b. The in-painted areas may be visible within three (3) feet of their surfaces.
Materials us ed in the in-painting process may age differently than the original materials over time. This is due to variations in age, composition, chemical reactions, and environmental factors.
8. If deemed necessary, have a new translucent photo-printed image created to replace the original that appears to have faded from prolonged UV damage.
9. Before re-installation, apply two (2) coats of cold, sacrificial carnauba paste wax to aluminum track surfaces to help slow formation of corrosion in the future.
Estimated Treatment Costs: $ 19,200.00 + de-installation, transport, re-installation, & electrician 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. Dry brush surfaces to remove loose particulate matter, vegetation and insect nests/webs.
3. Damp clean surfaces with a solution of filtered tap or distilled water and a conservation grade detergent using microfiber cloths to remove atmospheric soiling.
4. Damp-rinse with distilled water and dry w ith microfiber cloths.
5. Remove extant accretions, particularly sap residue, with solvents that will not adversely impact the acrylic substrate.
6. Visually inspect surfaces for signs of additional damage and notify the City accordingly.
Estimated Maintenance Costs: $ 3,225.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/07/23
Artist: Tolkin & Assoc.
Title: Metlox Cubist Dog
Date: 2005
Materials: Concrete (reinforced), paint
Dimensions: 5’ W x 4’ H x 17’ L
Location: south end of Metlox plaza near Verve Coffee Roasters General Condition: Excellent Good Fair X Poor
Description:
The artwork is a cast concrete sculpture, likely with ferrous reinforcement, in the form of an abstract, geometric, monochrome dog painted primary red. The figure is laying down, facing south, on its stomach with head protruding forward and overhanging a low concrete basin that was originally part of a fountain. It is now used as a planter. The figure’s mouth is open with a waterspout visible at the center. Presumably, water streamed from this spout in the mouth into the basin to the south. Neither are operable. There appears to be a blue primer with multiple coats of red overpaint. There are three (3) metal bollards surrounding the figure’s tail at the north end of the installation.
Condition:
Overall, the artwork appears to be structurally sound with no major losses. There is a crack on
either side of the figure’s neck below the head at the connection to the feet. The cause of the cracking is not evident, but it may be related to either settlement or potential internal corrosion of extant fountain pipe works and/or rebar. Additional vertical cracks were noted at the figure’s nose and mouth area as well as along the body, but these appear to have been over painted. The northeast side of the figure’s leg has gouges in the concrete and abrasion due to public interaction and possible custodial activities such as carts and other vehicles. It is obvious that the work has been repainted at least one or two times since its original fabrication. When the work was re-painted, the edges of previous paint coatings were not sanded down or feathered in, so there are many areas of distinct lines between previous coatings and new coating applications. There are multiple areas of coating loss; some of them only down to the primer but others down to bare concrete. Black transfer marks, sticker adhesive residue, and other unidentifiable liquid accretions were also noted throughout the installation with higher concentrations on skyward -facing surfaces du e to the public 253
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climbing on the artwork. Mulch from the adjacent planter and garbage were observed in the shallow recess of the figure’s lower jaw.
Previous Conservation Treatments or Condition:
The artwork has been repainted multiple times, but it is not clear if this was done by internal City departments or an outside vendor. It is also not clear if paint analysis was performed to determine the correct color for repainting or if any other structural repairs have been performed below the overpainted surfaces during any of these campaigns.
Comments on Mounting:
There appears to be a one to two inch (1-2”) gap along the base of the sculpture, between it and the pavement. The method of attachment is not readily evident, but it is likely anchored to the pavement with some system of pins and epoxy or mortar.
Comments on Location:
The installation is located at the south end of Metlox Plaza, within approximately thirty feet (30’) of a relatively busy street and presumably above a below-grade multi-story parking garage. The work is not necessarily accessible to vehicles but is subjected to higher concen
trations of staining vehicle exhaust particulates and vibration, which can exacerbate cracks. The sculpture is highly accessible to the public and there is visible evidence of a high degree of public interaction, particularly by children. RLA observed several different groups of children climbing over the artwork during out assessment. The work is in full sun throughout most of the day. Red pigments are particularly sensitive to UV light, becoming discolored and/or fading. Even though the artwork slightly overhangs the planter there does not appear to be any encroaching plants at this time. It is not evident whether there is any irrigation in the planter or if the plants are watered by hand. The sculpture is within approximately 1000 feet of the ocean, so subjected to atmospheric salts/chlorides. The sculpture is not spot lit at night, but there is ample lighting from nearby businesses and streetlamps. There may be security cameras in close proximity.
Comments on Safety/Risk Management:
The City or some other entity appear to have mitigated the trip hazard posed by the artwork’s low-lying tail by including bollards that encircle this element. The piece appears to be intended as a climbing sculpture, but it is possible for someone to f all and injure themselves while doing so.
Recommended Site Improvements:
Ensure that any plants or weeds that take hold in the planter do not grow up and around the underside of the figure’s mouth.
Access/Other Considerations Required for Treatment or Maintenance:
This is a very high traffic area and to treat and or repaint this piece will require security fencing with a privacy screen to mitigate public interaction. Because of the size of the fencing, this pathway should be closed off to public traffic as it will significantly narrow the path of transit on either side. Additionally, work will require the use of solvents and ideally industrial-grade coatings that are heavily solvent-laden to impart the best longevity. The solvent smells may be bothersome to passersby and those working in nearby businesses. The 254
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use of a 20 CFM compressor and portable generator may also be disturbing because of the noise level.
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 fencing around perimeter of the artwork with privacy screen. Secure with chain and combination lock. Provide combination to the City.
3. Remove coating sample down through the primer and either perform analysis for color matching or see if City has paint codes on file for repainting.
4. Perform ASTM “pull” test to see if existing coatings can remain or if they are not well-adhered and need to be stripped.
5. Assuming the coatings do not need to be stripped to bare concrete, sand surfaces to smooth transitions between areas of loss and overpainting so there are no harsh lines.
a. Clear residue with organic solvents.
6. Route cracks and inject with a conservation-grade injection mortar to stabilize.
7. Patch cracks, small losses, and abrasions along bottom edges from impact damage with a conservation-grade patching mortar that is compatible with concrete substrates.
8. Prime surfaces with an industrial-grade primer that is compatible with concrete substrates via HVLP spray or roller.
9. Paint surfaces with an industrial grade top coat via HVLP spray or roller. a. Note: Due to the bright red color, at least three (3) coats of paint will likely be required to obtain full coverage and appropriate vibrancy.
10. Allow coating to cure for at least two (2) weeks before striking the fence so that it can cure fully before people start to climb on the artwork surfaces.
Estimated Treatment Costs: $ 24,375.00
Estimated Special Equipment Required:
Security fence with privacy screen, chain, combination lock, compressor, portable generator 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 conservati
on-grade detergent.
4. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.
5. Apply carnauba paste wax the plaque then buff with horsehair bristle brush when dry.
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E
stimated Maintenance Costs: $ 1,250.00
Recommended Frequency of Maintenance: Annually
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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/07/23
Artist: Paul Tzanetopoulos
Title: Cultural Wave
Date: 1997
Materials: Concrete, mortar, bronze
Dimensions: Varied
Location: either side of Manhattan Beach Pier, sand level General Condition: Excellent Good Fair Poor X
North side of the Pier South side of the Pier
Description:
The artwork consists of multiple segments of two-inch square (2” sq.) pigmented cement tiles of two (2) slightly different thicknesses set onto presumably concrete or reinforced concrete substrates with mortar. There does not appear to be grout in between the individual artwork tiles. The differentiation in tile depth creates texture and shadow per the artists intent. The two colors used throughout the installation are gray brown and golden tan. The patterns are the same on either side of the Manhattan Beach Pier and include geometric, abstract representations of what are presumed to be waves (lower design) and possibly clouds (upper design). A bronze dedication plaque is mounted into one wall segment along both the north and south side of the installation.
Condition:
Overall, the installation is in fair to poor condition depending on the location along the mural segment lengths. Structural deficiencies in the substrate have translated through to the cement tiles resulting in cracks through tiles as well as tiles being dislodged and loose or missing from the surface entirely. Many losses of whole tiles occur along expansion joints that have no means of allowing for movement in the joint behind the tiles or along bottom edges
that are vulnerable and can be pried off. Localized areas of individual tile losses were also noted. At the north side of the pier, there are approximately 114 missing tiles. At the south side of the pier, there are approximately 129 missing tiles. There are many tiles that have been abraded, resulting in transfer staining, corrosion staining, as well as material loss and discoloration. There is also varying degrees of damage and surface loss due to salt damage. Most salt damage appears to be occurring along the north segments of the installation on vertical walls. The source of the salts could be from the air as the installation 257
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is within two hundred feet (200’) of the ocean. They can also be coming from the concrete itself. Along top edges where white accretions are emanating from the concrete and running down concrete faces, the cement tiles below are pitted and eroded, indicating migrating salt damage. There are localized areas as well as larger swaths of graffiti ghosting with more graffiti tagging occurring on the southern side of the installation. In addition to surface loss and disaggregation due to salt damage, there is also moderate to heavy accumulation of mineral deposits throughout the artwork surface as well as ferrous corrosion runoff staining from railings embedded in the concrete above the artwork sections. Mineral deposit build- up is heaviest along the north side below public showers that are mounted into the wall. The deposits have formed a thick crust over the paver surfaces. In some areas, this has resulted in the smooth skin of the tile cleaving off completely, living the textured interior exposed. At the south sloping side, there is a large crack in the substrate, adjacent to the stairwell and over the curved corner, which has resulted in delamination.
P
revious Conservation Treatments or Condition:
It appears there have been one or more campaigns of individual tile replacement throughout the installation as well as attempts at graffiti removal. Replacement tiles differ in color than the originals.
Comments on Mounting:
The tiles have likely been mounted onto their respective surfaces with standard setting mortar. The substrates all appear to be concrete, likely with ferrous reinforcement.
Comments on Location:
All of the mural segments are immediately above the sand and are within approximately 200 feet of the ocean. Some mural sections have protruding showerheads which routinely wet the artwork surfaces. Other sections have small drain pipes emanating from the surface or immediately below. All segments of the work are highly accessible to the public and there is extensive evidence of frequent public interaction. The work is predominantly in sun throughout the day as well as is in the marine environments and exposed to high levels of ambient salts/chlorides and moisture. There is also evidence of insect nesting behind delaminated tiles. The work is not spot lit at night to deter vandalism. There is some light from nearby streetlamps, but the mural surfaces are below the level of t he lighting. There do not appear to be any security cameras in the area to further deter vandalism. There are no encroaching or overhanging tree branches or other plantings.
Comments on Safety/Risk Management:
Some of the cement tiles are loose or have completely detached and could fall and strike someone.
Recommended Site Improvements:
Remove showerheads from artwork surfaces as this appears to be a cause of severe erosion and mineral deposit accumulation on the artwork. If possible, attempt to address drainage issues along the top walkways that may be contributing to additional mineral deposit buildup and salt damage on the artwork walls below. Address sources of corrosion runoff staining, mainly corroding railings along upper walkways.
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Access/Other Considerations Required for Treatment or Maintenance:
Ladders and baker’s scaffolding. Depending on City and OSHA regulations, people may need to tie off to the railing above to work on the sloped surfaces.
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. Working in manageable sections, dry brush surfaces to remove loose particulate matter and insect nests/webs.
3. Sound all mural surfaces to ensure there are no areas of delamination.
4. Remove loose tiles and clear extant mortar from backs of tiles (if they are salvageable) and the substrate. Remove damaged tiles where more than 10% of the tile surface is damaged, either due to abrasion, mineral deposit build-up, or disaggregation from migrating salts.
5. Rinse surfaces with distilled water from a pressure washer.
6. Wash surfaces with a solution of filtered tap from a pressure washer (no more than 400 psi) and a masonry detergent to mitigate more embedded dirt and grime.
7. Utilize acidic cleaners to furt her mitigate build-up of mineral deposits.
8. Rinse with filtered tap water using a pressure washer (no more than 400 psi), ensuring runoff water is pH neutral before moving on to additional steps.
9. Mitigate extant graffiti tagging and corrosion runoff staining with proprietary cleaners and/or poultices to further reduce appearance of stains.
10. Fill cracks/voids in substrate with cement and/or conservation-grade micro- injection grout, depending on the size of the void.
11. Source and set new pavers with mortar. Pavers to generally blend in color with original pavers.
12. If deemed necessary and appropriate, tint extant/original pavers with a potassium silicate wash to re-saturate surfaces that may have become discolored over time with salts, mineral deposits, UV exposure, and general weathering.
13. Apply vapor permeable anti-graffiti coating over all surfaces.
14. Bronze Plaques:
a. Mitigate corrosion through mechanical and chemical means, taking care not to mar original patina.
b. Polish raised letters and border to expose “free” copper. c. 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.
d. 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.
e. Allow wax to cool and buff.
f. Apply two (2) cold, sacrificial coats of carnauba-based paste wax. i. After each coat, allow wax to dry and buff to appropriate sheen. 259
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Estimated Treatment Costs: $ 83,800.00
Estimated Special Equipment Required: Pressure washer with adjustable pressure 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, vegetation and insect nests/webs.
3. Rinse surfaces with a pressure washer (below 400 psi) and clean surfaces with a conservation-grade masonry cleaner.
4. Rinse surfaces with a pressure washer (below 400 psi) and remove standing water.
5. Test anti-graffiti coating and re-apply as needed per the manufacturer’s specifications.
6. Visually inspect surfaces for signs of additional damage and sound all surfaces to detect any areas of delamination. Notify the City accordingly.
Estimated Maintenance Costs: $ 23,250.00
Recommended Frequency of Maintenance: As needed
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Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/07/23
Artist: Paul Tzanetopoulos
Title: Permanent Wave
Date: 1997
Materials: Porcelain tile, mortar, grout, bronze
Dimensions: Client to provide information
Location: West-facing wall of restrooms, north of Manhattan Beach Pier, next to north parking lot
General Condition: Excellent Good X Fair Poor
Description:
The artwork is a rectangular mural comprised of one inch (1”) porcelain tiles set with mortar and grouted. The lower third of the composition consists of five (5) courses of two-toned Greek key patterns. The upper third of the installation is an abstract image of crashing waves. showerheads at two (2) different heights and activation buttons are located across the face of the mosaic with a water collection drain approximately six inches (6”) from the artwork face. A light is mounted at the upper center of the mural face. A bronze dedication plaque is mounted to the visual right of the mural on an adjacent painted CMU wall.
Condition:
Overall, the mosaic appears to be in good condition with no obvious signs of delamination or structural damage. The mural was n ot sounded to determine if there are any areas of delamination. It was only visually inspected. Two (2) tiles exhibit hairline cracks through the whole tile. Four (4) tiles exhibit a small spall, likely due to impact damage. Multiple tiles in the top course of Greek key decoration have incised graffiti in the darker blue tiles. Most tiles from the upper showerheads down to the floor exhibit some degree of white mineral deposit accretions. Additional unknown black and white accretions are noted at the lower third of the mosaic. White over paint from adjacent concrete block repainting campaigns was observed on either side along the border of the mosaic.
Previous Conservation Treatments or Condition: Not available at this time Comments on Mounting:
Though not readily apparent the work is likely mounted to a reinforced concrete or cinderblock substrate with thin set mortar and then grouted with gray sanded grout. There 261
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does not appear to be a border frame indicating that the work was composed offsite and then installed.
Comments on Location:
The mural is mounted on a west-facing exterior wall and is less than 200 feet from the ocean, so is exposed to ambient salts/chlorides. There is a high degree of public interaction with the mural as it is meant to be used as a rinsing station. Part of the restroom roof overhangs the mural and provides shade to the upper two feet (2’) of the mural for most of the day.
Otherwise, there are no other overhanging plants or elements or encroaching features. Even though there are water pipes running in the wall behind the mosaic and water runs down the face and in the drain below there is no clear evidence of any past or current damage due to water infiltration. As noted above, mineral deposits are taking hold on the tile surfaces due to the showers mounted throughout the wall. There is a light centered at the top of the mural, so it is presumably lit at night. There is also some ambient light fr om nearby streetlamps. There do not appear to be any video surveillance cameras in the area.
Comments on Safety/Risk Management: None at this time
Recommended Site Improvements: None at this time
Access/Other Considerations Required for Treatment or Maintenance:
A six foot (6’) A-frame ladder will be required to reach the upper surfaces of the mural. The area will need to be closed off with stanchions and caution tape for the duration of treatment and future maintenances.
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 water from a low-pressure hose and clean with proprietary masonry cleaners.
a. Rinse with distilled water and dry with microfiber cloths.
3. Mitigate extant paint, mineral deposits, and other accretions with organic solvents and acidic cleaners. Neutralize surface after spot cleaning.
4. Sound surfaces to identify any areas of potential delamination. If observed, notify the City and provide an updated proposal with expanded scope of work and associated costs.
5. Replace cracked and spalled tiles in-ki nd and grout to blend with adjacent surfaces.
6. Attempt to tone back incised graffiti with potassium silicate paints/wash. a. Note: Unless the tiles with incised/scratched graffiti are completely removed, the incised markings will always be visible. In-painting or toning may help make the marks less visible, but they will always be noticeable up close. Polishing/abrading tiles to even out lines may not be possible with porcelain and may result in a brighter looking tile than adjacent surfaces. 262
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7. Seal surfaces with a vapor-permeable water repellant to try and slow the accumulation of mineral deposits throughout the tile and grout surfaces.
Estimated Treatment Costs: $ 9,000.00
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. Rinse surfaces with filtered water from a low-pressure hose and clean with proprietary masonry cleaners.
a. Rinse with distilled water and dry with microfiber cloths.
3. Sound surfaces to identify any areas of potential delamination and perform visual inspection of mural once clean. If delamination and/or new damage is observed, notify the City and provide a proposal for treatment and associated costs.
Estimated Maintenance Costs: $ 2,200.00
Recommended Frequency of Maintenance: Every 2-3 years
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Examined By: Christina Varvi
Examined On: 11/08/23
Artist: Unknown
Title: Geometric Fountains
Date: Client to provide information
Materials: Concrete, paint, fountain works
Dimensions: Client to provide information
Location: 2 separate locations at City Hall Plaza, more toward NW quadrant General Condition: Excellent Good Fair X Poor
Description:
The installation consists of two (2) separate raised basins that were originally installed as fountains. One is circular in shape and is located at the northeast entrance to City Hall. The second is shaped in a zigzag pattern and is located more centrally in the Civic Center complex. Each basin is fabricated of concrete, likely with ferrous reinforcement. They are currently painted black with a matte sheen. It is unknown if this was always the intended color for the basin walls. There are metal drainage grills around the outer border of each basin set directly into the ground. Presumably the water flowed over the edges of each basin and directly into the grills. At some point the basins were discontinued as fountains and turned into raised planter beds. It is not known if all fountain works were removed an d other modifications made to turn the fountains into planters or if they have simply been “mothballed” and can be turned back into operable fountains at a later date.
Condition:
Circular Fountain:
Overall, the circular basin appears to be structurally sound. The surface condition is fair. The horizontal surface of the basin and outer edge are moderately abraded, resulting in loss of the black paint coating and exposing a much lighter tan surface below. Throughout the vertical surfaces, there are numerous areas where the black coating appears blanched and/or hazy. There is moderate to heavy soiling throughout this surface as well as vertical drip marks, possibly from sprinklers located within the basin. Insect webs were observed on the surface and there is plant debris collecting around the bottom edge. The basin extends below the encircling metal grates. The surfaces below the grates were not visible or accessible. The grates also appear to have been painted/coated black and are exhibiting extensive coating loss throughout the top/horizontal surfaces.
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Zigzag Fountain:
The zigzag basin appears to be in better condition than the circular one and has likely been repainted more recently. This element also appears to be structurally sound. A localized area of abrasion and coating loss was noted at the east end of the feature. The surfaces exhibit light to moderate soiling with prominent vertical drip marks visible throughout all sides of the basin. Abrasion/scratch marks are also visible along the top/horizontal edge of the basin as well as unknown white/light gray accretions. Plant debris is collecting among the grates and along the basin edge. The black coating on the grates is also becoming worn due to abrasion.
Previous Conservation Treatments or Condition:
At some point in time the fountains were drained and turned into planters. It is unknown what modifications were made to facilitate this change in use. It is also unknown if the basin walls were always meant to be painted black or if this was altered when they were turned into basins.
Comments on Mounting:
Presumably the raised basin walls are secured to the surrounding pavement and/or a below- grade footing with ferrous rebar as these were likely cast in place.
Comments on Location:
The
circular fountain is located near an exit to City Hall. It is likely in sun in the morning and predominantly in shade in the afternoon as the building blocks the sunlight. The basin is not accessible to vehicles but is highly accessible to the public as well as any custodial or facilities activity in the area as there is no barrier between the basin walls and the public or equipment. Aside from the plants within the basin that are growing over the edges of the basin, there are no other overhanging or encroaching plants. The zigzag shaped basin is also highly accessible to the public but may be more out of the way in terms of foot traffic than the circular basin. Regardless, it is still susceptible to facilities and custodial practices and is predominantly in full sun throughout the day. Neither fountain is spot-lit, but there is ambient lighting from nearby streetlamps. There are security cameras in the area on many of the public buildings. Both works are located above a subterranean parking garage, so are likely subjected to constant vibration from the movement of cars below. The works are also located less than 1000’ from the ocean, exposing t hem to corrosive ambient salts/chlorides.
Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:
Trim back plants in planters from overhanging the sides of the basins.
Access/Other Considerations Required for Treatment or Maintenance:
Cordon off work area with stanchions and caution tape during treatment.
Treatment Priority: 3 Curatorial Priority:
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Treatment Recommendations:
Please Note: The following are recommendations to address the elevated basins only. Making the fountains operable again will require assessment by a fountain works specialist/plumber and possibly an electrician if there was lighting involved as well.
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. Perform archival research to determine original color intent for outer basins.
3. If basins were originally painted black, strip existing coating to sound material and re-coat using a potassium silicate paint that chemically bonds to the silica in the concrete.
a. These coatings are more color-fast, are matte, and are anti-microbial.
4. If the basins were originally unpainted, strip existing paint down to original substrate.
a. If there is residual staining from graffiti, mineral deposits, etc., attempt to remove/mitigate extant staining.
b. If staining cannot be fully mitigated, coat basins with potassium silicate paint in color that matches original concrete substrate color (presumably tan or light gray).
Estimated Treatment Costs: $ 21,400.00 + electrical & plumbi ng 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 maintenance images.
2. Dry-brush surfaces to remove loose particulate matter.
3. Rinse surfaces with filtered water from a low-pressure hose and wash with a conservation-grade detergent.
a. Rinse with distilled water and remove bulk standing water.
4. Attempt to mitigate any surface accretions that were not removed with general surface cleaning.
5. Inspect all surfaces for signs of new damage and notify the City accordingly.
Estimated Maintenance Costs: $ 2,225.00
Recommended Frequency of Maintenance: Every 3-5 years
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Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Unknown
Title: Untitled - Marine Park Memorial Fountain
Date: Unknown - sometime after 2009
Materials: Concrete, paint, stone, mortar, lighting, fountain works Dimensions:
Front Basin Wall: 7.5” D x 23.5” H (at high tea point)
Back Basin Wall: 16” D x 30” H (at highest point)
Overall Outer Diameter: 134”
Location: Marine Ave Park - north/northeast of Rocket Ship Hall General Condition: Excellent Good Fair X Poor
Description:
The fountain is generally circular in shape with the outer basin visually and physically separated into two (2) sections that connect at the midpoints. The back half of the outer basin is set into a low sloping hill and is comprised of pigmented concrete with recessed lettering that has been painted black. The concrete is pinkish brown in color. The other half of the outer basin at the front is level with the surrounding pavement and consists of concrete.
However, the entirety of this portion of the basin has been painted in addition to the recessed letters. It is not clear if the lower portion of the basin was originally intended to be painted.
However, at an area of coating loss the exposed concrete appears to be the same color as the upper basin. As such we believe that the concrete that makes up both halves of the basin is pigmented throughout its entirety and is likely homogenous. There is a definitive seam and approximately an eighth of an inch (1/8”) to a quarter of an inch (1/4”) gap between these two (2) concretes sections. There does not appear to be sealant in the joint, so it is not evidence where and how the basin held water. Both halves of the basin likely have ferrous rebar reinforcement throughout their forms.
In accordance with a City-wide initiative, the fountain has been turned off permanently. It is not evident from its current state where and how the water used to flow throughout the fountain. Throughout the center of the basin there are medium to large, rounded river stones that have been mortared in place. There are three (3) embedded up lights near the front of the basin. There are two (2) large stones with engraved text towards the center of the basin. 267
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Condition:
The overall condition of the fountain is fair. There is evidence of previous repairs and patching along the top edge of the front lower basin wall. There is also evidence of extensive abrasion, transfer marks, and paint loss along this edge presumably due to people skateboarding along the top of the edge. Additional abrasion and transfer marks are visible at the lower sloping edge of this element. Bollards and chains have been placed in front of the fountain to deter skateboarding. The back basin wall along the slope exhibits light to moderate accumulations of efflorescence and mineral deposits. There is also staining from bird droppings, soiling runoff, and some unknown dark stain at the east side that has saturated the surface. Within the basin there are many river stones that have been dislodged from the mortar into which they were set, and it appears that many of those stones were also completely removed from the site. There is also moderate accumulation of plant debris in the basin from an overhanging tree. Since the color of the concrete at the low front wall below the paint appears to be the s ame as the back wall, we assume that this element was not originally painted. Presumably it has been over painted due to extensive abrasion and staining from skateboard transfer marks as well as possibly applied graffiti/graffiti ghosting.
Previous Conservation Treatments or Condition:
At some point, sections of the front lower basin wall have been patched and repaired with a cementitious material. However, the patch material is much coarser in texture than the original casting and does not sit flush with the adjacent surfaces at all edges. The lower basin has also been overpainted when it was most likely supposed to be exposed pigmented concrete. It is unclear if these interventions occurred at the same time or over the course of several years.
Comments on Mounting:
The method of mounting for either side of the basin is not visible. However, there are likely below grade footings to which the concrete walls are attached. The walls were likely cast in place and are secured with rebar that tie the walls to their footings.
Comments on Location:
The fountain is located within a park in an area that is between a building, basketball courts, and
a baseball diamond. The front part of the fountain basin extends into the concrete plaza.
The back half is set into a low sloping planter area. The fountain is highly accessible to the public. It is not accessible by vehicles. There are shrubs along the back wall that are encroaching upon the piece, but they do appear to be trimmed periodically. There is a large tree that overhangs most of the fountain. Four (4) raised sprinkler heads were also noted along the backside of the fountain and the surrounding ground was wet at the time of inspection. The work appears to be predominantly in full sun for most of the day. It may be in shade in the afternoon depending on where the sun falls behind nearby buildings and trees. Four (4) bollards with connecting chains have been added in front of the fountain to deter skateboarders. It is not clear if the up lighting in the basin is still operable. However, there is additional ambient lighting from nearby streetlamps to help deter vandalism. It is not evident whether there are security cameras in the area.
Comments on Safety/Risk Management: None at this time
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Recommended Site Improvements:
Cut back overhanging tree branches that could fall and damage the concrete. Redirect sprinkler heads so that they do not hit the fountain. Drip irrigation or hand watering in the area would be preferred.
Access/Other Considerations Required for Treatment or Maintenance:
None at this time.
Treatment Priority: 3 Curatorial Priority:
Treatment Recommendations:
Please Note: Scope of work does not include any electrical work associated with the lighting and/or fountain operability. These will need to be assessed and addressed by a certified electrician and plumber.
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. Ensure sprinklers are turned off for duration of treatment.
3. Vacuum out debris and dirt from within the fountain basin.
4. If desired by the City, strip golden yellow paint from front half of fountain basin to original substrate.
5. Rinse surfaces with filtered water from a low-pressure hose and wash with a proprietary masonry cleaner.
a. Rinse surfaces with distilled water and remove bulk/pooling water.
6. Perf or
m spot-mitigation/reduction of any extant staining due to people touching surfaces, mineral deposits, and/or graffiti ghosting.
7. Check extant river stones to see if they are stable. If not, secure with appropriate mortar or epoxy adhesive.
8. Replace missing river stones to blend with surrounding stones
9. Remove patches along edge of front concrete basin wall that are too proud of the surface and texturally incompatible.
10. Patch losses along edges with a conservation-grade patching material that is compatible with concrete substrates.
a. Tone and smooth fills to blend with adjacent surfaces.
11. Re-paint lettering with either an exterior acrylic latex paint or (if old paint coatings are stripped first) with a potassium silicate paint that chemically bonds with the silica in the concrete.
12. Apply a vapor-permeable, sacrificial anti-graffiti coating throughout the surfaces to mitigate damage from future tagging.
Estimated Treatment Costs: $ 16,950.00 + electrical & plumbing 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. 269
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2. Vacuum out debris and dirt from within the fountain basin.
3. Rinse surfaces with filtered water from a low-pressure hose and wash with a proprietary masonry cleaner.
a. Rinse surfaces with distilled water and remove bulk/pooling water.
4. Perform spot-mitigation/reduction of any extant staining due to people touching surfaces, mineral deposits, and/or graffiti ghosting.
5. Assess all surfaces to see if there is any new damage, loose or missing river stones, etc., and notify the City accordingly.
Estimated Maintenance Costs: $ 1,575.00
Recommended Frequency of Maintenance: Every 2-3 years
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Examined By: Damiana Yousef
Examined On: 11/10/23
Artist: Client to provide information
Title: Untitled – Salem Sculpture Bench
Date: 1998
Materials: Granite
Dimensions: Client to provide information
Location: Strand and 8th Street
General Condition: Excellent Good X Fair Poor
Description:
This granite bench consists of three (3) granite slabs— one serving as the bench and the other two acting as legs— with engravings on each side. On the west-facing side, the name "KAREN LOWERRE SALEM" is engraved, accompanied by sea life etchings on either side of the name.
The south side features a poem beginning with the words "looking back on the memory of the dance..." and includes a sea life design surrounding the poem. On the east end, there is another poem starting with "The ebb and flow of life..." accompanied by sea life engravings on either side of the poem. Finally, on the north side, there is the last poem that begins with "I am the light..." encapsulated with sea life etching imagery.
Condition:
The bench is generally in good condition and appears to be structurally sound. The mild steel bolts and L-brackets that are used to secure the bench in place to the pavement exhibit signs of corrosion. These should be replaced with stainless steel so that the expansive force of corrosion does not cause the granite to crack . Incised and applied graffiti tag marks are present on the surface of the bench, notably on the northeast corner and in the center-west.
Slight scuff marks, resembling scratches, are visible at different angles, though not as prominent as the incised graffiti. The white paint within the recesses of the side engravings is gradually fading and wearing away, making these features less legible/visible. The underside of the bench exhibits an accumulation of spiderwebs, dust, and debris within the joints between the bench legs and seat as well as the ground.
Previous Conservation Treatments or Condition: Not available at this time.
Comments on Mounting:
The two granite slabs that are acting as legs are anchored to the concrete via L-shaped mild steel brackets and hex bolts. It is not clear if epoxy or mortar have also been used to further secure the bench.
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Comments on Location:
The bench is 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, which is contributing to the corrosion of the mounting hardware. There are no overhanging tree branches or encroaching plants. No sprinklers were visible in the planter that could overspray the bench. The work is highly accessible to the general public as evidenced by the surface damage. The bench is in full sun throughout the day. It does not appear to be spot lit at night and no security cameras were visible in the area to help further deter vandalism.
Comments on Safety/Risk Management:
The existing mild steel brackets and bolts should be replaced with 316 marine-grade stainless steel. As the mounting hardware continues to corrode, the outward/expansive force of corrosion can cause the granite to crack. This should be performed by qualified art handlers.
Recommended Site Improvements:
Not available at this time.
Access/Other Considerations Required for Treatment or Maintenance:
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.
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. Subcontract fine art handlers to switch out mild steel for stainless steel mounti ng
har
dware.
6. Hone and polish granite bench seat to help reduce the appearance of fine scratches and i
ncised graffiti.
7. Infill letter and imagery engraving using conservation grade paints in appropriate w
hite color.
a. If possible, seal paint with UV-stable varnish to help slow wear and deterioration.
Estimated Treatment Costs: $ 5,300.00 + art handlers for hardware Estimated Special Equipment Required:
Portable generator (if there are no power outlets nearby) and machine polisher. 272
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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. Inspect all surfaces for signs of new damage and notify the City accordingly.
Estimated Maintenance Costs: $ 780.00
Recommended Frequency of Maintenance: Biennially
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A Conservation, LLC • June 2024
Examined By: Christina Varvi
Examined On: 11/10/23
Artist: Unknown
Title: Sand Dune Foot
Date: Client to provide information
Materials: Concrete
Dimensions: approximately 3’ W x 6’ L
Location: SW corner of Sand Dune Park, in a corner by the bathrooms General Condition: Excellent Good Fair X Poor
Description:
The artwork consists of an abstract form of a human right footprint (sans toes) made from what appears to be a singular casting of concrete. The sculpture is slightly rounded and mound like in form rather than a depression and there are recessed swirl and other organic line markings throughout the surface. There does not appear to be any type of applied coating or inherent pigmentation/coloring. The concrete is generally light gray in color. The piece is installed directly on the ground in sand.
Condition:
O
verall, the sculpture appears to be structurally sound. The surface condition is fair. It is not clear whether there were ever toe prints associated with this sculpture or if it was always just the heel, arch, and met portions. The artist is unknown, and no earlier images of the work co
uld be found online. If toes were part of the original installation, they do not appear to have been broken off the rest of the sculpture. They may be buried under sand or were removed/stollen. No cracks or other structural issues were noted at the time of inspection.
However, several inches of the outer edges of the sculpture are completely covered with sand, which may be obscuring damage or loss. Localized areas of surface wear and abrasion were noted throughout the sculpture, which present as lighter areas of concrete where more aggregate is exposed indicating that the topmost layer of concrete binder has either been worn or abraded away. There is light to moderate microbiological growths in the recesses of the concrete texture and in bug holes. Sand also fills all of the recessed line work throughout the sculpture. Small plants are also growing out of the sand in these recessed lines.
Previous Conservation Treatments or Condition: None at this time 274
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Comments on Mounting:
The edges of the sculpture are completely submerged under sand. As such any type of mounting hardware is not visible. Presumably the sculpture is mounted to a below grade footing with some type of pin and epoxy system. It may also be sitting directly on the ground.
However, we think that this is unlikely since there are no hairline cracks that one would expect due to settlement and shifting sand and general lack of support if there were no footing below the sculpture.
Comments on Location:
The sculpture is located at generally the southwest corner of the park, literally near a fenced in corner to the west of restrooms. At the time of inspection, the sand on and surrounding the sculpture was wet, but it had not rained earlier in the morning and no sprinkler heads were visible during the inspection. The sculpture appears to be predominantly in shade throughout the day. It is highly accessible to the public and broken bottle glass was observed on and around the sculpture. Since there is no grass surrounding the piece, it is generally protected from grounds keeping activities as ide from raking of the sand.
Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:
If there are sprinklers that over spray the artwork and the surrounding grass, these should be redirected away from the artwork or switch to drip irrigation or hand watering. Re-grade the area so that the sand/dirt does not some up so high around the edges of the sculpture.
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. Prior to treatment, the City should re-grade the area so that the overall level of the sand/soil is lowered. A conservation professional can remove material 6” around the artwork perimeter after the general re-grading to mitigate potential damage to the sculpture.
3. Remove excess sand and macro biological growths from all artwork recessed line work and around the outer edges.
4. Clean surfaces with a conservation grade detergent and a nontoxic biocide.
5. Once clean, inspect surfaces for signs of addit ional damage or underlying structural issues. Address as needed with the City via change order.
6. If deemed necessary, tone areas of discoloration from wear and weathering with tinted potassium silicate.
7. If deemed necessary and appropriate, apply a vapor permeable water repellent to all accessible concrete surfaces to help mitigate erosion, water infiltration, and formation of additional microbiological growths.
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8. Once cured, reapply nontoxic biocide and leave on surface to mitigate new growths.
Estimated Treatment Costs: $ 7,145.00 + re-grading & any hidden damage currently obscured E
stimated 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. Dry brush surfaces to remove loose particulate matter, vegetation and insect nests/webs.
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.
9. Apply nontoxic biocide and leave on surface to mitigate new growths.
10. Visually inspect surfaces for signs of additional damage and notify the City accordingly.
Estimated Maintenance Costs: $ 1,290.00
Recommended Frequency of Maintenance: Annually
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A Conservation, LLC • June 2024
Examined By: Christina Varvi & Damiana Yousef
Examined On: 11/08/23
Artist: John Van Hammersveld
Title: Corbu Frieze
Date: Original vinyl 2016/repainted 2023
Materials: acrylic latex paint
Dimensions: Client to provide information
Individual panels approximately 34 3/8” H x 69 ½” W each Location: CMB Art Center building frieze
General Condition: Excellent X Good Fair Poor
Description:
The original installation consisted of panelized sections of vinyl with adhesive backing affixed to the fascia of the Manhattan Beach Art Center. The imagery throughout the panels is a series of abstract and randomized forms in black with an off -white background. The artist’s signature is in red at the south side of the building. The building itself appears to be mid-20th century and is circular in form, including the fascia. The structure and support of the fascia is unknown, but the substrate over which the mural is applied appears to be painted stucco with a sanded texture finish.
Condition:
Overall, the mural appears to be in excellent condition. RLA conservators noted extensive cobwebs along the roof flashing that partially overhangs the mural. Bird droppings were also observed in localized areas throughout the mural surfaces.
Previous Conservation Treatments or Condition:
According to the City, the artist designed the original artwork in Adobe® Illustrator and sent the vector images to be printed on vinyl. The work was installed in 2016 by Spin Imaging.
During the installation, they utilized a heat gun and brayer in an attempt to gain better adhesion between the vinyl panels and stucco substrate. Due to failure of the vinyl and its adhesive, the panels were removed in 2023 and re-created by RLA using printed stencils of the vector images and Sherwin-Williams® Emeral Exterior acrylic latex paints.
Comments on Mounting:
The mural has been painted onto the stuccoed fascia. The structure and support of the fascia is unknown, but the substrate over which the mural is applied appears to be painted stucco 277
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with a sanded texture finish. Prior to painting, extant adhesive was removed with organic solvents and the surfaces cleaned with a pressure washer. Once dry, a self-priming exterior acrylic latex paint was used to re-create the artwork imagery.
Comments on Location:
The mural is located along the exterior frieze of the Manhattan Beach Arts Center. The mural is elevated approximately 13’ above ground level (depending on the side of the building) and is thus largely protected from sprinkler overspray. The south side of the building receives full sun throughout the day. The north side is predominantly in shade, as are the east and west sides where there are nearby trees that overhang or allow filtered sunlight through their branches. Some branches are very close to or are touching the surface of the mural. There is what we believe to be aluminum trim along the roof edge that appears to create somewhat of a drip edge for water runoff. The ground around about 2/3 of the building is relatively flat.
However, the landscape slopes down and away from the building between the north and east sides and a fairly step grade. The work is not easily accessible to the public. The Arts Center is sandwiched between a parking lot for the Center and a busy four (4) lane roadway.
As such, the north and sout h surfaces are subjected to higher concentrations of vehicle exhaust particulates, which appear black or dark gray on surfaces where they accumulate.
Comments on Safety/Risk Management: None at this time
Recommended Site Improvements:
Cut back any encroaching tree branches or palm fronts that may come into contact with the mural surfaces.
Access/Other Considerations Required for Treatment or Maintenance:
If treatment is required in the future, a double-stacked rolling baker’s scaffold can be used for the majority of surfaces. For the area by the steep sloping hill, an articulating boom lift will be required. Cordon off the work area with stanchions and caution tape as the public frequents the Arts Center during open hours.
Treatment Priority: N/A Curatorial Priority:
Treatment Recommendations:
The mural was re-created in paint in mid-July through early August 2023. No treatment is warranted at this time.
Estimated Treatment Costs: N/A
Estimated Special Equipment Required:
Double-stacked (12’ H) rolling baker’s scaffold, stanchions, caution tape, articulating boom lift, plywood
Recommended Maintenance:
1. Document maintenance with a written report and high-resolution digital photography. Provide Dropbox link to maintenance images. 278
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2. Using A- frame ladders and extension poles, dry-brush surfaces to remove loose particulate matter, insect webs, and nests.
3. Rinse surfaces with filtered tap water from a low-pressure hose.
4. Wash surfaces with filtered tap water and a conservation-grade detergent.
5. Rinse surfaces with distilled water and remove bulk standing water.
Estimated Maintenance Costs: $ 7,200.00
Recommended Frequency of Maintenance: Every 3-5 years
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A Conservation, LLC • June 2024
Examined By: Damiana Yousef
Examined On: 11/08/23
Artist: Lee Whitten
Title: Untitled (for Jack)
Date: 1975
Materials: Ceramic Tile Mural
Dimensions: Width approximately 170” in sq
Location: Manhattan Beach Civic Center Parking Lot Entrance General Condition: Excellent Good X Fair Poor
Description:
The mural is composed of glazed ceramic tiles that exhibit varying dimensions, ranging from nine (9) to twelve and a half (12.5) inches in width and height. Each tile is approximately half an inch thick with undulating and textured surfaces, contributing to the overall depth and dimensionality of the piece. The tiles are set snugly together without grouted joints, forming an abstract representation resembling waves and/or mountains. Notably, each tile boasts a unique texture and format, introducing a diverse wave-like quality across the entire artwork. The tiles encompass approximately six (6) different types of finishes and textures, each featuring a distinct color. A tile with the artist’s signature is located at the bottom visual right of the mural.
Condition:
Due to the height of this installation, additional conditions were unable to be observed or det
ermined due to inaccessibility. The work was observed from ground level with binoculars. The mural was not sounded to determine if there are any areas of delamination The overall condition of the artwork appears stable, with no observable loose pieces or losses. Cracks are evident in some of the tiles, and past repairs are visible on tiles where fills have been in-painted and the paint color has shifted with prolonged UV exposure and weathering. Efflorescence and/or mineral deposits are notably present, particularly on tiles that appear to have a matte finish rather than a high gloss finish. This condition is more prevalent in the top third of the piece. These accumulations indicate that water is moving through the system and exiting through the joints between tiles. The mural should be fully sounded, and the source of water/moisture discovered to mitigate damage due to delamination, cracks, and additional deposits that can etch glazes. The wall to which the mural is mounted is part of a large planter that contains trees, which is likely the culprit. 280
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There is a circular plastic reflector adhered to the face of the mural at the lower visual right corner. This reflective element likely serves as a navigational aid during nighttime, catching light flashes and enhancing visibility. Throughout the mural, there is an accumulation of dust and bird droppings.
Previous Conservation Treatments or Condition:
The mural was relocated from another site, treated, and re-installed at this location in 2013.
Unless a work is mounted to panelized boards that can be easily removed, it is difficult to remove tile murals from their substrates without any breakage. There is evidence throughout the mural of tiles that were likely broken during de-installation, re-adhered, losses filled, and those losses in-painted to blend with adjacent surfaces. A decade later, the paint colors have shifted as they are not light-stable like fired glazes.
Comments on Mounting:
The exact mounting method is not readily evident. There is a gap of about ¼ to ½ inch on the side between the verso of the tiles and the painted stucco/concrete wall. The tiles are likely either mortared to cement board that has been anchored to t he wall or they have been mortared directly to the wall.
Comments on Location:
The mural is mounted on an exterior wall at the civic center complex. The wall faces west southwest and is adjacent to the entrance to a subterranean parking garage. The wall also makes up one side of a large planter that contains several trees and low plantings. The trees do not overhang the mural, but there appears to be water leaching from the planter that is adversely impacting the mural. Because of its proximity to a parking garage, the mural is subjected to higher concentrations of dark vehicle exhaust particulates that appear black or dark gray when they accumulate on surfaces. It is also subjected to higher amounts of vibration from the constant passing cars, which can promote delamination and cracking.
The lower surfaces of the mural are highly accessible to the public. The work appears to be in shade in the morning hours and full sun in the afternoon. It is not spot lit at night and there are no apparent surveillance cameras in the area to deter vandalism.
Comments on Safety/Risk Management:
Because of the ongoing vibration and evi dence of water emanating from the wall behind the mural, the artwork should be sounded to ensure none of the tiles are delaminating. The source of the water leaks should be tracked down and mitigated.
Recommended Site Improvements: None at this time.
Access/Other Considerations Required for Treatment or Maintenance:
To access the upper portions of the piece a scissor lift or double-stacked rolling baker’s scaffold tower is required. Because the mural is within 2-3 feet of the roadway, any work done in situ would need to be performed in conjunction with traffic cones and closing this entrance lane for worker safety. Depending on City traffic codes, this may require permits and/or the use of a subcontracted traffic control company. 281
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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.
1. Close entrance lane to parking garage during work hours and re-direct traffic with signage provided by the City. Utilize scissor lift and/or double-stacked rolling baker’s scaffold to access all surfaces.
2. Dry-brush surfaces to remove loose particulate matter and surface soiling.
3. Rinse surfaces with distilled water and wash with a solution of distilled water and a conservation-grade detergent using soft, natural-bristle brushes and microfibers.
4. Rinse with distilled water to remove detergent residue and dry with microfibers.
2. Remove extant accretions and discolored in-painting from 2013 with solvents.
3. Mitigate mineral deposit accretions on tile surfaces with proprietary cleaners and mechanical removal.
4. Sound all surfaces of the mural to ensure there are no areas of delamination. a. If delamination is noted, provide updated scope of work and associated costs to the City to inject and stabilize delaminating tiles.
5. In-paint 2013 fills w
ith a conservation-grade paint system rated for outdoor use to blend with adjacent surfaces. Apply protective varnish with inherent UV light stabilizers to areas of in-painting.
6. Apply carnauba paste wax over the plaque. Buff with horsehair brush when dry.
Estimated Treatment Costs: $ 13,600.00 + traffic control/permits Estimated Special Equipment Required:
Scissor lift and/or double-stacked rolling baker’s scaffold, stanchions, 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. Utilize a scissor lift or double-stacked rolling baker’s scaffold to access all surfaces.
3. Dry-brush surfaces to remove loose particulate matter and surface soiling.
4. Rinse surfaces with distilled water and wash with a solution of distilled water and a conservation-grade detergent using soft, natural-bristle brushes and microfiber cloths.
5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.
6. Sound all surfaces of the mural to ensure there are no areas of delamination.
Visually inspect surfaces and notify City of any delamination or other damage.
7. Apply carnauba paste wax over the plaque, t hen buff with horsehair bristle brushes once the wax dries.
Estimated Maintenance Costs: $ 2,700.00 + traffic control/permits Recommended Frequency of Maintenance: Every 3-5 years
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Examined By: Damiana Yousef
Examined On: 11/10/23
Artist/Designers: Scott Yanofsky, Steve Oliker, Mark Brush - Studio 9 One 2 Title: 9-11-01 Memorial
Date: 2007
Materials: Concrete, mild steel, stainless steel, bronze, stone Dimensions: Client to provide information - Varied
Location: Corner of Fifteenth St. & Valley Dr.
General Condition: Excellent Good Fair X Poor
Description:
This installation is a m emorial in remembrance of the attack on the United States that occurred on September 11, 2001. The installation is separated into two (2) identical parallel sections, consisting of two (2) large vertical steel I-beam members from the wreckage/debris of the fallen Twin Towers mounted vertically in cast concrete cube forms filled with river stones. Perpendicular to these planters are large rectangular slabs of concrete with inset stainless steel “U” channels. The section closest to Fifteenth Street has a small description of the memorial and a painted inscription etched into the concrete stating, “We shall never forget.” The section placed right behind it is inscribed with “9-11-01”, also in etched, painted numbers. Behind these two pieces is also a concrete wa ll with two parallel openings representing the Towers and a perpendicular wood slat bench with a low wall behind the bench. The concrete is pigmented throughout the matrix in shades of cream, yellow/tan, and terra cotta. There are two (2) lacquered bronze dedication plaques mounted to the surfaces of the bench seating area. There do not appear to be any coatings on any surfaces throughout the installation.
Condition:
T
he installation was viewed from ground level with the aid of binoculars and zoom-lens cameras. Overall, the installation appears to be in fair condition. The element closer to Fifteenth Street has developed a large amount of microbiological growth along the bottom of the horizontal concrete slabs. On the horizontal stainless steel piece embedded in the concrete, there is a small amount of orange residue from corrosion, as well as dirt and debris from the surrounding plants that get trapped into the cavity of the metal piece. The caulking between the horizontal stainless steel and the concrete is failing due to biological growth in those areas. The square planter with the vertical mild steel piece is experiencing runoff corrosion from this steel artifact element. This runoff corrosion is more pr ominent on the 283
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southeast side of the planter. Inside this planter, there is also a large accumulation of dirt, debris, and spiderwebs. This accumulation is also found throughout the piece, including rocks filled with dirt, debris, and spiderwebs. The color of the engraved text has faded, shifting presumably from black to lighter gray.
The second section located directly behind the first exhibits identical issues. There is biological growth developing at the bottom of the horizontal concrete slab, as well as corrosion runoff from the embedded mild steel artifact. The sealants between the segments of concrete and metal are also experiencing biological growth. Amongst these pieces, there is some corrosion, dirt, and debris throughout the horizontal stainless steel piece. On the planter that encircles the mild steel artifact, there is runoff corrosion on the southeast and northwest sides. This planter is also experiencing an extensive number of cracks and breakage throughout the northwest and southwest rims. This is likely due to corrosion of embedded mild steel rebar that does not have sufficient coverage by the concrete combined with sprinkler overspray and prolonged dampness of the material since the area is often in sh
ade. There is a saturated stain along the face of the planter, among the recessed numbers.
The cause of this staining is not evident. The color of the engraved text has faded, shifting presumably from black to lighter gray.
The sitting area behind these two pieces exhibits biological growth at the bottom where the piece meets the ground and some type of discoloration below the two windows on the northeast side facing Valley Dr. The cause of this staining is unknown. There is also orange corrosion staining along the south face of this wall, which appears to be due to sprinkler overspray from a nearby planter area that has high iron content in the water. The lacquered bronze dedication plaques appear to be in good condition.
Previous Conservation Treatments or Condition: Not available at this time.
Comments on Mounting:
The method of mounting is not visible. Presumably, the artifacts from the debris site are mounted below-grade, either cast directly into concrete or welded to a mounting plate that is secured with anchor bolts. Concrete elements were likely cast in place and secured to the pavement with ferrous rebar.
Comments on Location:
T
his installation is adjacent to Manhattan Beach Fire Department Station 1, at the southwest corner of the busy intersection of 15th St. and Valley Drive. As such, it is subjected to higher concentrations of corrosive vehicle exhaust particulates and vibrations from passing vehicles. The installation is highly accessible to the public and includes a seating element for contemplation/reflection. There are low plantings throughout the installation with mulch ground cover. Many of the plants come into direct contact with the installation surfaces. This with absorptive mulch can trap moisture against artwork surfaces, promoting corrosion and micro biological growths. Sprinkler heads were observed throughout the planter areas and there is evidence that the installation is routinely hit with sprinkler overspray. Because the installation is mainly oriented north, it is predominantly in shade throughout the day. This combined with routine sprinkler overspray leads to moisture retention, which is why we are seeing corrosion of internal rebar and cracking, biological growth, and iron staining 284
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throughout the memorial. Additionally, the installation is approximately 1000’ from the ocean, which exposes the work to corrosive ambient salts/chlorides. The memorial does not appear to be spot lit at night, but there is ambient light from nearby streetlamps. There are security cameras in the vicinity due to the Civic Center complex to help deter vandalism.
Comments on Safety/Risk Management:
The cracked edges of the planter may dislodge imminently, possibly resulting in a jagged edge and exposed corroded steel.
Recommended Site Improvements:
The irrigation system should be switched from sprinkler to drip to mitigate overspray. Low plantings should be routinely trimmed back so they do not encroach upon installation surfaces. If there is no drainage in the planters at the bases of the mounted artifacts, this should be incorporated into the planters so help mitigate corrosion.
Access/Other Considerations Required for Treatment or Maintenance:
To access the upper portions of the installation, a ladder is required. The area will need to be cordoned off with caution tape and stanchions 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. Prior to commencing treatment, City to trim back encroaching plants and ensure sprinklers are turned off for the duration of treatment.
3. Dry-brush surfaces to remove loose particulate matter and surface soiling using extension poles and soft brushes.
4. Remove all river stones from planters to clear out debris and inspect surfaces that are currently obscured for signs of damage.
5. Rinse all surfaces with filtered water from a low-pressure hose and wash with a solution of filtered tap water and a masonry detergent for concrete elements.
Utilize a conservation-grade detergent for metal surfaces.
6. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.
7. Apply a non-toxic biocide to masonry surfaces to mitigate microbiological growths.
8. Reduce ferrous corrosion runoff staining on concrete surfaces with proprietary iron removers and poultices.
9. Treat stainless steel elements with a corrosion passivating gel. Clear residue with distilled water.
10. Polish stainless steel surfaces with proprietary metal polishing paste. Clear residue with distilled water.
11. Remove concret
e fragments along planter edge to expose corroding rebar.
12. Excavate rebar, remove corrosion, and encapsulate rebar in epoxy to seal from oxygen.
13. Re-adhere removed concrete fragments into original configuration with epoxy. 285
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14. Fill small losses along break edges with a conservation-grade patching mortar compatible with masonry substrates.
a. Profile, texture, and tone fills to blend with adjacent surfaces.
15. In-paint engraved text on planters with an exterior-grade latex acrylic paint.
16. Sand wood bench surfaces and apply a penetrating wood oil throughout to condition the wood.
17. Apply a vapor permeable masonry sealant over all concrete surfaces to help slow staining from corrosion runoff and sprinkler overspray.
18. Return river stones to planters after ensuring there is adequate drainage.
19. Apply two (2) coats of a cold, clear carnauba-based paste wax to the bronze dedication plaques.
a. After each application, allow wax to dry and buff with horsehair bristle brushes.
Estimated Treatment Costs: $ 14,225.00
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. Utilize a ladder to access the top hal f of the artwork surface.
3. Dry-brush surfaces to remove loose particulate matter and surface soiling.
4. Rinse all surfaces with filtered water from a low-pressure hose and wash with a solution of filtered tap water and a masonry detergent for concrete elements.
Utilize a conservation-grade detergent for metal surfaces.
5. Rinse with distilled water to remove detergent residue and dry with microfiber cloths.
6. Apply a non-toxic biocide to masonry surfaces to mitigate microbiological growths.
7. Test applied sealant per manufacturer’s specifications and re-apply as needed.
8. Re- apply wood conditioning oil to bench element.
9. Remove any extant wax coatings and apply two (2) coats of a cold, clear carnauba- based paste wax to the bronze dedication plaques.
a. After each application, allow wax to dry and buff with horsehair bristle brushes.
Estimated Maintenance Costs: $ 2,925.00
Recommended Frequency of Maintenance: Every 2-3 years
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