Remove climbing vines as well as other large macro biological growth from the face or in front of the mural.

Access/Other Considerations Required for Treatment or Maintenance:

Treatment would require blocking off parking spaces and may potentially impede traffic flow as the parking lot flow of traffic is a U-shaped only with one pathway and the mural is adjacent to this pathway along the west wall. Overnight work and closing off the parking lot during this time may be warranted. Additional considerations may have to be made for the mural along the sidewalk, such as temporary sidewalk closure.

Treatment Priority: 2 Curatorial Priority:
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Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Cordon off work areas with stanchions and caution tape.

3. Remove bulk macro bio growths from mural faces and along their edges.

4. Rinse surfaces with filtered tap water from a low-pressure hose and wash with a conservation-grade detergent.
a. Rinse with distilled water and remove bulk standing water.

5. Remove extant scuff and transfer marks from artwork surfaces with organic solvents.

6. Treat exposed masonry surfaces that exhibit biological growths with a non-toxic biocide and allow to dwell for several days.

7. Apply a clear, solvent-based isolating varnish layer over the existing mural surfaces.

This will solubilize the existing mural paint and re-establish most of the vibrancy that has been lost due to UV light degradation.

8. In-paint areas of paint loss to blend with adjacent surfaces.

9. Apply a permanent anti-graffiti coating over all surfaces, which should also assist with mitigating UV damage.

Estimated Treatment Costs: $ 20, 325.00
Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Remove bulk macro bio growths from mural faces and along their edges.

3. Rinse surfaces with filtered tap water from a low-pressure hose and wash with a conservation-grade detergent.
a. Rinse with distilled water and remove bulk standing water.

4. Remove extant applied graffiti, scuff, and transfer marks from artwork surfaces with organic solvents.

5. Inspect mural surfaces for signs of damage and notify the City accordingly.

Estimated Maintenance Costs: $ 2,950.00
Recommended Frequency of Maintenance: Every 3-5 years
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Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Kent Kraber
Title: Remember When…
Date: 2011
Materials: Weathering steel, stainless steel, copper alloy, glass marbles (fish eyes) Dimensions: Client to provide information
Location: Manhattan Beach Civic Center Plaza
General Condition: Excellent Good Fair X Poor
Description:

This large sculpture portrays a grouping of what appears to be kelp with large weathering steel blades/leaves and features metal accent fish swimming amongst the stipes/stalks and starfish on the holdfasts. The entirety of the kelp has been fabricated from weathering steel.

The fish have been fabricated from stainless steel (unknown alloy) and copper or bronze.

The fish have been patinated to varying degrees to emulate their natural coloring. The eyes of each fish appear to be glass marbles.

Condition:

The sculpture was assessed from ground level with the aid of binoculars. Overall, the work appears to be structurally stable with no visible losses or jagged edges that are accessible and could pose a danger to the public. On the underside of many blades/leaves, one can see that the steel corrosion/patina layer is continuing to develop, resulting in the metal lifting and delaminating in small flakes. Small iron flakes were noted throughout the base planter/container as well. Weathering steel is best suited to dry environments or environments where there are cycles of wetting and drying. If surfaces stay wet/moist for prolonged periods of time, corrosion will continue to develop which leads to additional material losses and eventually perforations in metal sheet or weakening of welds. The fish appear to be securely welded to the central structure. The bronze or copper fish exhibit extensive red cuprite corrosion throughout their surfaces with smaller areas of blue green corrosion. The stainless steel fish exhibit varying degrees of surface tarnish/darkening as well as staining from ferrous corrosion runoff particulates. They also do not appear to have any protective coatings. Corrosion runoff staining was also noted on the surrounding pavement and edges of the base planter. Atmospheric soiling and insect webs were noted throughout the interior surfaces of the sculpture form.
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Previous Conservation Treatments or Condition: None at this time.

Comments on Mounting:

The sculpture is mounted to a small, square weathering steel plate, that is secured to the interior of a square concrete planter via two (2) parallel weathering steel straps and four (4) hex bolts total. The hex bolts may be secured with epoxy or mortar. The work is elevated approximately one to two feet (1’-2’) from ground level within the planter.

Comments on Location:

The sculpture is sited within the central plaza of Manhattan Beach’s Civic Center, to the west of the police department headquarters. The lower surfaces are accessible to the public, but the proximity to the police department and high-pedestrian traffic nature of the area likely deter vandalism. There is a large parking lot to the north of the sculpture and this party of the City is generally more heavily trafficked by cars. As such, it may be subjected to higher concentrations of corrosive vehicle exhaust particulates. The site is also located approximately 1000’ from the ocean, so the sculpture is also subjected to corrosive ambient salts. The sculpture is not spot lit at night, but there is ambient light from streetlamps. Security cameras are located on government buildings throughout the plaza area. The sculpture appears to be predominantly in sun in the morning and both sun with partial shade due to large trees to the west. The trees do not overhang the sculpture and there are no other plantings or sprinklers nearby that could encroach upon or overspray the artwork.

Comments on Safety/Risk Management:

During treatment or maintenance, all connections should be inspected up close to ensure welds are all intact and have not corroded through.

Recommended Site Improvements:

Keeping nearby tree limbs trimmed back so that they do not eventually overhang the sculpture.

Access/Other Considerations Required for Treatment or Maintenance:

A scissor lift will be required to reach the upper surfaces. Cordon off the work area with stanchions and caution tape.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Utilize a scissor lift to access the upper areas of the artwork surface.

3. Dry brush al l metal surfaces from the top down to remove loose particulate matter and surface soiling using soft, natural bristle brushes.

4. Rinse surfaces with filtered water from a low-pressure hose.

5. Gently wash surfaces with a solution of filtered tap water and a conservation-grade detergent using soft, natural bristle and detail brushes.

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7. Inspect all connections for signs of weakening or disfiguring corrosion.

8. Apply a corrosion passivating gel over the stainless steel fish elements to mitigate corrosion and brighten surfaces.
a. Test gel on an area of surface pigment to ensure it does not remove the applied coloration.
b. Allow material to dwell per manufacturer’s specifications, then rinse with distilled water.
c. Multiple applications may be warranted.
d. If surface brightening is not satisfactory, polish stainless steel with fine metal polish and clear residue with organic solvents.

9. Abrade surfaces of bronze or copper fish to remove deleterious blue green and red cuprite corrosion.
a. Using original fabrication/installation photographs, patinate the fish. i. Because of the glass eyeballs, it may not be possible to use hot patina.
ii. Arrest patina development with distilled water.

10. Apply two (2) coats of cold, carnauba-based paste wax to all fish elements. a. After each application, buff with horsehair bristle brushes. b. Ideally, the bronze/copper fish would
Estimated Treatment Costs: $ 11,765.00
Estimated Special Equipment Required:

Electric scissor lift, stanchions, and caution tape
Recom
mended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future.

2. Dry brush all metal surfaces from the top down to remove loose particulate matter and surface soiling using soft, natural bristle brushes.

3. Rinse surfaces with filtered water from a low-pressure hose.

4. Gently wash surfaces with a solution of filtered tap water and a conservation-grade detergent using soft, natural bristle and detail brushes.

5. Rinse with distilled water and remove bulk/standing water.

6. Inspect all connections for signs of weakening or disfiguring corrosion

7. Mitigate corrosion on bronze/copper fish elements.

8. Re- apply cold, sacrificial paste wax coatings on fish elements. a. After wax dries, buff to desired sheen with horsehair bristle brushes.

Estimated Maintenance Costs: $ 3,325.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/07/23
Artist: Daniel Lara
Title: Metlox Murals
Date: 2008
Materials: Plaster, paint, glazed ceramic, grout
Dimensions: Varied
Location: 2 level subterranean parking garage
General Condition: Excellent Good Fair X Poor
Description:

The installation consists of a series of murals at multiple levels of a subterranean parking structure along walls of varying substrates. The murals are particularly sited around elevator shafts as well as in and at the entrances to stairwells. The substrates consist of a combination of smooth plaster over concrete or concrete masonry units. For plaster substrates, the murals are painted onto white plaster and are integrated with historic pottery shards and decorative tile to form different types of flowers, coral, and abstract decorative linework along with text signage. The embedded ceramic elements are all glazed and grouted. The majority of the line work on the first below grade level is done in washes of an almost burnt sienna shade of brown with the ceramics adding colorful highlights. At the next level down, there are additions of lighter blue/teal and gray paint.

Condition:

Overal
l, the embedded ceramic components of the murals appear to be in relatively good condition. The condition of the hand-painted elements is fair. Though the wall structures are not being included in the treatment costs, they do impact the artwork. One mural section does have multiple diagonal hairline cracks visible through the plaster. Another two to three (2-3) murals exhibit water damage and desegregation of stucco along the bottom six to eight (6-8”) inches on the second or lower level of the parking garage. T he source of the water infiltration is not evident. Throughout the rest of the murals there are less than five (5) areas of ceramic shard loss or damage. Additionally, there were approximately two (2) intentional gouges in painted lettering at one area. Broader conditions observed throughout the majority of murals include abrasions, surface soiling from vehicle exhaust particulates, spiderwebs, fingerprints, and abrasions and small losses at corners. At least two to three (2-3) areas of graffiti ghosting were noted. Attempts at mitigation appear to be chemical removal or over painting. At the transition between the first and second level are a series of murals with 183

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circular repairs or interventions to the substrate. The repair mortar in the areas appears to be very alkaline, resulting in alkali burn through the applied paint, which has resulted in discoloration of the overall design in circular pattern forms. Additionally, there may be water damage in drip form on one or two decorative motifs.

Previous Conservation Treatments or Condition:

Intervention(s) performed by unknown entities to mitigate applied graffiti. The type of products and methods used are unknown.

Comments on Mounting:

Though not confirmed, the murals appear to be applied to smooth plaster that is likely anchored to the concrete substrate via extruded metal lath that is anchored via screws to concrete masonry unit or poured concrete substrates. Pottery shards are embedded directly into the stucco and grouted.

Comments on Location:

The murals are generally all below grade in the parking garage. They are highly accessible to the public and exhibit varying degrees of public interaction, such as abrasions, graffiti tagging, fingerprints, etc. They are also exposed to high concentrations of vehicle exhaust particulates which are corrosive and stain surfaces black/dark gray as they accumulate over t
ime. The murals are also subjected to excessive vibration due to the high vehicle traffic moving throughout the garage levels each day. The mural at the entrance to the subterranean parking garage (off Morningside Drive) appears to receive direct sunlight in morning hours and is above grade.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance:

Treatment, particularly at areas that are along entry and exit drives, most likely needs to occur during overnight hours when the garage is closed to not impede traffic flow. If this is the case, then costs below must be adjusted for overnight shift differential.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

Note: Treatment does not include any physical repairs to wall substrates such as filling full cracks, addressing stucco deterioration, sources of water infiltration, etc. This should first be mitigated by the City prior to treatment as secondary damage may occur to artwork surfaces during repairs. Cost of any overnight differential is not included.

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as wel l as a Dropbox link to all treatment images.

2. Dry-brush surfaces to remove all loose particulate matter.

3. Damp clean surfaces with a solution of distilled water and a conservation-grade detergent. Utilize a microfiber cloth for painted surfaces and a soft, natural-bristle brush for tiled areas.
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4. Damp-rinse surfaces with distilled water and dry.

5. Sound mosaic surfaces to check for any areas of delamination and stabilize accordingly.

6. Replace missing pottery shards with new material as close as possible and grout.

7. For broken shards, re-build missing areas with a conservation-grade patching material that is compatible with ceramic substrates. In-paint and varnish to blend with adjacent glaze surfaces.

8. Apply grout sealant to tiled surfaces to help slow/mitigate staining.

9. In-paint areas of paint loss or re-paint areas where coating has been marred by applied graffiti, surface staining, alkali burn, etc.

10. Discuss with City if applying a clear varnish and/or anti-graffiti coating would be beneficial to the installation.

Estimated Treatment Costs: $ 47,950.00
Estimated Special Equipment Required: Rolling baker’s scaffolding and ladders Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Dry-brush surfaces to remove all loose particulate matter.

3. Damp clean surfaces with a solution of distilled water and a conservation-grade detergent. Utilize a microfiber cloth for painted surfaces and a soft, natural-bristle brush for tiled areas.

4. Damp-rinse surfaces with distilled water and dry.

5. Sound mosaic surfaces to check for any areas of delamination.

6. If grout is sealed, perform water test to ensure sealant is still viable and re-apply according to manufacturer’s specifications.

7. Inspect all surfaces and note any new areas of damage. Report to the City accordingly.

Estimated Maintenance Costs: $11,650.00
Recommended Frequency of Maintenance: Every 3-5 years
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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/08/23
Artist: Margaret Lazzari & Lauren Evans
Title: Egrets Take Flight
Date: 2015
Materials: honeycomb aluminum panels, mild steel, paint, possible clear coat Dimensions: Approximately 13’ H x 6’ W x 6’ D
Location: N. Peck Ave, near west entrance to Manhattan Beach Botanical Garden General Condition: Excellent Good Fair X Poor
Description:

The artwork consists of a mild steel pole to which three bespoke honeycomb aluminum panels are secured with plates and security hardware. The bespoke plates each depict an egret in-flight on one side and an abstract decoration on the other side. They appear to be painted with acrylic paint and possibly sealed with some type of clear gloss varnish or other clear protective coating. The pole is also painted in an ombre pattern from Cream to green to orange.

Condition:

Overall, the artwork appears to be structurally sound with no large losses or missing elements. The south facing crane’s neck has been severely bent almost to a right angle compared to the rest of its body. The details of the damage events are not known, but RLA staff observed large trucking equipment with high clearance tanks leaving the public works driveway adjacent to the artwork. It is possible that the artwork could have inadvertently been struck by City equipment. The height of the damage makes it unlikely that someone could have reached it from ground level without using some type of elevated access. This has left a gap to the interior of the honeycomb paneling. There is abrasion and loss of the paint coating throughout this area of damage. Additional losses are occurring along t he painted edges in localized areas. Aluminum corrosion is noted as textured bubbling below the decorative paint layers on all three panels. The corrosion is forming predominantly at the bottom tips of each panel as well as adjacent to connection points to the ferrous metal pole and select edges. The source of water infiltration is not clear at this time, but it may be due to breaches in the edge fill material with water seeping in and particularly collecting at the bottom of each panel. It is not clear what material was used to close the honeycomb cells along each of the panel edges. The o verall color retention of the painted surfaces appears vibrant and intact. It is unknown what type of protective coating may have been 186

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applied. Localized spiderwebs were noted on the underside of the panels particularly at the bend in the bird’s neck. General soiling was also noted particularly on the under sides and recesses of the panels.

Previous Conservation Treatments or Condition:

Not available at this time but the artwork was relocated to this area from a previous installation location.

Comments o n Mounting:

The central support pole is mounted directly into the concrete pavement and likely secured to a below grade footing. It cannot be removed without breaking out the concrete around the base of the pole. The individual artwork panels are secured with hex bolts and washers as well as security screws.

Comments on Location:

The sculpture is located near the northwest entrance of Manhattan Beach Botanical Garden.

It is mounted along a concrete access road for City staff/public works and is adjacent to a chain-link fence. The sculpture appears to receive full sun throughout the day. There are no encroaching plants or overhanging trees. The lower two feet (2’) of the artwork decorative applied panels are highly accessible to the public, as is the support p ole. The pole and cantilevered panel that faces southwest may be susceptible to city trucks and other passing vehicles. The area is not a high-traffic car or pedestrian area. The work is not spot lit at night and there are no visible security cameras in the vicinity that may help deter vandalism. There is little ambient light from nearby streetlamps.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

None at this time, unless the artwork were to be elevated higher than the maximum height of city vehicles. Otherwise, city staff utilizing vehicles along this drive should be made aware of any potential height clearance restrictions. Alternatively, the individual panels could be rotated so that the egrets do not cantilever over the drive. This would require moving the mounting plates; filling and in-painting old holes as well as drilling and tapping new ones in the central support pole.

Access/Other Considerations Required for Treatment or Maintenance:

Tall ladders, a baker’s scaffold tower, or scissor lifts will be required to reach the upper portions. One of the panels overhangs a fenced in area of the adjacent high school property.

Access would n eed to be granted through the school property in order to reach all surfaces unless a scissor lift with an extension platform can be used in the area for future maintenances.

Treatment Priority: 2 Curatorial Priority:
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Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Contract with fine art handlers to de-install three (3) artwork panels and transport to a conservation studio for treatment.

3. Dry brush and vacuum surfaces to remove loose particulate debris and soiling.

4. Damp-clean surfaces with a solution of distilled water and a conservation-grade detergent using microfiber cloths.

5. Damp-rinse surfaces with distilled water and dry.

6. Mechanically manipulate bent aluminum back into plane. a. Secure in place/reinforce with a combination of pins, dowels, and epoxy.

7. Excavate areas of aluminum corrosion down to sound material. This will require eliminating original paint where the corrosion is bubbling beneath the surface.

8. Fill any gaps or losses in damaged aluminum with appropriate aluminum epoxy filler. Sand/profile to blend with adjacent surfaces.

9. Prime and in-paint areas of repair and mitigated corrosion using an exterior-grade industrial metal primer and conservation-grade paints.
a. Paint to blend with adjacent surfaces in color and sheen , but may be visible at a viewing distance of less than three (3) feet.
b. Please Note: In-painted areas will weather and age differently than original paint surfaces due to differences in age, chemical composition, etc.

10. Apply a new clear protective varnish layer with inherent UV light stabilizers over entirety of each panel surface.

11. After varnish cures, apply one to two (1-2) sacrificial coats of clear carnauba wax to help extend the service life of the clear coat.
a. After each layer dries, buff to desired sheen with a horsehair bristle brush.

12. Prior to panel re-installation by art handlers, damp clean the support pole as outlined above.

13. Once panels are re-installed, in-paint any losses as well as mounting hardware to blend with surrounding surfaces, similar to the original installation, and apply protective clear coat and wax over hardware.

Estimated Treatment Costs: $ 14,900.00 + de-installation/transportation/re-installation Estimated Special Equipment Required:

Ladders, rolling baker’s scaffold tower, or scissor lift Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Dry-brush su rfaces to remove loose particulate matter.

3. Damp-clean surfaces with a solution of distilled water and a conservation-grade detergent using microfiber cloths.

4. Damp-rinse surfaces with distilled water and dry.

5. Inspect all surfaces for signs of losses or corrosion, particularly along the panel edges. Notify the City of any new damage.
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6. Renew clear, sacrificial cold wax coating on artwork panels. Allow wax to dry and buff to desired sheen.

Estimated Maintenance Costs: $ 1,800.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Ismael Medrano
Title: Untitled - “Freedom Grove” Veteran’s Memorial Monument Date: 1998
Materials: Bronze plaque, granite, sealant
Dimensions: Varied
Location: Veteran’s Parkway & 15th
General Condition: Excellent Good X Fair Poor
Description:

The memorial consists of four (4) triangular slabs of black granite. Two (2) of the slabs are vertically oriented and abut one another to form a larger triangle. The other two (2) are horizontally oriented, in plane with the surrounding lawn. They also abut one another to form a larger triangle, mirroring the vertical granite slabs. The entire form is like an elongated diamond, though is likely meant to emulate a folded American flag that is given to families that have fallen or for veterans who have passed away. There are recessed, etched five-point stars throughout each of the granite slabs. Their recessed surfaces are roughhewn while the rest of the stone is highly polished and very smooth. At the front center of the horizontal slabs is a rectangular bronze dedication plaque with the recessed plane patinated black and the r
aised edges and text golden in color. There is black flexible sealant between all joints of the slabs. Behind the stone assembly is a low hill. Centered atop the hill is a flagpole.

There are four (4) additional pieces of the same polished granite that clad the top of the flagpole base and there are etched engravings of servicemember dog tags on each surface, two (2) tags per piece of stone with four (4) pieces of stone total.

Condition:

O
verall, the memorial is in good condition with no structural concerns noted. There are several areas of granite loss throughout the installation. One is at the front tip of the triangle below the dedication plaque. The other is at the proper left corner where the vertical slab tapers and meets the lower slab. There are also two (2) small chip losses on two (2) corners of pavers that encircle the flagpole on its base. There was likely a coating applied to the dedication plaque to keep the text and raised border looking gold in color. However, these coatings usually only last about ten (10) years before they need to be replaced. Any extant coating on this plaque is likely breaking down as blue green corrosion products were noted around the border and the text as well as the patinated recessed field. The flexible sealant in 190

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the vertical joint is cracked and starting to pull away from the edges. There is also evidence of sprinkler overspray in the form of mineral deposits pooling and droplet patterns on both the horizontal and vertical surfaces. On the left-hand vertical plane there is some type of gray accretion on the skyward facing surface, which may be remnants of the flexible sealant.

Behind the vertical slabs is what appears to be a concrete retaining wall to help support the low mound upon which the flagpole sits, but that does not allow pressure to be transferred to the vertical granite slabs. This retaining wall likely has ferrous rebar support within. Cracks were noted at the lower bases of each side of this support wall. There is extensive plant debris and grass clippings collecting in the gap between the granite and the concrete retaining wall. Grass clippings and dirt were also noted on the horizontal plane of the memorial.

Previous Conservation Treatments or Condition: None at this time.

Comments on Mounting:

It is not clear how the granite elements are secured or supported as connections are not visible. However, there are likely below grade footings to which the granite pieces are pinned and secured with epoxy and/or mortar.

Comments on Location:

The monument is in a wide median along Valley Drive and Ardmore Avenue at the intersection with 15th St. The front of the memorial faces west, and the flagpole is behind to the east. The memorial is not very accessible to vehicles but is subjected to corrosive vehicle exhaust particulates due to its location at a busy intersection and roadway. The work is highly accessible to the public. Tree branches partially overhang the left-hand side of the memorial.

Grass grows up right to the very edge of the stone, but the grass is maintained by City staff.

We presume that the damage to the stone corners and edges is likely due to landscaping activities. Though sprinkler heads were not readily visible in the surrounding lawn, it is clear that the monument is routinely hit with overspray by sprinklers due to the mineral deposit patterns on the surface of the granite. The memorial has a dedicated light at the front of the stone as well as up lighting for the flagpole. As the work was assessed d uring daylight hours it is unknown if these lights are currently operable.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

Re-direct sprinklers so that they do not overspray the monument. Mineral deposits can etch the surface of the polished stone. Consider adding some type of decorative border along the bottom edges of the monument such as modified decomposed granite or other ground cover that creates a buffer between the memorial and landscaping equipment. Otherwise grass around the base of the memorial elements should be cut by hand within six inches (6”) of the installation surfaces.

Access/Other Considerations Required for Treatment or Maintenance:

None at this time
Treatment Priority: 3 Curatorial Priority:
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Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Dry brush/sweep surfaces to remove loose particulate matter and plant debris from surfaces and recesses.

3. Wash surfaces with distilled water and a conservation-grade detergent using soft, natural-bristle brushes.

4. Rinse with distilled water and dry surfaces.

5. Remove failing sealant between granite slabs.

6. Polish/hone smooth granite surfaces to mitigate mineral deposit build-up throughout memorial surfaces.

7. Source granite to match original as close as possible and repair larger corner losses by adding stone dutchman, securing with epoxy and filling joint with sealant.

8. Fill small chips in granite with a tinted, knife-grade stone repair epoxy. a. Smooth and polish to blend with adjacent surfaces.
b. Please Note: Even when tinted, epoxy will always yellow eventually after long-term UV exposure. However, this is the most suitable repair material for small granite chips.

9. Replace backer rod and sealant between granite slabs in kind.

10. Refinish dedication plaque.
a. Strip bronze dedicati on plaque of any extant coatings. b. Polish raised text and border to renew golden finish and mitigate corrosion. c. Clear residue and apply 4-6 coats of exterior-grade lacquer to the plaque. d. Allow lacquer to cure for 72 hours, then apply two (2) coats of clear, sacrificial carnauba wax to the surface, buffing after each application dries.

E
stimated Treatment Costs: $ 21,375.00
Estimated Special Equipment Required:

Gas-powered generator and stone buffing tool
Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Dry brush/sweep surfaces to remove loose particulate matter and plant debris from surfaces and recesses.

3. Wash surfaces with distilled water and a conservation-grade detergent using soft, natural-bristle brushes.

4. Rinse with distilled water and dry surfaces.

5. Polish granite as needed to mitigate any new build-up of mineral deposits.

6. Remove and replace sacrificial wax coating on the dedication plaque.

7. Inspect surfaces for signs of new damage and notify the City accordingly.

Estimated Maintenance Costs: $ 6,400.00
Recommended Frequency of Maintenance: Every 2 -3 years
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Sandra Meyer
Title: Untitled - Utility Box #10
Date: 2020/2021
Materials: Vinyl wrap print
Dimensions: 33” W x 24” D x 65” H
Location: SW Corner of Highland Ave & 15th St, along Highland Ave General Condition: Excellent Good X Fair Poor Description:

The artwork consists of a printed vinyl wrap mounted to a utility box that is located between a sidewalk and a raised planter area near a very busy intersection. The printed imagery is a sunset photograph of a lifeguard tower number 26 facing out towards the ocean. The view appears to be on the Tower at the platform level facing outward towards the water.

Condition:

O
verall, the vinyl wrap appears to be in relatively good condition. There are three (3) prominent areas of black transfer mark abrasion along the west face, which is the side along the sidewalk and receives the most public interaction. The vinyl around a rectangular panel near the top of the west side has been scratched and it seems like someone from public works may have cut around this p anel to gain access. There is sticker adhesive residue on the south face near the upper left-hand corner. At the north side where the vent perforations are located, the vinyl itself appears very wrinkled, but intact. At the east face there is evidence that the surface is being hit by sprinkler overspray as there are mineral deposits in a droplet pattern at the lower surfaces. The top horizontal surfaces are heavily to moderately soiled while the vertical surfaces are lightly to moderately soiled, all primarily vehicle exhaust particulates from the busy roadway nearby. Insect webs and plant debris were noted on the skyward facing surfaces.

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Comments on Mounting:

The vinyl wrap is presumably adhered with an adhesive on the verso as well as the application of heat during installation. It is unknown what type of surface preparation (if any) was performed on the utility box before application.

Comments on Location:

The box is located at the southwest corner of a busy intersection. It is close by and accessible to vehicle traffic, which results in higher concentrations of corrosive vehicle exhaust particulates on the surface. It is also highly accessible to the public and show signs of damage due to public interaction. The box appears to be predominantly in shade throughout the day.

There are no low plantings that encroach upon the artwork, but sprinkler heads were noted within close proximity, and it is presumed that the vinyl is hit with sprinkler overspray due to the presence of mineral deposits on the surface. Branches from a nearby tree partially overhang the utility box, but it appears as though the city routinely trim back the branches since they would likely pose a threat to the functionality of the box.

Comments o n Safety/Risk Management: None at this time Recommended Site Improvements:

Redirect sprinkler heads away from the artwork surface. Ideally the planter should be switched over to drip irrigation. Coordinate tree trimming with other City departments.

Access/Other Considerations Required for Treatment or Maintenance:

None at this time
Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling. a. Rinse with distilled water and dry with microfiber cloths.

4. Remove or reduce appearance of extant accretions, particularly black transfer marks and sticker adhesive residue, with organic solvents and/or polishes that will not adversely impact the vinyl substrate.

Estimated Treatment Costs: $ 2,830.00
Estimated Special Equipment Required:

Stanchions and caution tape.

Estimated Special Equipment Required: None at this time. 194

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Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling.

4. Rinse with distilled water and dry with microfiber cloths.

5. Remove extant accretions, particularly stick residue, with organic solvents that will not adversely impact the vinyl substrate.

6. Visually inspect surfaces for signs of additional damage and notify the City accordingly.

Estimated Maintenance Costs: $ 910.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/06/23
Artist: John Mikus
Title: Martin Ganz Memorial
Date: 1994
Materials: bronze, terrazzo, reinforced concrete, granite Dimensions: central sculpture 44” H x 18” square, seating 16.5” H x 18” square, diameter of terrazzo 144”
Location: Live Oak Park along Valley Drive
General Condition: Excellent Good Fair X Poor
Description:

The installation is a multi-component memorial for an individual from the community. The overall footprint of the memorial is circular in shape. The outer ring of the memorial consists of concrete paving with ten ( 10) reinforced concrete cube seating elements. The central design includes circular terrazzo broken up into quadrants with a thin outer band that has embedded text and dots made of bronze or brass with bronze or brass spacers. At the center of the circle is a rectangular plinth clad with additional Terrazzo and embedded bronze or brass text. There is a square slab of granite at the top of the plinth. Mounted to the top of the plinth is a low sculptural grouping of an officer’s helmet, gloves, motorcycle key, and glasses.

T
here is a green-brown patina throughout this sculptural element, but it is unclear if that is the original intended patina finish, or this has developed over time due to lack of routine maintenance. There does not appear to be any coating on the bronze sculpture, any of the lettering, or the seating or terrazzo elements.

Condition:

Overall, the installation appears to be in fair condition, with some components nearing poor condition. All the reinforced concrete seating elements are displaying cracks, spalls, and/or exposed ferrous rebar to some extent. Many of the seating elements closest to the tree also exhibit moderate microbiological growth. Presumably the cracks and spalls are due to corrosion of the embedded ferrous rebar. In some instances where the rebar is visible it is evident that it is way too close to the surface of the concrete based on best practices for embedding ferrous metal into cast concrete. The outer concrete ring appears intact with no visible cracking. There are also no cracks in the Terrazzo paving though there is moderate to heavy buildup of mineral deposits especially around the central pedestal and sculptural elements. The surface is smooth but not a p olished finish and is generally uneven, hence 196

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where water pools and mineral deposits form. The condition of the embedded bronze elements is generally good as well with varying patina development throughout the installation. Some elements appear more worn than others and have a light to golden brown appearance while other areas are more weathered and are starting to exhibit blue green corrosion on the surface. The central terrazzo-clad pedestal exhibits extensive mineral deposit buildup or leaching through the surface. At the west corner there is a loss measuring several inches in area likely due to abrasion/impact. Due to the color of the exposed surface the loss appears to be recent, though there are no fragments nearby. Like the embedded terrazzo lettering, the lettering on the plinth also exhibits degrees of weathering with blue green corrosion forming around the perimeter of the letters. There is also a tide line of soiling and heavier mineral deposits as well as debris collecting around the interface between the central plinth and the surrounding terrazzo. The sculpture element atop the plinth exhibits varying degrees of patina development which ranges from light blue green to dark green to br
own. There is evidence of moisture retention at the connection to the terrazzo around the edges of the sculpture as well as at the base of each applied element where there appear to be mineral deposits as well as more developed corrosion. The top of the helmet appears shiny and burnished and likely receives a lot of public interaction and people touching the elements. There do not appear to be any protective coatings on the bronze or terrazzo.

Previous Conservation Treatments or Condition: Not available at this time Comments on Mounting:

It is not evident how any of the elements are secured at their respective locations, but the concrete seating elements are likely anchored to the concrete outer ring with rebar and the central plinth is also likely secured in place to a below grade footing with some type of metal pin and epoxy or mortar. The sculpture likely has bosses on the underside and is secured to the top of the plinth with epoxy or mortar
Comments on Location:

The artwork is sited between two (2) large trees, one of which is leaning towards and overhanging the artwork. The installation is surrounded by a grassy la wn. Though sprinkler heads were not visible, it is believed that the artwork routinely is hit by sprinkler overspray due to the excessive amount of mineral deposit build-up throughout many surfaces. The installation appears to be predominantly in shade throughout the day, which is likely contributing to the installation’s deterioration. It is located between a pedestrian sidewalk as well as a relatively busy roadway. The work is not very accessible to vehicles, but is highly accessible to the public and there is evidence of frequent public interaction. The work is not spot lit at night, but there is ambient lighting nearby from the streetlights and tennis courts.

It is not clear if there are any security cameras in the area to further help deter vandalism.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

If there are sprinklers in the area, redirect them to not hit the installation or switch to drip irrigation. Trim back tree branches that directly overhang the central sculptural element. 197

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Access/Other Considerations Required for Treatment or Maintenance:

Cordon off work area with stanchions and caution tape. Any nearby sprinklers must be turned off for the duration of treatment.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Dry-brush and sweep surfaces to remove loose debris and soiling.

3. Wash surfaces with filtered tap water from a low-pressure hose and a conservation- grade masonry detergent.

4. Rinse surfaces and remove standing water.

5. Apply non-toxic biocide to areas exhibiting micro biological growth and allow to dwell for several days.

6. Excavate areas of visible re-bar in concrete cubes and remove corrosion down to bare metal.
a. Encapsulate exposed rebar in epoxy to stem corrosion re-forming on these surfaces. Corrosion may form on adjacent embedded rebar.

7. Route cracks and inject with a conservation-grade injection mortar.

8. Hone/polish surfaces of terrazzo pavement and plinth to mitigate mineral deposits.

9. Patch losses in concrete and t errazzo. Texture and tone to blend with adjacent surfaces.

10. Apply vapor-permeable sealant to all masonry surfaces if sprinklers cannot be re- directed from the installation and the area will remain predominantly in shade during the day.

11. Heat bronze surfaces with a propane torch to aid in removal of thick mineral deposit crusts.

12. Re-heat bronze with a propane torch and reintegrate areas of extensive patina damage and loss with a hot chemical patina.
a. Arrest patina development with distilled water.

13. Warm bronze surfaces again with propane torch and apply a hot carnauba-based wax blend to all surfaces.
a. Allow wax to cool and buff with horsehair bristle brushes.

14. Apply two (2) coats of cold, sacrificial carnauba paste wax to the central sculptural element as well as the text on the central plinth.
a. After each application dries, buff with a horsehair bristle brush.

Estimated Treatment Costs: $ 19,175.00
Estimated Special Equipment Required:

Portable gas-powered generator, honing/polishing tools, stanchions and caution tape Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images . 198

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2. Dry-brush and sweep surfaces to remove loose debris and soiling.

3. Wash surfaces with filtered tap water from a low-pressure hose and a conservation- grade masonry detergent.

4. Rinse surfaces and remove standing water.

5. Remove old cold wax coatings with organic solvents and reapply two (2) new cold, sacrificial coatings of carnauba wax to bronze sculpture and lettering on plinth. a. After each layer, allow to dry and buff with horsehair bristle brushes.

6. Test areas with vapor permeable sealant and re-apply as needed per the manufacturer’s specifications.

7. Apply non-toxic biocide to areas exhibiting micro biological growth and allow to dwell on the surface without rinsing.

Estimated Maintenance Costs: $ 2,725.00
Recommended Frequency of Maintenance: Annually
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Examined By: Damiana Yousef
Examined On: 11/8/23
Artist: Kelsey Montague
Title: What Lifts You
Date: 2019
Materials: Acrylic paint
Dimensions: Client to provide information
Location: 14th Street & Highland Avenue
General Condition: Excellent Good Fair X Poor
Description:

This mural depicts a plethora of balloons with diverse shapes, sizes, and patterns across their surfaces, painted with acrylics on a flat wall. The painted strings, originating from the balloons, converge into a twisted, thick rope that is slightly unraveled at the bottom and terminates six inches (6”) above the ground. Positioned below the balloons and centered on the gathered strings is a simple wood and stainless steel bench. Three elements are integrated into the wall and were presumably present before the mural was painted. These include a large air vent, a small drain hole from the second story walkway, and a two-headed spotlight, camouflaged to harmonize with the artwork. At the top of the wall, Christmas light decorations are mounted to the top of the parapet and are slightly overhanging but do not touch or obscure the surface of the artwork. Notably, these lig hts appear to be temporary.

The wall's upper section forms part of a second- floor open-air walkway. If they were so inclined, individuals could reach over the top of the wall and engage with the upper surfaces of the mural.

Condition:

The current condition of this piece is considered fair. The paint, overall, appears to be fading, with colors lacking vibrancy. This paint fading and discoloration may be attributed to a thin layer of dirt covering the entire piece, forming a filter or film layer that alters the paint's appearance. Many of the black balloon outlines are noticeably fading, exhibiting a runoff effect. While this runoff could be mistaken for dirt runoff, it contains black pigment, distinguishing it from mere dirt. The mural is on a wall that faces northwest, so it does receive some direct UV light at later parts of the day. As the paint binder breaks down, the surface can become chalky and pigment can be easily removed from wall surfaces. Underneath the three elements on the wall— the spotlight, the vent, and the small drain—there seems to be 200

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an accumulation of dirt and grime on the surface. The base of the camouflaged spotlight, positioned on the proper left side of the wall, is showing signs of rust under the paint, with slight corrosion runoff and bubbling paint observed. The screws on this spotlight also display signs of corrosion. The large air vent, situated in the middle towards the proper right, has a considerable amount of dust accumulation, white splotchy areas, and rust from the inner vent grates transferring onto the painted metal. These white areas may result from fading paint due to the moisture produced by the vent. The small drain, located on the proper right, currently shows no major issues, but being a floor drain from the balcony above, it is noteworthy that it will funnel liquid runoff, whether from rain or other floor cleaning, down the face of the mural. The bench at the bottom of the mural makes contact with the artwork, but there are no apparent signs of distressed paint from this interaction, though it may pose a potential problem over time. In general, the wall is noticeably dirty, with the contrasting white surface amplifying the presence of dirt.

Previous Conservation Treatments or Condition: Not available at this time Comments on Mounting:

The mural has been painted onto an existing, smooth exterior stucco or concrete wall. It is unknown if or how the substrate was cleaned/prepared or if there is a primer beneath the mural composition.

Comments on Location:

This mural is in a high -traffic area within a public shopping and dining plaza. Due to the bench placed in front of the mural, the artwork becomes inviting as the public comes, sits and takes pictures in front of the piece. The mural shares its space with a tree, situated approximately six (6) feet away within a designated sitting planter area with artificial grass.

Fortunately, the tree's presen ce does not directly impact the artwork. There are no other close plantings or possible sprinklers near the work. The mural is part of a second- floor exterior walkway. The entire pl aza was built abo ve a multi -story subterranean parking garage. As such, the wall is likely subjected to higher concentrations of vibrations and may show signs of cracking over time. The mural faces north/northwest and receives some direct unlight in the afternoon. Though there are spotlights on the wall where the mural is located, the work itself is not purposefully spot lit at night. There is amble ambient lighting throughout the plaza and security cameras to help deter vandalism.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

Move, remove, or bolt down the wooden bench several inches from the surface of the wall so it will not be in direct contact with the piece.

Access/Other Considerations Required for Treatment or Maintenance:

Rolling baker’s scaffold and/or a scissor lift will be required to reach the upper surfaces. The work area will need to be cordoned off with stanchions and caution tape.

Treatment Priority: 2 Curatorial Priority:
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Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Cordon off work areas with stanchions and caution tape.

3. Rinse surfaces with filtered tap water from a low-pressure hose and wash with a conservation-grade detergent.
a. Rinse with distilled water and remove bulk standing water.

4. Remove any extant scuff and transfer marks from artwork surfaces with organic solvents.

5. Apply a clear, solvent-based isolating varnish layer over the existing mural surfaces.

This will solubilize the existing mural paint and re-establish most of the vibrancy that has been lost due to UV light degradation.

6. In-paint areas of paint loss to blend with adjacent surfaces.

7. Re- paint background/negative space white.

8. Apply a permanent anti-graffiti coating over all surfaces, which should also assist with mitigating UV damage.

9. Remove bench for duration of treatment. Re-install several inches from the mural face and anchor to the surrounding pavement.

Estimated Treatment Costs: $ 15,835.00
Estimated Special Equipment R equired: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Remove bulk macro bio growths from mural faces and along their edges.

3. Rinse surfaces with filtered tap water from a low-pressure hose and wash with a conservation-grade detergent.
a. Rinse with distilled water and remove bulk standing water.

4. Remove extant applied graffiti, scuff, and transfer marks from artwork surfaces with organic solvents.

5. Inspect mural surfaces for signs of damage and notify the City accordingly.

Estimated Maintenance Costs: $ 2,950.00
Recommended Frequency of Maintenance: Every 3-5 years
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rvation, LLC • June 2024

Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/07/23
Artist: Susan Narduli
Title: Kiln
Date: 2008
Materials: Brick, mortar, ferrous metal, galvanized steel, paint, lava rock, concrete Dimensions: Approx 80” square x Approx 16-20’ H
Location: Metlox Plaza, northwest corner by entrance to parking garage General Condition: Excellent Good X Fair Poor
Description:

The installation consists of an abstract tower or kiln form with three (3) distinct tiers. The kiln has a painted mild steel internal armature around which two different colored bricks have been laid to give the tower its unique shape. The bricks are secured to one another with traditional mortar and to the internal armature with metal pins and plate. At the bottom tier, the bricks are set with slight gaps at all the head joints and no mortar. At the middle tier, the head joints are more than double the width of those at the tier below. At the uppermost tier, the header joints are several inches wide. Aside from the armature, the interior of the kiln is hollow. The work also functions as a fire pit. Rocks, grills, and pos sible gas lines are visible at the interior of the lower tier. Large gauge galvanized steel mesh has been applied over the large openings at the bottom tier, preventing access. It is not clear if this is original to the design or was added later as a safety precaution. Integral benches made of cast and pigmented concrete are installed around the perimeter of the kiln at juxtaposed angles. One terra cotta colored segment has a board form finish throughout the concrete and there are brick pavers set into the ground in front of this bench segment only. Lights have been mounted to the undersides of the benches.

Condition:

Overall, the structure appears to be stable and sound without any major cracks, displacement, or losses that could compromise its overall stability. The coating on the internal structural steel members appears to be intact but is heavily soiled due to soot from the interior fire pit. There is at least one (1) brick missing at the lower northeast edge of an opening and a second brick at the southwest opening is loose and can easily be stollen. The large-gauge galvanized mesh at the southeast-facing opening is very com promised and has been pushed inward to the sculpture interior. Ferrous corrosion was also noted on multiple areas of mesh and some internal structural elements. There are small losses on multiple 203

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bricks, likely due to impact. Incongruous wire and eye hooks were noted in localized areas throughout multiple surfaces, possibly due to hanging of holiday decorations. Localized areas of applied graffiti were noted at the southwest face of the lower tier. Soot accumulations were noted throughout much of the face of the southeast and northeast-facing surfaces, possibly due to air circulation and flow. Bird droppings were also noted in localized areas particularly at the top-tier but also on some of the lower tier surfaces as well. The interior area where fires are lit appears to be a jumble of some type of extruded steel mesh, attic stock bricks loosely placed over the mesh, and lava rocks centered on the bricks. There is plant debris and garbage at the kiln interior, among the rocks.

For the encircling seating elements, there is oil-like staining on the skyward facing surfaces of the concrete seating elements as well as hairline cracks through the concrete. The brick pavers at the southeast side are more degraded with a large crack through the outer most course. At least four (4) bricks have losses is greater than one inch square.

Previous Conservation Treatments or Condition: Not available at this time Comments on Mounting:

The lower surfaces of the internal streel structural support are obscured by the central fire pit components, but the steel is likely anchored to a below-grade footing or at a minimum, the surrounding pavement since there is a multi-story subterranean parking garage below this installation.

Comments on Location:

The installation is located within a pedestrian only shopping plaza that receives high foot traffic on the weekends, during weekday lunches, and throughout the holidays. The work is highly accessible to the public, people can walk right up to and touch and interact with the artwork. It is used to display holiday decorations and people are encouraged to sit on the perimeter bench seating that encircles the tower. It is likely also susceptible to activities by facilities and custodial services as the base of the installation immediately about the surrounding pavement. Access hatches are located on the vertical faces of the perimeter benches. It is unknown what is contained within the access areas, possibly related to the bench lighting. The structure appears to be in full sun throughout m ost of the day. There are some trees nearby, but they do not encroach or overhang the sculpture. Plant debris from nearby trees was found within the interior of the structure. The work is not spot lit at night, but there is ample lighting from streetlamps and nearby stores. There are also security cameras in the vicinity, though the work was still vandalized.

Comments on Safety/Risk Management:

The mesh that is meant to keep people from accessing the interior appears to be compromised both in terms of corrosion as well as being dislodged from its attachment points and very deformed. A loose brick at the southwest facing edge could detach and injure someone or be used as a weapon/projectile.

Recommended Site Improvements: None at this time
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Access/Other Considerations Required for Treatment or Maintenance:

Presumably, the interior surfaces are not accessible. The exterior surfaces can be accessed via a scissor lift with extending platform or possibly an articulating boom lift. The type of lift may be limited by weight restrictions since this area is over a multi-story subterranean parking garage. A security fence with privacy screen is recommended while treating the work to mitigate the public interacting with surfaces as materials dry/cure.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect security fencing with privacy screen around perimeter of artwork. Enclose scissor lift within work area. Secure fence with chain and combination lock.

Provide combination code to the City.

3. Remove wide-gauge galvanized steel mesh from the lower tier openings and discard. Remove all lava rock and debris from the interior. Discard debris and retain rocks. Remove wires, eye hooks, and other incongruous materials from upper surfaces that are not part of the artwork.

4. Dry-br
ush and vacuum accessible surfaces to remove bulk dirt and atmospheric soiling. Because the sculpture is in an open plaza, going straight to cleaning would result in soiling residue stains on the surrounding pavement.

5. Rinse surfaces with filtered water from a low-pressure hose.

6. Wash surfaces with filtered tap water and masonry cleaner that is compatible with brick and is formulated to remove soot.
a. Rinse surfaces with filtered tap water until runoff water is pH neutral. b. Perform final rinse with distilled water and remove bulk standing water.

7. Mitigate extant accretions and graffiti tagging with organic solvents.

8. Remove loose brick and clear off extant mortar.

9. Re- set detached brick and utilize attic stock brick from kiln interior to fill in missing brick around the perimeter.

10. Route crack in pavement brick and inject with conservation-grade injection mortar.

11. Patch spalls in bricks with conservation-grade patching mortar. Tone and texture to blend with adjacent surfaces.

12. Re-point re-set bricks and stabilized joint with Type N pointing mortar toned to blend with adjacent surfaces.

13. Apply vapor-permeable sealant to concrete seating elements to help m itigate future staining.

14. Replace damaged large-gauge galvanized mesh in kind or with thicker gauge, more robust mesh.

Estimated Treatment Costs: $ 24,300.00
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Estimated Special Equipment Required:

Security fencing with privacy screen, chain, and combination lock. Scissor lift with extending platform or articulating boom lift. Generator if there are no power outlets in close proximity to the work area.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Cordon off work area with stanchions and caution tape. Utilize a scissor lift with extension platform or articulating boom (if weight allowed) to access upper surfaces.

3. Dry-brush and vacuum accessible surfaces to remove bulk dirt and atmospheric soiling. Because the sculpture is in an open plaza, going straight to cleaning would result in soiling residue stains on the surrounding pavement.

4. Rinse surfaces with filtered water from a low-pressure hose.

5. Wash surfaces with filtered tap water and masonry cleaner that is compatible with brick and is formulated to remove soot.
a. Rinse surfaces with filtered tap water until runoff water is pH neutral. b. Perform final rinse with distilled water and remove bulk standing water.

6. Mitigate extant accretions and graffiti tagging with organi c solvents.

7. Perform water test on sealed concrete surfaces and re-apply sealant as needed per the manufacturer’s specifications.

8. Inspect all surfaces for signs of new damage and notify the City accordingly.

Estimated Maintenance Costs: $ 7,150.00
Recommended Frequency of Maintenance: Every 3-5 years
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Examined By: Christina Varvi
Examined On: 11/08/23
Artist: Susan Narduli
Title: Metlox Sand Dune Garden
Date: 2005
Materials: glass vitreous tile, mortar, grout, fountain works, concrete, shell Dimensions: Client to provide information
Location: Metlox Plaza north facing wall
General Condition: Excellent Good X Fair Poor
Description:

The mural is rectangular in shape and consists of one and a half inch (1.5”) square vitreous glass tiles in white, light blue, and medium blue. The imagery is very abstract and likely is meant to depict waves and/or sand dunes The work appears to be set on a concrete wall and is framed with aluminum or stainless steel trim. The tiles are set in a uniform grid likely with thin set mortar and has been grouted with white non-sanded grout. It is unknown if any type of sealant was applied over the grout. Mounted approximately at the center of the installation is a horizontal pipe with countless downspouts that presumably released water either in a stream or more atomized spray into a shallow retaining basin below. On either side of this retaining basin are planters that a re filled with plants. There is up lighting in the planters. In front of the mosaic is a low concrete feature which can serve as a bench. Anti-skateboard pieces have been added to the concrete at set intervals.

Throughout the plaza in front of the mural are bands of cast in place concrete paver rectangles that have high concentrations of different types of small shells as well as raised text. These paver sections vary in length and are interspersed with non-descript concrete pavers. It is not clear whether these text pavers are part of a larger installation that includes the mural or something separate.

Condition:

Overall, the mural appears to be in relatively good condition with no major structural concerns noted. Please note that the mural was not sounded during the survey assessment, so there could be additional damage/delamination that has yet to be determined. There are eight (8) glass tiles in the white fields that are completely missing. They are near the bottom of the mural in the area above the original fountain receiving basin. There are another ten to fifteen (10-15) tiles at least that are damaged in some capacity, presumably du e to impact. 207

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The damage ranges from a missing corner to spalls and cracks in the tile. Again, these are primarily located in the area above the original receiving basin for the water. It should also be noted that this area is used for a farmers market on Tuesdays and RLA observed vendors putting their equipment in the empty water basin. It is possible that impact and damage and associated loss occurred during farmers market events or possibly during interaction with the public. For the most part the grout appears to be intact. Black and dark gray microbiological growths were observed in the grout and on the surfaces of select tiles. The glass tiles themselves are somewhat translucent and there are areas of dark staining that appear behind tile rather than on the front. It is believed that this is also microbiological growth taking hold behind the tiles in the thin set mortar. It is possible that if the growths progress that the tiles could be destabilized and potentially detach from the thin set mortar bed. On either side of the receiving water basin there are mineral deposit crusts observed on the lowe
r course or two of the tiles likely due to fountain overspray or splashing onto the surfaces. At the visual right top corner there are multiple tiles that stand out in raking light because their texture is rigged and different than the other surrounding tiles. The color is also Slightly darker than the other medium blue tiles. It is unclear if these are replacement tiles due to damage or if comparable medium blue tiles were not available during the original installation. Localized areas of white paint drips were noted on the visual left-hand side of the mosaic likely due to painting repairs to the adjacent stucco wall. At the time of inspection, the fountain was not in use. There was also no standing water in the receiving basin. It is unknown if the fountain is operable at all at this point. Dirt and microbiological growths were observed throughout the basin floor and an applied white coating is actively lifting peeling and there are large areas of coating loss. It is unknown if this is meant to serve as a waterproofing membrane or if it was purely visual.

It is unclear if the low concrete wall in front of the mural is i ncluded as part of the artwork.

There are mineral deposit accretions and efflorescence noted throughout the horizontal top and vertical faces directly in front of the water basin and where water flowed down from the overhead spigots. There is corrosion on the spigot valves as well as mineral deposits and corrosion on the stainless steel horizontal pipe as well as the bronze or brass couplings emanating from the wall. The anti-skateboard elements are likely embedded directly into the concrete with epoxy as their mounting mechanism is not visible at this time. There are settlement cracks throughout the concrete the wall as well as extensive staining and soiling from public interaction and possible vendors. There are also many chips and losses along the concrete edge either from vendor, skateboard, and or public use. There are extant black transfer marks on the vertical face of the concrete, likely from interaction with skateboarders.

Most of the sealant at the connection between the low concrete wall and the concrete plaza is cracked and separating and should be replaced.

It is not clear whether the pavers are included as part of this installation, but overall, they are also in fair condition. Ma ny of the pavers have one vertical hairline crack through them, presumably due to settlement. The raised concrete text is worn down to varying degrees depending on location and public interaction with some of them being very low relief at this point and somewhat hard to read. The pavers exhibit varying degrees of soiling and staining from public interaction. There are benches, tables, and ferrous metal chairs distributed throughout the plaza where people congregate and eat. As such there is staining from food and beverages on some of the pavers. Closer to the fountain element there is dark staining 208

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from mineral deposit buildup from the fountain and runoff water from the fountain. It is unclear if the runoff is from overspray from the overhead spigot elements or if the basin was leaking.

Previous Conservation Treatments or Condition: Not available at this time.

Comments on Mounting:

The cast concrete pavers appear to be integral to the plaza. For the mural, it is unclear if the glass tiles are mounted directly to the concrete wall or if there is some type of barrier or wallboard behind that is mounted to the structural concrete wall.

Comments on Location:

The installation is located at the northwest end of Metlox Plaza. The glass tile mural faces north and is predominantly in shade throughout the day. Part of the plaza is also in shade due to the wall on which the mosaic is located as it casts a large shadow. The rest of the plaza is predominantly in full sun throughout the day except where movable umbrellas cast shadows. The plaza pavers are highly accessible to the public and receive wear and soiling due to vendors as well as the public. Th e mural is also accessible to the public, though the planter and fountain basin generally act as a small buffer to the surface. The work is located within one thousand feet (1000’) of the ocean, so surfaces are subjected ot higher concentrations of ambient salts. Because the installation is over a multi-story subterranean parking garage, it is subjected to ongoing vibration from cars passing through the garage.

This is also an area of the city where more cars/traffic is concentrated, so they are subjected to more build-up of corrosive vehicle exhaust particulates. The work does not appear to be spot lit at night though there is some ambient lighting from nearby streetlamps. Presumably there are some security cameras in close proximity on various surrounding buildings to help deter vandalism.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

It is not clear if the plants in the planters are hand watered or if there is drip irrigation, but it would be preferable to have lower plants used in the planters that do not encroach or touch the artwork surface as this promotes water retention and microbiological growth formation which can destabilize tile s and result in additional loss. Ideally no plants at all would be used in front of the mural.

Access/Other Considerations Required for Treatment or Maintenance:

Ladders and or a scissor lift with an extending platform will be required to access upper surfaces of the mural. Stanchions and caution tape will be required to cordon off areas where the team is working during treatments and maintenances.

Treatment Priority: 3 Curatorial Priority:
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Treatment Recommendations – Mural Only:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Cordon off work area with stanchions and caution tape.

3. Rinse surfaces with filtered tap water from a low-pressure hose.

4. Wash with a solution of filtered tap water and a conservation-grade detergent using soft, natural bristle brushes.
a. Rinse surfaces with distilled water and remove standing water.

5. Remove extant accretions with organic solvents.

6. Utilize glass polishing solutions and/or mildly acidic solutions to remove mineral deposits from tile surfaces.

7. Sound all mural surfaces and note any areas of delamination. a. If delamination is noted, provide new scope of work and costs to stabilize.

8. Apply non-toxic biocide to all surfaces to mitigate accessible areas of micro biological growths.
a. Please Note: Application of biocide at the surface may not reach any bio growths that have formed behind tile. Therefore, dark staining may remain unless tiles are removed, cleaned, and re-set. This is not recommended unless tiles have been destabilized by bio growths as attempting to remove them can result in damage or breakage because it is very invasive.

9. Replace damaged and missing tiles as closely as possible to original tiles. Grout replacement tiles with white non-sanded grout.

Estimated Treatment Costs – Mural Only: $ 19,250.00
Estimated Special Equipment Required:

Stanchions, caution tape, scissor lift, small rotary cutting tools Recommended Maintenance – Mural Only:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Cordon off work area with stanchions and caution tape.

3. Rinse surfaces with filtered tap water from a low-pressure hose.

4. Wash with a solution of filtered tap water and a conservation-grade detergent using soft, natural bristle brushes.
a. Rinse surfaces with distilled water and remove standing water.

5. Remove extant accretions with organic solvents.

6. Sound all mural surfaces and note any areas of delamination. a. If delamination or other forms of new damage are noted, provide updated scope of work and costs to the City to stabilize.

7. Apply non-toxic biocide to all surfaces to mitigate accessible areas of micro biological growths.

Estimated Maintenance Costs – Mural Only: $ 7,150.00
Recommended Frequency of Maintenance: Every 2-3 years 210

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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/08/23
Artist: Christine Oatman
Title: Mariposa Pathway
Date: Client to provide information
Materials: Stainless Steel
Dimensions: Varied (example for scale - Mariposa 1: 55.5” H x 9.75” W x 5” D) Location: Veteran’s Parkway, south of Manhattan Beach Blvd General Condition: Excellent Good Fair X Poor
Description:

Per documentation provided by the C ity there are supposed to be seven (7) individual sculptures for this installation, though only six (6) were found at the time of assessment.

Mariposa 1: The object consists of four (4) approximately one inch (1”) diameter stainless steel rods atop which is mounted an abstract form of a house. The house form consists of two (2) plates, one with a central circular cut out. The back one has a welded post to which a cut out of a butterfly is mounted.

Mariposa 2: The object consists of two (2) approximately one inch (1”) stainless steel poles to which two (2) offset plates are welded. The back plate is solid and generally in the shape of a house. There is a central welded peg to which a cut out of a butterfly is mounted. The butterfly figure may be etched, or some type of coating has been applied that has since degraded. The standoff plate is fabricated of perforated stainless steel sheet, also in the shape of a house, with a large central circular cut out to showcase the butterfly form.

Mariposa 3: The object consists of two (2) approximately one inch (1”) stainless steel poles to which two (2) offset plates are welded. The back plate is solid and generally in the shape of a house. There is a central welded peg to which a cut out of a butterfly is mounted. The butterfly figure may be etched, or some type of coating has been applied that has since degraded. The standoff plate is fabricated of perforated stainless steel sheet, also in the shape of a house, with a large central circular cut out to showcase the butterfly form.

Mariposa 4: The object consists of two (2) roughly one inch (1”) diameter stainless steel pipes with a welded rectilinear plate at the top. The top of the plate is arched. Centered on the plate is a large monarch butterfly figure with some type of bonded and pigmented material 211

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over the face of the figure. Below the butterfly is a small circle, though the purpose of this feature is not evident.

Mariposa 5: The object consists of two (2) approximately one inch (1”) diameter stainless steel rods with a rectangular stainless steel plate welded to the top. The top of the plate is arched. The plate itself has been water or laser cut to release a pair of butterfly wings which have been mechanically manipulated forward out of plane to give the work a three- dimensional element. On either side of the butterfly are two (2) circles in the plate, The upper circle is slightly smaller than the one below. The surface of the butterfly or its image appears to be etched into the stainless steel, so it is not apparent if a bonded additional material that was multicolored was also on the surface at some point.

Mariposa 6: The object consists of two (2) approximately one inch (1”) diameter stainless steel poles to which a rectangular stainless steel plate is welded. The corners of the plate are rounded and the finish of the plate is machined which reflects light in different directions.

The center of the plate exhibits a cut out in the shape of a butterfly. On either side of the butterfly form are three (3) circular cut outs that are all the same size.

Condition:

Mariposa 1: The object appears to be in good structural condition, but its surface condition is fair. Ferrous corrosion was noted on each stainless steel element to varying degrees. There are extensive accumulations of snails as well as spiderwebs and entangled plant debris.

General surface soiling and other accretions were noted throughout the sculpture.

Mariposa 2: The object appears to be structurally sound on its mount as well as the welds.

The surface condition is fair. There is ferrous corrosion on all stainless elements to varying degrees. The exposed faces of the standoff pegs exhibit more tenacious corrosion. There is an unknown condition occurring on the standoff butterfly figure. It is not clear if there is a failing applied coating of some sort which is resulting in black accretions as well as corrosion. The antennae of the butterfly are bent, one of them severely.

Mariposa 3: The object appears to be structurally sound on its mount as well as the welds.

The surface condition is fair. There is ferrous corrosion on all stainless elements to varying degrees. The exposed faces of the standoff pegs exhibit more tenacious corrosion. There is an unknown condition occurring on the standoff butterfly figure. It is not clear if there is a failing applied coating of some sort which is resulting in black accretions as well as corrosion. The antennae of the butterfly are bent, one of them severely. Additionally, there are multiple vertical scratches across the back of the solid fixed plate as well as applied graffiti tagging on the back that is white. There is also light blue applied graffiti ghosting of tagging on the front. The standoff perforated plate house form is bent at multiple areas.

Overall, the object has been torqued and manipulated so that it is not in plane as intended, though it still generally appears to be secure on its mount.

Mariposa 4: The object appears to be in fair condition but structurally sound on its mount as are all the welds. The method of attachment between the butterfly and the plate is not evident, though likely is some type of epoxy. Ferrous corrosion was noted on all stainless steel elements. The butterfly antennae are slightly bent pulling away from the plane of the 212

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support plate. The applied multicolored coating is severely deteriorated both in terms of physical loss as well as general discoloration and corrosion staining.

Mariposa 5: Overall, the object appears to be in fair condition though structurally sound on its mount. The object appears to lean forward by several degrees. Ferrous corrosion was noted to varying degrees throughout all stainless steel elements. If there was some type of etching or applied coating over the butterfly figure, it has degraded overtime and is less visible in general. Snails, snail droppings, and other dirt and accretions were noted throughout the element.

Mariposa 6: Overall, the object is in fair condition and appears secure on its mount. The welds are also secure. The central plate has been severely manipulated and deformed resulting in very noticeable undulations and generally resulting in the plate being out of plane in multiple directions. There is also extensive abrasion on the visual right pole near the top where the plate is welded, which has resulted in highly altered texture of the pole surface and ferrous corrosion. Lighter accumulations of ferrous corrosion were also noted on the other pole as well as the deformed central plate.

Previous Conservation Treatments or Condition: Not available at this time Comments on Mounting:

The method of mounting was not readily apparent at the time of inspection. Presumably there is a below grade footing in which the stainless steel poles are directly embedded or anchored with hardware and/or epoxy. This should be verified by the City as this will inform any potential recommendations for additional stabilization of these individual elements.

Comments on Location:

Each of the elements are located along pedestrian pathways that are covered with mulch in a wide median along Veterans Parkway. On either side of this median pathway is a single lane road which is a highly trafficked area. as such the elements are exposed to higher concentrations of corrosive vehicle exhaust particulates. Additionally, the installation is located less than five (5) miles from the ocean, meaning there are ambient salts and chlorides in the air that can promote corrosion. Each of the sculptures are highly accessible to the public, as evidenced by their conditions.

Mariposa 1: The object appears to be in full sun throughout the day. There are low plants that grow around and within the stainless steel poles. It is unclear if there is drip irrigation or sprinklers in the area around this sculpture.

Mariposa 2: The object is cited adjacent to a large shrub-like planting. Plants do not encroach around the base of the object, but the shrub branches overhang and are growing close to the artwork. It appears to be predominantly in shade throughout the day, with possible direct sunlight in the morning.

Mariposa 3: The object appears to be in full sun throughout the day. It is mounted adjacent to a low hill comprised of loosely compacted soil as well as mulch. There are no encircling 213

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plantings or overhanging trees, though there does appear to be sprinklers within ten feet (10’) of the artwork and may overspray onto the sculpture.

Mariposa 4: The object appears to be in full shade throughout the day. There are no surrounding plants at its base, but it is sited in front of a large shrub that partially overhangs the piece and is physically encroaching on the work. Sprinkler heads were not visible at the time of assessment but may be in the area and overspray the sculpture.

Mariposa 5: The object appears to be predominantly in shade throughout the day. There are no plantings surrounding the artwork base, but it is within close proximity to a large shrub which is encroaching upon the artwork and will eventually overhang the piece. The work is sited at the base of a low sandy hill and approximately within ten feet (10’) of sprinkler heads, which may overspray onto the sculpture.

Mariposa 6: The object appears to be predominantly in full sun throughout the day, though may experience periods of shade from nearby trees. There are no encroaching plants at the base of the object nor any tree branches that are encroaching or overhang the work. The ground surrounding the artwork appeared wet and moist at the time of inspection, though sprinkler heads were not visible.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:

Ensure that there are no plants growing around the bases of any of the artworks as well as cut back any encroaching or overhanging tree or bush branches. Redirect sprinkler heads away from the artwork.

Access/Other Considerations Required for Treatment or Maintenance:

Utilize stanchions and caution tape to cordon off the work area while treatment and/or maintenance is performed since the works are close to pedestrian walkways.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

Please Note: The following scope of work is outlined and priced to be performed on site. However, if it is not difficult to de-install the sculpture elements from their mounts, it would be easier and faster to take them to an off-site studio for treatment. If there was an etched color image on the butterflies, these elements would l ikely need to be removed from the artwork element itself to have the surface re-finished in a comparable manner, then re-mounted. That scope of work is not included below or in the overall treatment cost. Scope and costs also do not include straightening of sculptures on their mounts. This must be performed by professional art handlers/installers.

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Dry-brush surfaces to remove loose particulate matter, insect nests, and webs.

3. Rinse surfaces with filtered water from a low-pressure hose and wash with a conservation-grade detergent using soft, natural-bristle brushes and microfiber cloths.
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a. Rinse with distilled water and dry surfaces.

4. Apply a stainless steel corrosion passivating solution to all stainless steel surfaces and allow to dwell per the manufacturer’s specifications. a. Agitate solution on the surface to aid with surface brightening, then rinse and neutralize with distilled water.
b. Several applications may be required for adequate passivation. c. Test application of material over extant coating/black pigment on butterflies to ensure it does not remove any extant pigment.

5. Following passivation treatment, hand-polish stainless steel surfaces with fine metal polish paste to remove more tenacious ferrous corrosion and ingrained tarnish. a. Clear residue with organic solvents.

6. Attempt to mechanically manipulate antennae and other sculpture elements that were vandalized back into plane. If the sculptures are kept in situ, there may be limits to how much surfaces can be straightened out.

7. Apply one to two (1-2) coats of cold, carnauba paste wax to all surfaces to help slow tarnish and corrosion.
a. After each application, allow wax to dry and buff with horsehair bristle brushes.

Estimated Treatment Costs: $ 17,575.00 + art handlers
Estimated Special Equipment Required:

Stanchions and caution tape
Recommended Maintenance:

1. Document maintenances with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Dry-brush surfaces to remove loose particulate matter, insect nests, and webs.

3. Rinse surfaces with filtered water from a low-pressure hose and wash with a conservation-grade detergent using soft, natural-bristle brushes and microfiber cloths.
a. Rinse with distilled water and dry surfaces.

4. Remove any extant wax coatings with organic solvents and re-apply new sacrificial carnauba wax coatings.
a. After each application, allow wax to dry and buff with horsehair bristle brushes.

Estimated Maintenance Costs: $ 4,575.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Simon Ouwerkerk
Title: The Wave of the Future
Date: 2000
Materials: Bronze, concrete
Dimensions: Bronze Capsule: 73” x 24’ x 36”. Concrete Platform: 84 ¾ x 49 ¾ x 24” Location: Veterans Parkway & 18th Street
General Condition: Excellent Good Fair X Poor
Description:

The installation is an above-grade time capsule capped with an abstract sculptural form. The base of the capsule is a rectangular form made in cast concrete with parallel recessed lines.

Bronze dedication plaques are embedded in the top/horizontal surface of this element at the north and south ends. Centered at the top of the concrete form is an abstract sculpture of breaking waves. The sculpture is made from bronze sheet welded together. The lower portion of the sculpture is rectangular and boxy in form. The upper portions depict two (2) consecutive breaking waves, each with three (3) curved forms at the leading edge of each wave. The bronze sheet has been patinated medium bronze in color. There do not appear to be any extant coatings on the bronze elements. The time capsule is slated to be opened June 10
th, 2025.

Condition:

Overall, the sculpture appears to be in fair condition. The bolts that attach the capsule to the concrete platform seem to be corroded, particularly the four (4) bolts located on each corner of the capsule. These anchor bolts appear to be ferrous/mild steel, which, due to galvanic corrosion, corrode preferentially to bronze. Someone has placed rubber covers over the bolts, but this may exacerbate corrosion if the ferrous surfaces are not allowed to dry out qu ickly and moisture sits on the surface. Corrosion is also detected on the surface throughout each side of the bronze sculpture, displaying red, green, and orange discoloration. Calcium deposits are present on the surfaces of the central sculpture and base , with a particularly concentrated area located beneath the largest wave. Additionally, dirt, debris, bird droppings, and spider webs were found on the sculpture. Both dedication plaques have discolored and blue green corrosion is forming on the raised text/lettering. The sealant/grout around their borders is intact and they are stable. Hairline settlement cracks are forming throughout the vertical and horizontal surfaces of the concrete form below the sculpture. The surface of the 216

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concrete appears mottled with different levels of saturation, efflorescence, and corrosion runoff staining.

Previous Conservation Treatments or Condition: None at this time.

Comments on Mounting:

The bronze sculpture is bolted into the concrete platform with twelve (12) ferrous metal bolts and washers. It is not clear if epoxy or mortar were also used to set the bolts. The concrete platform sits atop a concrete pad/footing set into the surrounding soil. It is not evident how the platform is attached to the pad, though it may be with threaded metal rods and epoxy or mortar. Conversely, the platform could have been cast directly onto/over the pad, with rebar in the pad extending up into the concrete platform.

Comments on Location:

The installation is located within a wide median bound by two roads of one lane of traffic in each direction. These roads are moderately to heavily trafficked, so the work is subjected to higher concentrations of corrosive vehicle exhaust particulates. The sculpture is highly accessible to the public and it appears that people may sit on the outer edges of the concrete platform. There are no overhanging tree branches or encroaching low plantings, but there is clear evidence that the sculpture is routinely hit with overspray from nearby sprinklers. There are extensive mineral deposits around edges and surfaces where water tends to pool and collect. The mineral content of ground water is significantly higher than rainwater, so this is definitely attributable to sprinkler overspray. Though there are no overhanging tree branches, the work is still in shade for long periods of time throughout the day. This contributes to water dwelling on the surface, promoting corrosion and mineral deposit build-up. The work is not spot lit at night, but there may be some ambient light from nearby streetlamps to help deter vandalism. It is unclear if there are any security cameras in the vicinity to help deter vandalism.

Comments on Safety/Risk Management:

Since it is less than a year before the time capsule is meant to be opened, it may not make sense to remove and replace the bolts/anchoring hardware for the sculpture if they have enough material left to secure the bronze in place. However, at a minimum, the rubber caps should be removed and the bolts encapsulated to help stem further corrosion. In Los Angeles, there has been a significant increase in theft of bronze plaques and sculpture so that the bronze can be sold for scrap due to the copper content. With the bolts corroding and potentially weakened, this may make the sculpture more susceptible to theft.

Recommended Site Improvements:

Redirect sprinklers away from the artwork surfaces or switch to drip irrigation.

Access/Other Considerations Required for Treatment or Maintenance:

Cordon off work area with stanchions and caution tape.

Treatment Priority: 3 Curatorial Priority:
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Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with distilled water and wash with a solution of filtered water from a low- pressure hose and a conservation-grade detergent for the bronze elements and a m
asonry detergent for the concrete.

4. Rinse with distilled water to remove detergent residue and dry with microfibers.

5. Mechanically and chemically remove or reduce mineral deposit buildup and cor
rosion throughout bronze and concrete surfaces.

6. Where necessary, heat bronze with a propane torch and reintegrate areas of patina l
oss or damage with chemical patina to blend with adjacent surfaces. a. Arrest patina development with distilled water.

7. Re- heat bronze surfaces with a propane torch and apply a carnauba wax blend devel
oped for high UV and heat environments to all surfaces. a. Allow surfaces to cool and buff with horsehair bristle brushes.

8. A
pply two (2) cold, sacrificial coats of carnauba paste wax to all bronze surfaces. a. A
llow each coat to dry and buff with horsehair bristle brushes.

9. Remove plastic/rubber covers from anchor bolts.

10. Excavate loose ferrous corrosion and clear residue with organic solvents.

11. Encapsulate exposed ferrous bolts and washers with an industrial-grade direct to m
etal coating to mitigate water intrusion.

Estimated Treatment Costs: $ 7,200.00
Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital phot
ography. Provide a Dropbox link to all maintenance images as well as note any condi
tions that should be addressed in a more in-depth treatment in the future.

2. Dry-brush surfaces to remove loose particulate matter and surface soiling.

3. Rinse with filtered tap water from a low pressure hose and wash with a solution of distilled water and a conservation-grade detergent.

4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.

5. Remove any discolored or blanching wax and re -apply one to two (1-2) cold sacrificial co
ats of carnauba-based paste wax to all bronze surfaces. a. Allow wax to dry after each application and buff to appropriate sheen. b. Ever
y 3-5 years, the bronze sculpture will need the hot wax layer renewed, which is a more in-depth maintenance.

Estimated Maintenance Costs: $ 925.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Monika Petroczy
Title: Untitled - Utility Box #3
Date: 2020/2021
Materials: Vinyl wrap print
Dimensions: 32.5” W x 24” D x 67” H
Location: SW Corner of Rosecrans & Aviation Blvd (along Aviation) General Condition: Excellent Good X Fair Poor
Description:

The artwork consists of a printed vinyl wrap mounted to a utility box that is located along the edge of the sidewalk in a planter area near a very busy intersection. The printed imagery depicts text that spells “Greetings from Manhattan Beach California”. The letters for Manhattan Beach are oversized and printed photographs from around the City are set within these oversized letters. The text !Greetings from” is in blue and script-like in font. The word California is capitalized and in red with a red star at either end of the word. The background color is ombre shades of orange to light orange yellow.

Condition:

O
verall, the vinyl wrap appears to be in relatively good condition. There are five (5) areas where the wrap has been breached down to the metal box substrate, all of wh ich are on the east-facing side. Two small abrasions where the vinyl is damaged are located at the northeast corner of the east panel, somewhat near the handle to the box. The other three areas of damage are vertical slashes in the “M” on the east face that makes up the word Manhattan.

Because these surfaces face the sidewalk, the damage is likely due to abrasion or vandalism from passing members of the public. Black marker applied graffiti was noted at the upper surfaces of the north panel. Otherwise, the surface is moderately to heavily soiled due to the busy intersection and accumulation of vehicle exhaust particulates. Heavier concentrations of soiling were noted on the top horizontal surfaces as well as below the ventilation slots at the south side of the box.

Previous Conservation Treatments or Condition: None at this time 219

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Comments on Mounting:

The vinyl wrap is presumably adhered with an adhesive on the verso as well as the application of heat during installation. It is unknown what type of surface preparation (if any) was performed on the utility box before application.

Comments on Location:

The box is located at the southwest corner of a very busy intersection. It is highly accessible to vehicle traffic, which results in higher concentrations of corrosive vehicle exhaust particulates on the surface. It is also highly accessible to the public and show signs of damage due to public interaction. There is ambient light from nearby streetlamps in the evening.

Succulents are encroaching along the bottom edge of the wrap at the north side of the box.

Pine tree branches also partially overhang the box. Drip irrigation was noted in the planter area where the box is located. The work appears to be in full sun during the morning and possibly in shade during the afternoon. There do not appear to be any security cameras in the area that cover the utility box to help deter vandalism.

Comments on Safety/Risk Management: None at th is time Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance: None at this time.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling. a. Rinse with distilled water and dry with microfiber cloths.

4. Remove or reduce appearance of extant accretions, particularly black transfer marks and applied graffiti, with organic solvents that will not adversely impact the vinyl substrate.

5. Remove lifting areas of final wrap at areas of abrasion damage down to sound material.

6. Though the vinyl cannot be repaired in-kind in the field, we recommend applying something at the edges and areas of loss to secure the wrap so that it does not continue to peel in these areas as well as visually re-integrate the color loss. a. In paint areas of vinyl wrap loss with an exterior grade conservation paint system.
b. Apply conservation grade varnish over in painting that has inherent UV light stabilizers.

7. Compound skyward/horizontal surface of top of box with automotive or plastic polishers to try and remove some oxidated material from the surface. 220

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8. Encapsulate skyward/horizontal surface of box with a clear coat/varnish to slow additional degradation of the vinyl and extant color.

9. Attempt to re-adhere lifting edges of vinyl with an exterior grade adhesive that is compatible with both aluminum and vinyl substrates.

Estimated Treatment Costs: $ 2,730.00
Estimated Special Equipment Required:

Stanchions and caution tape.

Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling.

4. Rinse with distilled water and dry with microfiber cloths.

5. Remove extant accretions, particularly stick residue, with organic solvents that will not adversely impact the vinyl substrate.

6. Visually inspect surfaces for signs of additional damage and notify the City accordingly.

Estim
ated Maintenance Costs: $ 910.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Damiana Yousef
Examined On: 11/8/13
Artist: Rick and Jaydon Randal
Title: A Dragon’s Tale
Date: 2015
Materials: Galvanized Steel, Automotive Paint
Dimensions: Client to provide information
Location: Manhattan Beach Art Center
General Condition: Excellent Good Fair X Poor
Description:

The artwork in question is a kinetic work centered on and mounted to a central support pole.

The kinetic portion is located at the top of the pole and resembles a stylized dragon. The pole is capped with a rectangular mild steel box. A silhouette of a dragon’s head with mouth agape is welded to one side of this box. On the opposite side, a rod emanates from the box and two (2) spiral forms are mounted to this rod, also in mild steel. Diamond-shaped fins are welded to each spiral at a slight angle. This element is meant to represent a dragon’s tail.

Nearly the entirety of this assemblage is painted metallic purple, likely automotive paint.

The central support pole is mild steel, approximately five or six inches (5-6”) in diameter and is painted black. At the base of the pole is a pyramidal form clad with thin steel metal sheets meant to resemble scales. The base is also painted black. Mounted to and encircling the pole about halfway down its length is ferrous sheet metal stood off of the surface and meant to look like a ribbon. It has been painted metallic gold and has a quote in black along its length.

Presumably when the wind blows, the purple sculptural element at the top spins, like a weathervane.

Condition:

Overall, the sculpture is in fair condition. The surface coatings are in poor condition. The automotive paint on the sculpture exhibits signs of failure in various areas, notably on the spikes adorning the dragon's head and the rectangle box connecting the upper decorative elements. In these areas, the corrosion is expanding below the surface of the paint, so the paint looks very textured and is bubbling. Corrosion runoff staining is also visible along edges where it has breached the paint surface. This condition is very pervasive on the faces of the central rectangle. Corrosion is also apparent on the base of the metal po le located on the pyramid, primarily below the welded scale-like shapes. Additionally, rust is observed on the four (4) anchoring nuts and washers, and the sides of the square base connecting the piece 222

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to the concrete slab and other pieces of visible hardware throughout the composition . A diamond fin was noted missing on the inner spiral along the outer perimeter. Though RLA was informed of another missing fin, we could not identify a second area where a fin had detached from the surface during the evaluation. At least two (2) of the diamond fins may be slightly bent out of alignment. The central pole has been repainted at least one-time. There is a large vertical area of topcoat loss along one side where there is black paint visible below.

Throughout the sculpture, there is an accumulation of dirt, debris, and bird droppings, with spider webs found between the recesses of the upper box, between the banner and the pole, as well as at the bottom where the pyramid meets the pole. Throughout the inspection, RLA did not see the upper portion of the sculpture move. There was not much wind and the areas were too high and out of reach for RLA to press them to see if they spin. If there is corrosion on the exterior surfaces, there could be corrosion at interior surfaces, which can cause kinetic components to lock up. If there are internal ball bearings, these typically are lubricated with some frequency as specified by their manufacturer.

Previous Conservation Treatments or Condition:

There is evidence of a previous repair or re-painting campaign at the central support pole. It is not known when this occurred or if other areas were treated during the same repair campaign.

Comments on Mounting:

Though not visible due to the pyramid form, the central steel pole is likely welded to the square ferrous metal plate at the bottom of the sculpture. This plate is anchored to a concrete slab via four (4) threaded stainless steel rods, one positioned at each corner of the metal base.

The base plate is secured with steel washers and hex nuts, which may be galvanized or mild steel and have been overpainted. The metal base plate does not sit flush with the concrete pad; it is slightly elevated, which allows for some airflow, but also for debris to accumulate below, which can have the opposite effect of trapping moisture at the underside of the sculpture base.

Comments on Location:

The sculpture is installed in front of the Manhattan Beach Art Center, along Manhattan Beach Boulevard. The road is on a prominent slope, so the mounting pad has been poured to be level and at an angle to the sidewalk. The work is immediately adjacent to the sidewalk and the lower surfaces are highly accessible to the public. Manhattan Beach Boulevard is also a very busy thorough fare with multiple lanes in either direction. As such, the work is subjected to higher concentrations of corrosive vehicle exhaust particulates. The site is also less than five (5) miles from the ocean, so is subjected to ambient salts/chlorides, which also promote and exacerbate corrosion. There are two (2) large trees within proximity to the installation, one of which partially overhangs the sculpture. This results in higher accumulations of corrosive bird droppings and plant debris accumulation, which can trap moisture on surfaces, which promotes corrosion. The work is predominantly in shade throughout the day due to the size and proximity of the trees. Because it is in shade, when the work is wet, it does not dry out as quickly, again promoting corrosion.
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Comments on Safety/Risk Management:

If possible, trim back tree branches so that they do not overhang the artwork directly. In addition to dropping plant debris, the sculpture could be damaged significantly if a branch were to fall. If this is not possible (i.e., it is considered a heritage tree), then ensure that overhanging branches are assessed by an arborist on a regular schedule to ensure there is no weakness or cause for concern.

Recommended Site Improvements:

Trim back overhanging tree branches. If there are sprinklers in the adjacent lawn, ensure they are redirected so they do not overspray onto the sculpture base.

Access/Other Considerations Required for Treatment or Maintenance:

To access the upper portions of the piece for maintenance, a rolling baker’s scaffold or scissor lift will be required. Because it is adjacent to the sidewalk, the City may want to have the sidewalk closed while cleaning so passersby are not hit with detergent and/or rinse water.

Because of the proximity to the sidewalk and roadway, we do not recommend performing more in-depth treatment or repairs in situ. The sidewalk would have to be closed for several weeks, which would be very disruptive to the neighborhood. The work must be de-installed and transported off site for treatment.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Qualified art handlers to securing moving components of the sculpture and de- install the artwork. Transport sculpture to a conservation studio for treatment.

3. Mechanically remove corrosion using a combination of small hand tools and micr o
abr
asive cleaning down to bare metal.
a. Note: To properly mitigate corrosion, it will likely be necessary to di
sassemble the top dragon element from the pole to clear out corrosion, dirt, debris, and possibly replace any rotary components/ball bearings. At a m
inimum, rotary components should be lubricated.

4. Weld missing diamonds onto the tail components.
a. If all missing elements have not been retained by the City, fabricate r
eplacement diamond fins from appropriate steel that is compatible with the exi
sting substrate.

5. Manipulate any diamond fins that have been moved back into their original alignment.

6. Prime surfaces using an industrial or automotive grade primer (preferably zinc- based) via HVLP spray.

7. Apply an intermediate, industrial or automotive grade epoxy tie coat to all surfaces vi
a HVLP spray.

8. Appy industrial or automotive grade topcoat in the colors and sheen originally sp
ecified by the fabricator via HVLP spray.
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a. Note: The black color for the support pole and base should be an industrial- grade coating. Ideally, the purple dragon and gold ribbon would also be an in
dustrial-grade coating. However, in order to get those colors in a metallic f
inish, it may be necessary to use an automotive coating.

9. For the purple and gold colors with metallic flake paint, apply an industrial or automotive grade clear coat to seal surfaces.

10. Allow coatings to fully cure for at least two weeks before handling.

11. Bef
ore pick-up, consider applying a clear, sacrificial paste wax to artwork surfaces to help extend the service life of the applied coatings.

12. Once coatings have fully cured, qualified art handlers to pick up, transport and re- install artwork.

Est
imated Treatment Costs: $ 32,525.00 + art handling costs Estimated Special Equipment Required:

Scissor lift to access upper surfaces, stanchions, and caution tape for maintenance only. All treatment should be performed off site.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital phot
ography. Provide a Dropbox link to all maintenance images as well as note any condi
tions that should be addressed in a more in-depth treatment in the future.

2. Utilize a scissor lift to access upper surfaces of the sculpture.

3. Dry-brush surfaces to remove loose particulate matter, insect webs, and nests.

4. Damp clean surfaces with a solution of distilled water and a conservation-grade det
ergent using microfiber cloths so as not to introduce excessive moisture into the system.

5. D
amp rinse with distilled water on microfiber cloths and dry all surfaces t
horoughly. Used compressed air to blow out any residual moisture in deep re
cesses.

6. A
pply a clear automotive paste wax to all surfaces to help extend the service lift of t
he coating.
a. After wax dries, buff to desired sheen.

Est
imated Maintenance Costs: $2,725.00
Recommended Frequency of Maintenance: Annually
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Examined By: Damiana Yousef
Examined On: 11/8/23
Artist: Harold Roach
Title: Mankind’s Struggle for Eternal Peace
Date: 1982
Materials: Painted Ferrous Metal
Dimensions: Client to provide information
Location: Manhattan Beach Post Office (15th Street & Valley) General Condition: Excellent Good Fair X Poor
Description:

The artwork is an abstract metal composition featuring three (3) large metal plates intricately cut with a whimsical, almost floral pattern, and painted with metallic silver paint. These mild steel plates interconnect and are secured to each other with welds. Two (2) pieces of ferrous metal, forming a V-shape, are welded to the circular metal base as well as two sides of the diamond-like plate of the sculpture. These act as additional supports for the sculpture as a whole. The work sits atop a cube-shaped concrete base with beveled vertical edges. A bronze dedication plaque is set into the face of the base.

Condition:

The sculpture is in overall fair to poor condition, both in terms of its structure and surface condition. Of most concern are multiple popped and cracked welds with ferrous c orrosion products visible emanating from the breach in the paint coating. When facing the back side of the sculpture, the welded diagonal support on the visual right-hand side has damage to all four (4) welds. The two (2) outer ones are cracked, and the two (2) center ones are broken all the way through. On the visual left-hand side, the top weld is broken through, the next weld down is cracked, and the remaining two (2) appear to be intact. The other welds and connection to the circular base appear to be intact. In addition to the weld damage, there is moderate ferrous corrosion breaking through the paint coating or visible bubbling beneath the coating, resulting in delamination. Water spots were noted on several vertical surfaces of the sculpture. It is possible that the water is coming off the roofline/gutter edge above.

There is also a sprinkler head and drip irrigation lines in the planter area surrounding the sculpture. There are small chips and losses in the concrete surfaces, particularly at the edges.

The lacquer coating on the dedication plaque is also failing, resulting in the raised text and border shifting from gold to darker brown in color. Pl ant debris was noted throughout the base, particularly accumulating in recesses and at the base welds. Bird droppings were noted 226

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throughout the surface, indicating birds likely perch on the sculpture. Light to moderate atmospheric soiling was also noted throughout the artwork surfaces.

Previous Conservation Treatments or Condition: Not available at this time.

Comments on Mounting:

The sculpture’s circular base plate is anchored to the concrete via four (4) hex bolts and washers, all of which have been overpainted metallic silver. The length of the bolts is not confirmed. The width is likely in the range of ½” to 3/8” diameter. It is unknown if there is additional epoxy or mortar used to set the bolts into the base. It is not clear if there is a footing below grade, underneath the base, or if the base is set straight onto the ground.

Comments on Location:

The sculpture is located in a planter area, adjacent to a City-owned building. The work is partially underneath the building roofline overhang, partially exposed. While the sculpture is technically accessible to the public, it is set back relatively far into the planter area and near the building in such a way that people would have to go out of their way to interact with the work. Dog feces were noted immediately adjacent to the sculpture in the planter bed. The site is located along a busy thoroughfare in the City, so the work may be subjected to higher concentrations of corrosive vehicle exhaust particulates. There is drip irrigation in the planter around the sculpture, but an above ground sprinkler head was also noted. It is not clear if this is no longer active. Water may also drip from the overhead gutter. The sculpture is on the south side of the building, but there are multiple tall grass plants and trees in front of the installation. As such, it seems to be predominantly in shade throughout the day. The sculpture is not spot lit at night. There is some ambient light from nearby streetlamps. There do not appear to be any security cameras in proximity to the work.

Comments on Safety/Risk Management:

Because multiple welds that help support the sculpture standing upright are compromised, the sculpture could pose a safety hazard if someone were to try and climb upon it and additional welds fail.

Recommended Site Improvements:

Any remaining above ground sprinklers should be de-activated, leaving on ly drip irrigation.

Ensure low plantings are routinely cut back so that they do not encroach upon the sculpture surfaces.

Access/Other Considerations Required for Treatment or Maintenance:

None for maintenance. For treatment, the artwork should be de-installed and transported off-site to a qualified conservation firm for repair.

Treatment Priority: 1 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.
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2. Qualified art handlers to de-install the artwork and transport sculpture to a conservation studio for treatment.

3. Mechanically remove corrosion using a combination of small hand tools and micro abrasive cleaning down to bare metal.

4. Grind down existing damaged welds, clean out any corrosion, and re-weld broken or cracked welds.

5. Prime surfaces using an industrial or automotive grade primer (preferably zinc- based) via HVLP spray.

6. Apply an intermediate, industrial or automotive grade epoxy tie coat to all surfaces via HVLP spray.

7. Appy industrial or automotive grade topcoat in the colors and sheen originally specified by the fabricator/artist via HVLP spray.
a. Note: Ideally, the topcoat would be an industrial-grade coating. However, in order to get that exact color in a metallic finish, it may be necessary to use an automotive coating.

8. Apply an industrial or automotive grade clear coat to seal metallic flake paint surfaces.

9. Allow coatings to fully cure for at least two weeks before handling.

10. Before pick-up, consider applying a clear, sacrificial paste wax to artwork surfaces to help extend the service life of the applied coatings.

11. Once coatings have fully cured, qualified art handlers to pick up, transport and re- install artwork.

12. Bronze Plaque:
a. Wash surfaces with distilled water and a conservation-grade detergent to remove bulk dirt and grime.
b. Strip extant lacquer with organic solvents and/or paint stripper. c. Mitigate any extant corrosion through mechanical and chemical means, taking care not to mar the original patina.
d. Polish raised letters and border to expose “free” copper. e. Heat plaque with a propane torch and patinate raised letters and border to a light golden color. Once desired color is achieved, arrest patina development with distilled water.
f. Re-heat plaque surface and apply carnauba and microcrystalline paste wax formula developed by the Getty Conservation Institute for high UV, heat, and marine environments.
g. Allow wax to cool and buff.
h. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen.

Estimated Treatment Costs: $ 16,350.00 + art handling costs Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images as well as note any conditions that should be addressed in a more in-depth treatment in the future. 228

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2. Dry-brush surfaces to remove loose particulate matter, insect webs, and nests.

3. Damp clean surfaces with a solution of distilled water and a conservation-grade detergent using microfiber cloths so as not to introduce excessive moisture into the system.

4. Damp rinse with distilled water on microfiber cloths and dry all surfaces thoroughly. Used compressed air to blow out any residual moisture in deep recesses.

5. Apply a clear automotive paste wax to sculpture and dedication plaque to help extend the service lift of the coatings.
a. After wax dries, buff to desired sheen.

Estimated Maintenance Costs: $ 1,650.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/07/23
Artist: Roberto Salas
Title: Beyond This Point Lies The Rest of the World
Date: 1993
Materials: Mild steel, paint, bronze, possibly aluminum Dimensions: Railings 43” H; pipes 2.5” diameter
Location: North and south sides of pier at upper parking lot General Condition: Excellent Good Fair Poor X
Description:

The installation consists of two mirrored areas of decorative railing and viewpoints on either side of the roadway that leads to the Manhattan Beach Pier. The viewpoints are adjacent to upper parking lots. The railings consist of five (5) rungs of two and a half inch (2.5”) diameter mild steel pipe. Three (3) sections of the railing have been skewed to be diagonal and terminate at a central figure of a ship steering wheel. The central ship steering wheel element may be aluminum secured to the railing with ferrous metal hardware. All railing elements are painted the same light blue or teal color throughout. It is not clear whether the entirety of each railing is part of the installation or only the more decorative elements at the apex of each viewpoint. In the viewpoint pavement areas are embedded bronze or brass letters that spell out the title of the artwork. There is also a circle with three (3) radiating arrows that point towards the text. There does not appear to be any coating on the bronze or brass elements.

Condition:

Overall, the condition of the pipes is fair to poor. At both sides of the installation there is extensive corrosion and material loss, particularly at connection welds between the straight horizontal railing elements and the more decorative diagonal railing elements. The mild steel is exposed in these areas with corrosion runoff staining on the painted surfaces and pavement below. The exposed metal is jagged in some areas and could pose a public safety risk. Other losses of the coating and associated corrosion vary in size. The paint coating has been discolored by prolonged UV exposure and general weathering. It is not evident if this is the correct color for the original installation as it appears to have been over-painted multiple times. Through weathering and cracks, water has seeped in and promoted corrosion throughout the supports for the embedded bronze or brass elements in the pavement.

Corrosion jacking on the letter supports has caused additional cracking in the semicircular 230

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pattern of the text resulting in displacement of the concrete and lifting along the crack edges.

Additional cracks are noted through and along the arrow elements. There does not appear to be any coating on the bronze elements and they are very weathered from abrasion due to people walking directly on them. There does not appear to be an established patina due to the ware and exposure to a marine environment. Minor corrosion is noted along the edges of select letters.

Previous Conservation Treatments or Condition:

There is evidence that the straight/horizontal railings have been overpainted at least one- time. It is unknown if this work was performed using colors approved by the artist or involvement with a conservation professional.

Comments on Mounting:

The railing elements appear to be embedded directly into the concrete. It is not clear if there are any below-grade attachments/hardware. The bronze elements are likely welded to mild or galvanized steel straps or rails that are below the concrete paving. These are usually anchored to a sub-structure and then a thin concrete topping added to fill in around the metal.

Comme
nts on Location:

The installation elements are elevated approximately twenty to thirty feet (20’-30’) above sea level at two overlooks within a quarter mile or less of the ocean. As such, they are subjected to high levels of ambient salts/chlorides and elevated humidity. Combined, these promote and accelerate the formation of corrosion. They are also bordered by parking lots to the east and west as well as a moderately trafficked road between them. This exposes them to higher concentrations of corrosive vehicle exhaust particulates. The east-facing surfaces are highly accessible to the public and it is evident that they receive a lot of people touching and climbing on their surfaces, as well as people attaching bicycles and other objects to their surfaces. There are no encroaching plants, overhanging tree branches, or sprinklers within proximity to the railings. The works are in full sun throughout the day, which subjects the applied paint coating to prolonged UV exposure, which breaks down paint binders over time. The work is not spot lit at night. It is unclear if there are any security cameras in the area that may help deter vandalism.

Comments on Safety/Risk Management:

There is a high potential ri sk for injury due to exposed jagged pieces of corroding mild steel.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Scaffolding will be required to reach the west-facing surfaces of the railing to remove existing coatings, mitigate corrosion, repair welds, and re-prime and paint the railings. It would be best to completely close off the north and south upper parking lots as they are being worked on to mitigate public interaction as well as potential damage to personal vehicles from treatment processes if they are parked in the lots.

Treatment Priority: 1 Curatorial Priority:
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Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Engage with a structural engineer to have them determine the type of repair welds as well as any other splicing in of materials that needs to occur due to material/thickness loss at the railings.

3. Collect paint sample and/or perform archival research to determine original paint color.

4. W
ork with a general contractor regarding weld repairs and resetting of bronze or brass letter and arrow elements per engineer specifications.

5. Have general contractor remove all paint coatings and corrosion down to bare metal with conservator oversight.

6. Contractor to prime railings with an industrial-grade primer that is compatible with both ferrous metal and zinc. Apply via roller or HVLP spray.

7. Contractor to apply epoxy tie coat to all railing surfaces via roller or HVLP spray.

8. Contractor to apply at least two (2) coats of original color topcoat to all railing surfaces via roller or HVLP spray.
a. Provide drawdown of matched color to the City for written approval before ordering.
b. After final coat has been applied, wait at least one week before opening the lot to pedestrians so that the coating can fully cure. Two (2) weeks is optimal.

9. Oversee contractor removal of embedded bronze lettering swaths that are lifting and where pavement is cracking.
a. Remove any extant concrete that is embedded between the lettering and remove any corrosion. If ferrous corrosion, consider changing mounting rails to bronze or brass for additional cost to help mitigate future damage. b. Inspect letter connections to ensure there are no broken welds or other damage. Additional damage will necessitate a change order for expansion of scope.
c. Contractor to clear out concrete at viewing area in order to re-set lettering. d. Anchor lettering to sub-structure and contractor to re-pour new concrete topping between lettering.

10. Once concrete cures, polish brass letters, disc, and arrows to an even color. The surfaces should not be waxed. If people are going to walk on the embedded bronze, wax would make them a slip hazard.

Estimated Treatment Costs: $ 25,350.00*
*Costs do not include review by structural en gineer. Costs also do not include general contractor services to strip, prime, and re-paint railings as well as cut out brass/bronze lettering and reset with new concrete topping. Costs do not include scaffolding or security fencing. Costs are for conservator oversight for a period of 4-6 weeks as well as time to polish embedded bronze/brass lettering once they have been re-installed by a general contractor.
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Estimated Special Equipment Required:

Scaffolding with protective wind screen, security fencing with privacy screen, chain, combination lock, portable generator.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Dry-brush surfaces to remove loose particulate matter and debris.

3. Rinse surfaces with filtered tap water from a low-pressure hose.

4. Wash surfaces with filtered tap water and a conservation-grade detergent using soft, natural bristle brushes.

5. Rinse with distilled water and dry bulk standing water.

6. Polish embedded brass or bronze elements so they are more uniform and brighter in color.

7. Inspect surfaces for signs of damage, cracks, abrasion, and corrosion. Notify the City accordingly.

Estimated Maintenance Costs: $ 8,975.00
Recommended Frequency of Maintenance: Every 3-5 years
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Examined By: Christina Varvi
Examined On: 5/31/2024
Artist: Betsy K. Schultz
Title: Seeds of Knowledge
Date: 2023
Materials: Glazed ceramic, mortar, grout, metal (patinated stainless steel?), limestone Dimensions: Varied
Location: Metlox Plaza, Downtown MB, west of Shade Hotel General Condition: Excellent Good X Fair Poor
Description:

The installation primarily consists of six (6) vignettes of varying size and shape. These vignettes depict fanciful scenes of nature (e.g., flowers, insects, birds, fish, constellations, etc.) with a centralized image of a child reading under a tree facing the Manhattan Beach Pier in the distance. The imagery is made of glazed ceramic tiles with many elements raised across the tile surfaces. The tiles are set within what may be patinated stainless steel trays with mortar and pigmented grout or possibly onto some type of cement backing board that is trimmed with the patinated stainless steel. The installation commemorates the endowment for the Manhattan Beach Education Foundation. Donor’s names are engraved on ovoid limestone plaques scattered among the art vignettes, secured to the wall with security screws.

The size and overall shape of the donation plaques is likely determined by the donation level.

Condition:

Overall, the installation appears to be in relatively good condition. The vignettes were pressed and do not exhibit any movement or play on the wall. Hairline cracking in the grout was observed at several of the vignettes along the outer edges between the metal and mortar.

This is not surprising given that the metal and mortar have different thermal coefficients of expansion, meaning the metal expands and contracts with temperature fluctuations more quickly than the mortar and ceramic tiles. This can result in cracking. For now, the grout appears stable. When accessible surfaces adjacent to cracks were lightly sounded, they did not sound hollow. This indicates the tiles are still secure and not delamination from their backing. In the ovoid vignette at the upper visual right corner, there are two small hairline cracks in two (2) tiles, below the pelican’s wing and to the left of the fish’s tail. Corners of two (2) additional tiles (below the fish and to the right of the fish’s h ead) are also cracked.

These tiles did not sound delaminated when tapped. No other cracked tiles were observed from ground level. Light atmospheric soiling was noted on horizontal/skyward -facing 234

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surfaces and in recesses. Insect webs were also observed in deeper recesses along lower edges.

Previous Conservation Treatments or Condition: Not available at this time.

Comments on Mounting:

The installation is mounted to a stuccoed wall. Though not confirmed, the substrate below the stucco may be concrete masonry units. The wall appears to be one or two CMU wythes wide. The method of attachment for the mural vignettes is not apparent as there is no visible hardware around any of the edges. They could either be hung on some type of cleat or Z - clip system, or maybe the outer frames were anchored into substrate and then the murals mortared into the mounted frames. The individual donor plaques app ear to be secured directly to the stucco with stainless steel security screws.

Comments on Location:

The installation is installed on an exterior wall and faces northeast. There is a multi -story hotel in front of the artwork, which may cast shade in the early morning. The installation may have direct sun for a few hours before it passes overhead to the west. The verso of this wall is exposed and over the entrance to the subterranean parking garage , which extends below the plaza in front of the installation. As such, the mural components are likely subjected to higher frequencies of vibration from the cars passing in and out of the parking garage. They may also be exposed to higher concentrations of vehicle exhaust particulates due to their proximity to the garage exit. There is a low planter directly in front of and below the installation with seating bordering the planter. No plants in the planter area encroach upon the installation. Sprinklers were not observed in the planter. Though the planter is a deterrent, people can stand on the planter seating and reach about 2/3 of the installation surfaces. There do not appear to be any signs of public interaction/vandalism. The work is not spot lit at night, but there is ambient lighting from surrounding buildings. There may be security cameras on nearby businesses as well that help deter vandalism. The shopping area is a high-traffic pedestrian area, which may also help deter vandalism.

Comments on Safety/Risk Management: None at this time.

Recommended Site Improvements: None at this time.

Access/Other Considerations Required for Treatment or Maintenance:

Ladders or baker’s scaffolding will be required to reach upper surfaces. Because it is a high pedestrian traffic area, cordon off work area with stanchions and caution tape.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

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3. Rinse surfaces with distilled water from a low-pressure hose or Hudson sprayer if a hos
e bib/quick coupler valve is not available.

4. Wash surfaces with a solution of filtered tap or distilled water and a conservation- grade detergent using soft, natural bristle brushes and microfiber cloths.

5. Rinse with distilled water and dry with microfiber cloths.

6. Sound al
l mural surfaces to ensure there are no areas of delamination.

7. Inject cracks and any areas of delamination with a conservation-grade injection m
ortar to fill cracks and stabilize. Smooth material to be flush with adjacent surfaces and allow to cure per the manufacturer’s specifications.

8. In-pai
nt cracks/fills with a conservation-grade paint system and seal with a clear, exterior grade varnish that also has inherent UV light stabilizers.

Estimated Treatment Costs: $ 7,400.00
Estimated Special Equipment Required: Ladder or baker’s scaffold Recommended Maintenance:

1. Document treatment with a written report and high-resolution digital photography.

2. Dry brush surfaces to remove loose particulate matter and insect nests/webs.

3. Rinse surfaces with distilled water from a low-pressure hose or Hudson sprayer if a hos
e bib/quick coupler valve is not available.

4. Wash surfaces with a solution of filtered tap or distilled water and a conservation- grade detergent using soft, natural bristle brushes and microfiber cloths.

5. Rinse with distilled water and dry with microfiber cloths.

6. Visually inspect and sound mural surfaces to ensure there are no new cracks, dam
age/losses, and no areas of delamination. If new damage is observed, notify the C
ity.

Estimated Maintenance Costs: $ 2,785.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Alina Skolarus
Title: Untitled - Utility Box #7
Date: 2020/2021
Materials: Vinyl wrap print
Dimensions: 33” W x 24” D x 65” H
Location: Northeast corner of Manhattan Beach Blvd & Sepulveda Blvd, along MBB General Condition: Excellent Good X Fair Poor
Description:

The artwork consists of a printed vinyl wrap mounted to a utility box that is located between the sidewalk and roadway near a very busy intersection. The printed imagery depicts a stylized beach scene that appears to be hand painted. The scene includes a lifeguard station as well as the Manhattan Beach pier. The image appears to look out towards the pier during sunset. The color palette ranges from shades of blue, two grays, two whites and creams, as well as soft warm tones to reflect the sunset.

Condition:

O
verall, the vinyl wrap appears to be in good condition. There is one scratch at the northwest corner that faces the sidewalk about three (3) feet off the ground, which is the side that receives the most public interaction. There is also sticker adhesive re sidue at the east-facing side next to the box identification code and just below this area as well. Though the intersection is very busy, there does not appear to be a lot of pedestrian foot traffic. The surfaces are moderately to heavily soiled due to the proximity to a very busy roadway and buildup of corrosive vehicle exhaust particulates. Higher accumulations are also noted on the tops of the box vents. Soiling in a drip pattern was noted throughout all faces of the box, particularly on the north and south faces. Spiderwebs were also noted at seams and in recessed areas.

Previous Conservation Treatments or Condition: None at this time Comments on Mounting:

The vinyl wrap is presumably adhered with an adhesive on the verso as well as the application of heat during installation.
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Comments on Location:

The box is located at the northeast corner of the intersection of Manhattan Beach Boulevard and Sepulveda Boulevard, along Manhattan Beach Boulevard. The box is highly accessible to vehicles as well as the public. It is in full sun throughout the day. There are no surrounding or encroaching plants or overhanging tree branches. There do not appear to be any sprinklers that overspray the artwork. There is some ambient light from nearby streetlamps. There may be security cameras on surrounding businesses to further help deter vandalism.

Comments o n Safety/Risk Management: None at this time Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance:

Because the south face of the box is within 2-3 feet of the roadway, any work done in situ would need to be performed in conjunction with traffic cones and partially closing the shoulder of the road for worker safety. Depending on City traffic codes, this may require permits and/or the use of a subcontracted traffic control company.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling. a. Rinse with distilled water and dry with microfiber cloths.

4. Remove or reduce appearance of extant accretions, particularly black transfer marks and sticker adhesive residue, with organic solvents that will not adversely impact the vinyl substrate.

5. Remove lifting areas of final wrap at areas of abrasion damage down to sound material.

6. Though the vinyl cannot be repaired in-kind in the field, we recommend applying something at the edges and areas of loss to secure the wrap so that it does not continue to peel in these areas as well as visually re-integrate the color loss. a. In paint areas of vinyl wrap loss with an exterior grade conservation paint. b. Apply conservation grade varnish over in painting that has inherent UV li
ght stabilizers.

7. Compound skyward/horizontal surface of top of box with automotive or plastic polishers to try and remove some oxidated material from the surface.

8. Encapsulate skyward/horizontal surface of box with a clear coat/varnish to slow additional degradation of the vinyl and extant color.

9. Attempt to re-adhere lifting edges of vinyl with an exterior grade adhesive that is compatible with both aluminum and vinyl substrates.
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Estimated Treatment Costs: $ 2,730.00 + traffic control/permits Estimated Special Equipment Required:

Stanchions and caution tape.

Estimated Special Equipment Required: None at this time.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling.

4. Rinse with distilled water and dry with microfiber cloths.

5. Remove extant accretions, particularly stick residue, with organic solvents that will not adversely impact the vinyl substrate.

6. Visually inspect surfaces for signs of additional damage and notify the City accordingly.

Estimated Maintenance Costs: $ 910.00 + traffic control/permits Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/9/23
Artist: Sprano + Mooney Architecture, Inc.

Title: Untitled (for J & H Mgrdichian)
Date: Client to provide information
Materials: Concrete
Dimensions: 23.5” W x 21” H x 108” L
Location: Strand and 18th St
General Condition: Excellent Good Fair X Poor
Description:

The bench is a narrow, elongated ovoid ring form made of concrete resting along one of its broad sides. It appears to have been cast in two (2) halves horizontally, then pinned/secured and patched to create a continuous form. There is likely ferrous reinforcement embedded in the concrete. The concrete is pigmented white, so the full depth of the concrete is homogenous in color. The surfaces are smooth, with bug holes visible on the surface. The rounded sides are burnished and shinier. The vertical faces have a somewhat mottled texture.

It is unknown if there is any coating present. A small, square bronze dedication plaque is embedded in the low concrete curb to the west of the bench.

Condition:

While the bench appears to be structurally sound, the surface condition of the bench is fair.

The
east-facing edge along the pedestrian walkway is very abraded and stained, likely from skateboarders. There are also black transfer marks and gouges/chips in the concrete along this surface. The top surface of the bench is moderately soiled with dirt collecting in the larger bug holes. There is also gum residue and evidence of red paint or marker on the surface. At the south end of the bench there is an additional abrasion along the curve edge of the east side and the seam between the upper and lower house is more pronounced. There is sand and other debris collecting on the horizontal surface at the interior cavity. The clear lacquer coating on the dedication plaque is failing, appearing milky and blanched in the recessed area. The raised text and border have also shifted color from gold to dark brown from weathering and oxidation. There is blue green corrosion taking hold on these surfaces.

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Comments on Mounting:

The method of attachment to the pavement is not readily apparent. Presumably it is pinned with epoxy or mortar.

Comments on Location:

The bench is located along The Strand which is a highly trafficked dedicated pedestrian walkway. The bench is highly accessible to the public and there is evidence of people using it for skateboarding along the east upper edge in addition to its purpose as a bench. It is in full sun throughout the day and is within approximately 200’-300’ of the ocean. Immediately to the west of the bench is a tiered drop off with different types of plants. There is no encroaching or over hanging plants or trees. There do not appear to be any sprinklers in the area that overspray the sculpture. There is ambient light from nearby streetlamps, but the work is not spot lit at night. There do not appear to be any security cameras in the vicinity to further help deter vandalism.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance:

Treatment of the bench will require either security fencing to protect repairs from the public while materials are curing. Otherwise, the bench will need to be deinstalled for treatment offsite.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Erect security fence with privacy screen around perimeter of the bench. Secure with chain and combination lock. Provide combination to the City.

3. Dry-brush surfaces to remove loose particulate matter and debris.

4. Rinse surfaces with filtered tap water from a low-pressure hose and wash with a masonry detergent.
a. Rinse surfaces with distilled water and dry pooling water.

5. Mitigate extant staining with organic solvents.

6. If deemed necessary, re-hone/polish concrete surfaces to help even out any extant surface staining.

7. Discuss with the City whether or not they want to pursue trying to fill in edge losses along the east edge. Because of how shallow the losses are, it is likely that the fills will fail relatively quickly. Filling multiple small losses is relatively time-consuming.

The budget below includes filling said losses. There would be some cost savings if the losses are not filled and profiled.
a. Fill losses with a conservation-grade patching material that is non-sanded and compatible with concrete substrates.
b. Profile and tone fills to blend with adjacent surfaces. 241

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8. Consider application of a vapor permeable sealant to concrete surfaces to help slow/mitigate future surface staining.

9. Bronze Plaque:
a. Strip extant lacquer with organic solvents and paint stripper. b. Mitigate extant corrosion through mechanical and chemical means, taking care not to mar original patina.
c. Clean surfaces with organic solvents to remove extant residue. d. Polish raised letters and border to expose “free” copper. e. Heat plaque with a propane torch and patinate raised letters and border to a light golden color. Once desired color is achieved, arrest patina development with distilled water.
f. Re-heat plaque surface and apply carnauba and microcrystalline paste wax formula developed by the Getty Conservation Institute for high UV, heat, and marine environments.
g. Allow wax to cool and buff.
h. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen.

Estimated Treatment Costs: $ 10,875.00
Estimated Special Equipment Required:

Security fence with privacy screen, chain, combination lock, portable generator.

Recommended Maintenance:

1. Document maintenance with a written report and high -resolution digital photography. Provide a Dropbox link to all maintenance images.

2. Cordon off work area with stanchions and caution tape.

3. Dry-brush surfaces to remove loose particulate matter.

4. Rinse surfaces with filtered water from a low-pressure hose.

5. Wash surfaces with a masonry detergent and soft, natural-bristle brushes.

6. Rinse with distilled water and remove standing water.

7. If needed, mitigate extant surface accretions with organic solvents.

8. Perform water test to see if sealant needs to be re-applied per the manufacturer’s recommendations.

9. Inspect all surfaces for signs of new damage and notify the City accordingly.

Estimated Maintenance Costs: $ 1,250.00
Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Kerry Stitt
Title: Untitled - Utility Box #2
Date: 2020/2021
Materials: Vinyl wrap print
Dimensions: 33” W x 24” D x 65” H
Location: SE Corner of Rosecrans & S Nash St (along Rosecrans) General Condition: Excellent Good X Fair Poor
Description:

The artwork consists of a printed vinyl wrap mounted to a utility box between the sidewalk and the street. The printed image depicts an aerial view of a pod of dolphins in teal blue colored water.

Condition:

Overall, the vinyl wrap appears to be in relatively good condition. There are three (3) areas where the wrap has been breached down to the metal box substrate. One (1) area is a vertical loss below the handle to the interior of the utility box. The other two (2) losses and areas of damage are on the southwest and southeast corners approximately two to three (2-3) feet above the ground. Because these corners face the sidewalk, the damage is likely due to abrasion from passersby. Otherwise, the surface is moderately soiled due to the busy ro
adway and accumulation of vehicle exhaust particulates. Heavier concentrations of soiling were noted on the top horizontal surfaces as well as below the ventilation slots at the east side of the box.

Previous Conservation Treatments or Condition: None at this time Comments on Mounting:

The vinyl wrap is presumably adhered with an adhesive on the verso as well as the application of heat during installation. It is unknown what type of surface preparation (if any) was performed on the utility box before application.

Comments on Location:

The box is located at the southwest corner of a very busy intersection. It is highly accessible to vehicle traffic, which results in higher concentrations of corrosive vehicle exhaust 243

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particulates on the surface. It is also highly accessible to the public and shows signs of damage due to public interaction. There are no encroaching or overhanging tree branches, but there are large trees immediately to the south of the installation. As such the box appears to be predominantly in shade throughout the day. There is ambient light from nearby streetlamps in the evening. There do not appear to be any security cameras in the area that may help to deter vandalism.

Comments on Safety/Risk Management: None at this time
Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance:

The north side of the box is within several inches of the roadway. To safely treat or maintain this installation, part of the right lane will need to be temporarily closed to vehicle traffic for the safety of those working on the artwork.

Treatment Priority: 3 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Rinse surfaces with filte red tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling. a. Rinse with distilled water and dry with microfiber cloths.

4. Remove or reduce appearance of any extant accretions with organic solvents that will not adversely impact the vinyl substrate.

5. Remove lifting areas of final wrap at areas of abrasion damage down to sound material.

6. Though the vinyl cannot be repaired in-kind in the field, we recommend applying something at the edges and areas of loss to secure the wrap so that it does not continue to peel in these areas as well as visually re-integrate the color loss. a. In paint areas of vinyl wrap loss with an exterior grade conservation paint system.
b. Apply conservation grade varnish over in painting that has inherent UV light stabilizers.

Estimated Treatment Costs: $ 2,730.00 + traffic control/permits Estimated Special Equipment Required: Stanchions and caution tape.

Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide a Dropbox link to all maintenance images. 244

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2. Rinse surfaces with filtered tap water from a low-pressure hose or from a Hudson Sprayer if no hose bib or quick coupler valve is nearby.

3. Wash surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling.

4. Rinse with distilled water and dry with microfiber cloths.

5. Remove extant accretions, particularly stick residue, with organic solvents that will not adversely impact the vinyl substrate.

6. Visually inspect surfaces for signs of additional damage and notify the City accordingly.

Estimated Maintenance Costs: $ 910.00 + traffic control/permits Recommended Frequency of Maintenance: Biennially
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Examined By: Christina Varvi
Examined On: 11/08/23
Artist: Craig Cree Stone
Title: Oasis of the Fossil Dunes
Date: 1995
Materials: Glazed ceramic, concrete (?)
Dimensions: Varied
Location: South and west entrances to City Hall
General Condition: Excellent Good Fair Poor X
Description:

The installation consists of various glazed ceramic fossils, human footprints, and what appears to be tools that have been mounted to a geometric cast stone wall. The wall itself has an overall undulating form, which generally resembles a sand dune. However, the vertical face of the wall has been cast in such a way that it has a regular grid pattern of vertically oriented rectangular shapes. The cast stone is a golden yellow brown color with highly visible aggregate. It is not evident how the glazed ceramic elements are affixed to the wall. The glaze on the ceramic elements is matte in sheen, meaning that it is slightly porous.

The glaze colors are red brown, brown, and gray black. Originally there were two (2) different segments of this installation along the west façade that faces Highland Ave.; one at the west entrance plaza to Cit y Hall and the other by a smaller side/emergency exit.

However, only one (1) remains.

Condition:

Overall, the installation is in poor condition due to the extensive loss of embedded decorative elements at the northernmost wall of the installation. According to City staff these elements were removed during an act of vandalism. The embedded ceramic elements all appear to be intact at the southernmost wall near the west entrance to City Hall. At this location, two (2) of the footprint ceramic elements have vertical cracks between the heel and ball of each foot that presumably correspond to settlement cracks in the wall. One of these two feet also has an area of glaze loss measuring approximately one inch (1”) square.

Because these walls are part of raised planter beds, water appears to travel through the walls to the outer face of the cast stone. There is evidence of efflorescence as well as mineral deposit accumulation on surfaces, likely from sprinkler overspray, resulting in desegregation and damage to the cast stone face. General dirt and grime as well as insect webs were noted across the extant surfaces. In images noted online there appear to be painted stingray f orms 246

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on the pavement in front of the art wall. However, it is unclear whether these are part of this installation. Those black painted forms are no longer on the concrete pavement in front of the art wall.

Previous Conservation Treatments or Condition: Not available at this time.

Comments on Mounting:

It is not clear how the glazed ceramic elements are attached to the wall. Presumably, the cast stone wall was cut out in the shape of each ceramic form. Afterwards, the forms were mortared directly to the wall. It is not clear if there are any pins connecting the ceramics to the wall.

Comments on Location:

The remaining ceramic elements are located on a generally south facing wall in front of the west entrance to City Hall. The works are highly accessible to the public, as evidenced by the damage sustained during an act of vandalism that resulted in the complete loss of elements on the northern wall of this installation. At the time of assessment, personal effects belonging to an unhoused individual were observed in the plants adjacent to the wall. The wall makes up part o f an elevated planter bed. Some of the fossil elements are obscured by overgrown plantings from the planter above and adjacent to the wall. The ceramic elements are also subjected to water from behind the wall unit due to the plants being watered as well as mineral-laden sprinkler overspray at the front-facing surfaces. The work is not spot lit at night, though there is ambient light from nearby streetlamps. There are security cameras in the area around City Hall, but this did not deter vandalism. The two locations are near a busy/high traffic roadway. As such, they are subjected to higher concentrations of corrosive vehicle exhaust particulates and vibrations from passing cars and trucks.

Comments on Safety/Risk Management: None at this time.

Recommended Site Improvements:

Switch from spray sprinklers to drip irrigation. Address any leaks in planters that are contributing to migrating salts through the support wall. Routinely trim back overhanging/encroaching plants so they do not touch artwork surfaces.

Access/Other Considerations Required for Treatment or Maintenance:

A ladder will be required for maintenances and treatments. Prior to treatment, City to trim back overgrown plantings and ensure that all sprinklers are turned off f or the duration of treatment.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

Note: For the purpose of this treatment, RLA is only considering the glazed ceramic elements as part of the artwork and not the wall into which they are set. Scope does not include re-creating elements that were lost due to vandalism. If the artist is alive and/or there is good photographic documentation about those pieces in terms of shape, size, and glaze, then it may be possible to recreate these elements for an additional cost.
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1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.

2. Dry brush surfaces and remove loose particulate matter.

3. Rinse surfaces with filtered tap water from a low-pressure hose and wash with a conservation-grade detergent.

4. Rinse surfaces with filtered water from a low-pressure hose and remove standing water.

5. Mechanically and chemically remove mineral deposits from glazed ceramic surfaces, taking care not to scratch the ceramic glaze.

6. Inject cracks with a micro-injection grout that is compatible with ceramic substrates.

7. Fill cracks and losses with a conservation-grade patching material that is compatible with ceramic substrates.

8. In-paint fills with a paint and varnish system that are rated for outdoor use to blend with adjacent surfaces in color and sheen.

9. If the glaze is matte, consider application of a sacrificial, vapor permeable water repellant or carnauba paste wax to help slow accumulation of mineral deposits on the surface if the sprinklers cannot be re-directed away from the artwork components.

Esti
mated Treatment Costs: $ 8,925.00
Estimated Special Equipment Required: None at this time Recommended Maintenance:

1. Document maintenance with a written report and high-resolution digital photography. Provide Dropbox link to all maintenance images.

2. Dry-brush surfaces to remove loose particulate matter and debris.

3. Rinse surfaces with filtered tap water from a low-pressure hose and wash with conservation-grade detergent.

4. Rinse surfaces with distilled water and dry with microfiber cloths.

5. If wax was applied, remove old wax with organic solvents and reapply new wax. If a sacrificial water repellent was applied, perform water test per the manufacturer’s specifications and re-apply as needed.

Estimated Maintenance Costs: $ 1,250.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Gary Sweeney
Title: How Soon Hath Time The Subtle Thief Of Youth Stollen On His Wing My Fortieth Year
Date: 1992
Materials: Paint, plastic, aluminum, photo transparency, light box Dimensions: Varied
Location: North wall of Jocelyn Community Center
General Condition: Excellent Good Fair X Poor
Description:

The installation is a multi-component piece that is mounted to the upper portion of the north wall at the Joslyn community Center. At the left-hand or east side of the installation is a mounted light box with an aluminum frame. There is a piece of presumably acrylic with a printed image of a young boy in a Boy Scout uniform standing in salute with a banner behind him while he is outdoors in a grassy lawn. At the time of inspection, the box was not lit from within. The bulk of the installation consists of four (4) rows of aluminum track strips. The strips are horizontally oriented and parallel to one another. Set with in these strips are what appear to be some type of opaque plastic or acrylic plates th at have been hand painted. The plates were originally most likely white, and they each have an image of a young boy in a boy scout uniform holding signal flags in the orientation of the corresponding letter that is also painted onto each individual plaque. Most of the plaques are rectangular and vertically oriented. Some of them are more square in shape. All of the letters are red. The scout figure is painted in shades of blue, brown, and mauve. The flags held in the scout’s hands are red and white as are traditional signal flags. There does not appear to be any protective coating over the individual plaques/cards. At the right-hand side of the installation is a mounted plaque with the artist’s name and the date of installation. Included on the plaque is a quote from John Milton which is also the title of the installation as well as the text spelt out with the plaques.

Condition:

O
verall, the installation appears to be in fair condition. It appears that all of the original letter plaques are intact and present. Based on the vantage point for the assessment, the plaques do not appear to be a nchored in place other than simply sliding into their designated track and then spaced so that the quote is legible. The lower track of text plaques is susceptible to 249

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theft as they are accessible to the public. Each of the plaques was likely originally white.

They have since discolored and yellowed significantly due to prolonged UV exposure and general weathering. Presumably the colors of the painted scout figure, flags, and letters have also shifted somewhat overtime with prolonged UV exposure. On some of the plaques the paint is worn and has been lost due to weathering and in some cases possibly abrasion. For the most part the spacing of the words appears intact though the spacing between “of” and “youth” is very tight compared to the rest of the spacing. There is even corrosion of the aluminum throughout all of the support tracks as well as the outer case of the light box. Pine needles from an overhanging tree are stuck between many of the panels and in the track at all levels of the installation. There are vertical watermark streaks on the face of the photo print image. Though it would need to be compared with an installation image, presumably the photo image has also faded or become discolored overtime with weathering and UV exposure. It is unknown if t he lightbox is still functional. The dedication plaque is exhibiting paint loss along the lower edge. The hardware is also corroding with corrosion product runoff standing on the face. There are also water droplet marks throughout the dedication plaque.

Previous Conservation Treatments or Condition: Not available at this time Comments on Mounting:

The dedication plaque as well as all of the aluminum track pieces appear to be mounted directly into the stucco wall with screws. It is not clear how the light box is mounted to the wall, though it is probably through anchoring hardware over which the box case sits.

Comments on Location:

The installation is located on the north-facing wall of the community center. There is a large pine tree that overhangs the installation as well as shrubs below the artwork. The shrubs appear to be trimmed back so they are not encroaching upon the work. Raised sprinkler heads were noted in the planter below the artwork, but it is not clear whether or not their spray hits the artwork itself. The work appears to be in full shade for the majority of the day.

Tt is not accessible to cars but is in relatively cl ose proximity to a fairly busy roadway. The lower level of plaques is susceptible to theft and public interaction as they are within reach.

The assessor is 5’-6” and could move the lower row of plaques on their track. The bottom edge of the lower track is 82.5” above the ground. Aside from the lightbox (which we are unsure is even operable) the installation does not appear to be spot lit at night. There is some ambient lighting from nearby street lamps. They do not appear to be any security cameras readily visible in the area of the installation.

Comments on Safety/Risk Management:

Since the plaques do not appear to be secured at the end or in any other way into their tracks, it is conceivable that those at the lowest level may be easily stolen.

Recommended Site Improvements:

If it is not possible to trim back the overhanging tree branches, consider adding a sloped shelter along the parapet above the artwork so that falling needles and other plant debris as well as rainwater will shed off and away from the installation. 250

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Access/Other Considerations Required for Treatment or Maintenance:

Ladders and/or a rolling baker’s scaffold will be required to reach the upper surfaces. If the light box is not operable a licensed electrician must be consulted.

Treatment Priority: 2 Curatorial Priority:

Treatment Recommendations:

1. Document treatment with a written report and high-resolution photography.

Provide recommendations for routine maintenance as well as a Dropbox link to all treatment images.
a. The documentation performed will include detailed high-resolution images and/or scans of each panel with measurements for the purpose of potentially having to reproduce them in the future.

2. Remove each panel, the aluminum support tracks and the lightbox from the wall for the artwork to be treated at an off-site location.
a. Please note that this proposal does not account for the de-installation and re-installation of the panels as well for the transportation of the artwork to an off-site location. The City will need to work with a qualified art handler for this scope of work.

3. Set/stabilize any areas of lifting/flaking paint with a conservation-grade adhesive prior to cleaning.
a. Per f
orm solubility testing in a discrete, localized area to ensure compatibility between the existing paint and adhesive.

4. Carefully dry-clean the components to eliminate superficial dust and debris.

5. Damp-clean the components to eliminate more engrained dirt with distilled water and conservation-grade detergents.
a. Damp-rinse all surfaces to eliminate any residual detergent and dry with microfiber cloths.
b. Please Note: General surface cleaning will not mitigate yellowing of the plastic surfaces. This is likely permanent and irreversible discoloration, as is any discoloration of the applied decorative painting.

6. Eliminate corrosion from aluminum components with conservation-grade corrosion passivating solutions for aluminum and polishes.
a. Once treated, rinse all surfaces to eliminate any residues and dry surfaces.

7. In-paint areas of color losses on the panels with appropriate paints that are compatible with plastic substrates.
a. Please note that this material may not be best suited for being exposed outdoors. Plastics are very susceptible to damage from strong/harsh solvents. Many paints that are formulated for outdoor use either contain strong/harsh solvents or require the use of them to remove the applied paint. This is not ideal from a conservation-st andpoint as we typically aim to have our treatments be re-treatable in the future, if not reversible. For this same reason, we do not recommend applying a protective varnish over the painted plaques as doing so may be harmful to the plaques long-term.

Alternatively, the original plaques can be archived and new ones printed or fabricated. Cost of re-fabrication is not included below, only cleaning and stabilization of existing plaques.
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