2009-27126 ResoRESOLUTION NO. 2009- 27-126
A RESOLUTION OF THE MAYOR AND CITY COMMISSION OF
THE CITY OF MIAMI BEACH, FLORIDA, APPROPRIATING
$94,818, FROM ART IN PUBLIC PLACES FUND 147; TO FUND
THE REPAIR AND RESTORATION OF THE ARTIST, CHARLES O.
PERRY SCULPTURE "UNTITLED," LOCATED AT THE SCOTT
RAKOW YOUTH CENTER.
WHEREAS, on December 18, 1973, the City Commission adopted Resolution No. 73-14230,
which adopted the Miami-Dade County Ordinance No. 73-77 requiring a minimum of 1.5% of
construction costs of public buildings be used for the purchase of public art for said buildings; and
WHEREAS, subsequently, a master file of interests and qualified artists was developed and
maintained for consideration by the City of works of art for said buildings; and
WHEREAS, the City's Committee for Art in Public Places recommended that Charles O.
Perry be selected to create a sculpture for the new Scott Rakow Youth Center (SRYC); and
WHEREAS, on April 6, 1977, the City Commission adopted Resolution No. 77-15310, which
approved a total fee of Twenty-six Thousand ($26,000), including all fabrication, casting and
installation of said sculpture; and
WHEREAS, the SRYC Renovation Project (Project) was initiated by the Mayor and City
Commission in 1994 and was part of the original $15-Million Parks Bond Issue; and
WHEREAS, the Project included renovation of the existing entry plaza, expansion of existing
parking, a new bus drop-off area, and new landscaping; and
WHEREAS, due to the renovation of the existing entry a new location was needed for the
Charles O. Perry, sculpture; and
WHEREAS, the Art in Public Places (AiPP) Committee began working with the Capital
Improvements Projects Office (CIP), the architect for the renovation of the Project, and the Artist to
relocate the work of art; and
WHEREAS, a series of meetings were held regarding the relocation and on May 28, 2009
the AiPP Committee unanimously approved the new location; and
WHEREAS, in 2008,City staff completed a review of the City's public art collection and
determined the Charles O. Perry piece was in need of maintenance; and
WHEREAS, the AiPP Committee and City staff agreed it would best to restore the piece
during the Projects renovation since the piece would have to relocated for this Project; and
WHEREAS, before moving the sculpture an evaluation report of the present structural
conditions of the sculpture was required to determine the structural integrity of the piece; and
WHEREAS, the City hired Douglas Wood & Associates, Inc. who submitted structural
engineering report on June 4, 2009; and
WHEREAS, the structural engineering report was provided to a list of conservators and after
reviewing the report three (3) conservators submitted estimates for the work; and
WHEREAS, the conservation supervision and management proposals would include paint
analysis; mapping of condition; identification of paint color/scheme; identification of materials;
documentation of the treatment plan; generation of a final report; maintenance plan; consultation
with City regarding the installation of the sculpture; and
WHEREAS, on July 7, 2009, CIP and TCD staff met to analyze the proposals and
recommended Conservation Solutions, Inc. (CSI), conservators based on documentation provided,
supporting licenses and are Fellows or Professional Associates of the American Institute for
Conservation (AIC) and will perform or direct all treatments, documentation, and research in
accordance with its "Code of Ethics" and "Guidelines for Practice;" and
WHEREAS, the City has experience working with CSI as the conservator for Monument
Island and that project was completed below the amount budgeted; and
WHEREAS, the estimated funding, not to exceed $19,595 for the conservation supervision
and management proposal received from CSI; and
WHEREAS, the estimated funding and contingency, not to exceed $75,223 for the repair of
the sculpture which may involve removal, transportation to and from SRYC, coating removal and
cleaning of sculpture, necessary repairs to damaged elements on the steel surfaces, surface
treatments of steel on exterior, surface treatments of steel on interior, storage, reinstallation, and
demobilization; this aspect of the work will be done through Job Order Contracting; and
WHEREAS, funding, not to exceed $94,818 is available from Fund 147 -Art in Public
Places, to be appropriated as part of the 2008/2009 Capital Budget; and
NOW, THEREFORE, BE IT DULY RESOLVED BY THE MAYOR AND CITY COMMISSION
OF THE CITY OF MIAMI BEACH, FLORIDA, that the Mayor and City Commission hereby
appropriate funds, in the amount of $94,818, from Art in Public Places Fund 147; to fund the repair
and restoration of the artist, Charles O. Perry sculpture "untitled," located at the Scott Rakow Youth
Center.
PASSED and ADOPTED this 15th day of July, 2009.
Matti H. ower, Mayor
ATTESTED BY:
~~~; 'J
Robert Parcher, City Clerk
APPROVED AS TO
FORM & LANGUAGE
& FOR EXECUTION
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COMMISSION ITEM SUMMARY
CnnrlansE±t1 Tifilp~
A Resolution of the Mayor and City Commission of the City of Miami Beach, Florida, appropriating
$94,818 from Art in Public Places Fund 147; to fund the repair and restoration of artist, Charles O. Perry
Sculpture "Untitled" located at the Scott Rakow Youth Center (SRYC).
Ke Intended Outcome Su orted:
Increase community rating of cultural activities.
Supporting Data (Surveys, Environmental Scan, etc.):
The 2007 Community Satisfaction Survey indicated that 60% of residents and 60% of businesses feel the
city has the right amount of cultural activities.
Issue:
Should the Cit Commission ado t the resolution?
Item Summary/Recommendation:
On Dec. 18, 1973, the City Commission adopted Resolution No. 73-14230 requiring a minimum of 1.5% of
construction costs of public buildings be used for the purchase of public art for said buildings. The City's
Committee for Art in Public Places (AiPP) recommended to the City Commission that the artist, Charles O.
Perry, be selected to create a sculpture for the SRYC. On Apr. 6, 1977, the City Commission adopted
Resolution No. 77-15310, which approved $26,000, including all fabrication, casting and installation of said
sculpture.
The SRYC Renovation Project is scheduled to begin shortly. The Project includes the renovation of the
existing entry plaza. Due to the renovation, a new location is needed for the sculpture. The AiPP
Committee began working with CIP, the project's architect and the artist to identify a location to sculpture.
A series of meetings were held regarding the relocation and on May 28, 2009 the AiPP Committee
unanimously approved a new location.
I n 2008, City staff completed a review of the City's public art collection and determined that the Charles O.
Perry sculpture was in need of restoration. The AiPP Committee and City staff agreed the sculpture should
be restored during the SRYC renovation since the piece would be relocated. The City hired Douglas Wood
& Associates to do a structural condition assessment before the sculpture was moved. The report was
provided to a list of conservators and after reviewing the report three conservators' submitted estimates for
the work. The proposals submitted for conservation and project management included: paint analysis,
mapping of condition, identification of paint color/scheme, identification of materials, documentation of the
treatment plan, generating a final report, maintenance plan, and consultation with City regarding the
reinstallation of the sculpture.
On July 7, 2009, CIP and TCD staff met to analyze the proposals and recommended Conservation
Solutions, Inc. conservators based on documentation provided and supporting licenses. The budget for
their proposal is $19,595. Additionally, it is recommended that funding not to exceed $75,223 (with
contingencies) be appropriated for repair of the sculpture, which may include removal, transportation,
coating removal and cleaning, necessary repairs to damaged elements on the steel surfaces, surface
treatments of steel on interior, reinstallation, and demobilization, to be done through our Job Order
Contractin rocess.
Advisory Board Recommendation:
The AiPP Committee unanimously passed a motion recommending restoration of the Charles O. Perry
sculpture.
Financial Information:
Source of Amount Account Approved
Funds: 147 $94,818
OBPI Total
Financial Impact Summary:
Ci Clerk's Office Le islative Trackin
Max Sklar, ext. 6116
Sign-Offs: /~
De artment Director As ' Ci Mana Ci na er
MAS HM JMG
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~ M I A I~ EA H AGENDA ITEM C7
~ DATE 7'lS-O
m MIAMI BEACH
City of Miami Beath, 1700 Convention Center Drive, Miami Beach, Florida 33139, www.miamibeachfl.gov
COMMISSION MEMORANDUM
TO: Mayor Matti Herrera Bower and Members of the City Commission
FROM: Jorge M. Gonzalez, City Manager
DATE: July 15, 2009
SUBJECT: A RESOLUTION OF THE MAYOR AND CITY COMMISSION OF THE CITY OF
MIAMI BEACH, FLORIDA, APPROPRIATING $94,818 FROM ART IN PUBLIC
PLACES FUND 147; TO FUND THE REPAIR AND RESTORATION OF THE
ARTIST, CHARLES O. PERRY SCULPTURE "UNTITLED," LOCATED AT THE
SCOTT RAKOW YOUTH CENTER.
ADMINISTRATIVE RECOMMENDATION
Adopt the Resolution.
BACKGROUND -CHARLES O. PERRY SCULPTURE "UNTITLED"
On December 18, 1973, the City Commission adopted Resolution No. 73-14230, which adopted the
Miami-Dade County Ordinance No. 73-77 requiring a minimum of 1.5% of construction costs of
public buildings be used forthe purchase of public art for said buildings. Subsequently, a masterfile
of interested and qualified artists was developed and maintained for consideration by the City of
works of art for said buildings. The City's Committee for Art in Public Buildings recommended to the
City Commission that Charles O. Perry (Artist) be selected to create a sculpture for the new Scott
Rakow Youth Center (SRYC). On April 6, 1977, the City Commission adopted Resolution No. 77-
15310, which approved a total fee of Twenty-six Thousand Dollars ($26,000.00), including all
fabrication, casting and installation of said sculpture.
The SRYC Renovation Project will commence shortly. The Project includes renovation of the
existing entry plaza, expansion of the existing parking, a new bus drop-off area, and new
landscaping. Due to renovation of the existing entry, a new location was needed for the Charles O.
Perry sculpture. The Art in Public Places (AiPP) Committee began working with the Capital
Improvement Projects Office (CIP), the architect for the renovation of the Project, and Charles O.
Perry to identify a location to relocate the work of art. A series of meeting were held regarding the
relocation and on May 28, 2009 the AiPP Committee unanimously approved the new location.
Please refer to the attached Exhibit 1 schematics for the new location.
Simultaneously, in 2008, City staff completed a review of the City's public art collection and
determined the Charles O. Perry piece was in need of maintenance. The AiPP Committee and City
staff agreed that if restoration of the artwork was to occur, it would be best to restore the piece
during the project's renovation, since the piece would have to be relocated for this project.
Before moving the sculpture, a evaluation report of the present structural conditions of the sculpture
was required to determine the structural integrity of the piece. The City hired Douglas Wood &
Associates, Inc., who submitted structural engineering report on June 4, 2009. The report, which is
attached as Exhibit 2, was provided to a list of conservators. After reviewing the report, three (3)
conservators submitted proposals for Conservation and Project Management which included: paint
Commission Memorandum -Charles O. Perry Sculpture Restoration
July 15, 2009
Page 2 of 2
analysis; mapping of condition; identification of paint color/scheme; identification of materials;
documentation of the treatment plan; generation of a final report; maintenance plan; and
consultation with City regarding the reinstallation of the sculpture. The proposals submitted were:
• Carlos Alves, Inc., $17,500;
• Conservation Solutions, Inc., $19,595;
• Miami Studio 2300, Inc., $18,800.
On July 7, 2009, CIP and TCD staff met to analyze the proposals and recommended Conservation
Solutions, Inc. (CSI); conservators based on documentation provided and supporting licenses. This
organization includes Fellows or Professional Associates of the American Institute for Conservation
(AIC) and will perform or direct all treatments, documentation, and research in accordance with its
"Code of Ethics" and "Guidelines for Practice." Additionally, the City has experience working with
CSI as the conservator for Monument Island; that project was completed below the amount
budgeted.
Furthermore, it is recommended that funding not to exceed $75,223 is appropriated for repair of the
sculpture which may involve removal; transportation to and from SRYC; coating removal and
cleaning of sculpture; necessary repairs to damaged elements on the steel surfaces; surface
treatments of steel on exterior; surface treatments of steel on interior; storage; reinstallation; and
demobilization. This aspect of the work will be done through the City's Job Order Contracting (JOC),
process.
The total amount being requested for appropriation is $94,818 to be broken down as follows:
conservation and project management, $19,595; and all repairs with contingencies $75,223.
In making this recommendation, the AiPP Committee considered whether this investment was
merited. Mr. Perry's sculptures are in the permanent collection of: The Museum of Modern Art, In
New York City, NY; Art Institute of Chicago; San Francisco Museum of Modern Art; De Young
Museum, San Francisco, CA; Smithsonian Institution, Washington, DC; and the ContemporaryArts
Society, London, Great Britain. Furthermore, Perry's sculptures are located in public places at
Harvard University, Boston, MA; Dartmouth College, Hanover, NH; University of Connecticut at
Storrs, CT; University of Tokyo, Japan; General Electric Headquarters, Fairfield, CT; IBM
Headquarters, Charlotte, NC; Melbourne, Australia and Singapore. There are also approximately
ninety major commissions throughout the world.
On July 7, 2008, the sculpture was appraised by David C. Eldridge, ASA, AAA Appraiser. Based on
the Uniform Standards of Professional Appraisal Practice (USPAP 2008-2009 Standards), the work
was valued at $90,000. However, the artist's current body of work implies a greater value for his art.
In light of recent direction from the City Commission to pursue all avenues available to preserve our
public art pieces, the AiPP recommended that the sculpture should be fully restored and the funds
appropriated accordingly. It is also important to note that certain costs of the repairs are attributed to
the temporary moving of the piece, storage, reinstallation costs and demobilization.
CONCLUSION
The Administration recommends approval of the attached Resolution, appropriating $94,818 from
Art in Public Places Fund 147; to fund the repair and restoration of the artist, Charles O. Perry
sculpture "untitled," located at the Scott Rakow Youth Center.
EXHIBIT '1
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EXHIBIT 2
EVALUATION REPORT OF THE PRESENT
"STRUCTURAL" CONDITION OF THE
EXISTING SCULPTURE, "S" (CLOSED)
BY
CHARLES O. PERRY
PREPARED BY:
DOUGLAS WOOD & ASSOCIATES, INC.
FOR: D
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299 ALHAMBRA CIRCLE, SUITE 510, CORAL GABLES, FLORIDA 33134, T: (305) 461 - 3450 F: (305) 461 - 3650
AFFIRMATIVE ACTION /EQUAL OPPORTUNITY EMPLOYER EB 6353
EVALUATION REPORT OF THE PRESENT
CONDITION OF THE "STRUCTURAL"
CONDITION OF THE EXISTING SCULPTURE
"S" (CLOSED) BY CHARLES O. PERRY AT
2900 SHERIDAN AVENUE
MIAMI BEACH, FLORIDA
June 4, 2009
INTRODUCTION
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STRtJG`!"URAL ENGINEEF2S
General
As requested by Mr. Dennis Leyva, the City's Arts & Entertainment Liaison, Douglas
Wood & Associates, Inc. conducted an evaluation of the present "structural"
condition of the existing sculpture, "S" (closed), by Charles O. Perry, located at the
Scott Rakow Youth Center at 2700 Sheridan Avenue in Miami Beach.
Purpose
The purpose of this investigation was to provide a general assessment of the
present condition of the existing "structural" aspects for this sculpture at this point in
time. This investigation also includes some recommendations for possible future
structural repairs and enhancements.
Scope
This investigation was conducted for this sculpture only. No other objects or
buildings were included in this investigation. This investigation includes only the
"structural" aspects of the existing sculpture. In general, these "structural" aspects
consist of the following:
- Steel shells,
- Internal stiffeners,
- Section connections, and
- Primary anchorages.
Methodolos~v and Limitations
This investigation was conducted by visual observations. After removal of one
section of steel shell plate, it was possible for most of the structural members and
their connections to be directly observed from the inside (not true for the base
portion) and outside. Due to the constraint of time and due to limited access within
the sculpture, however, this investigation did not include an exhaustive inspection of
every point of existing plate welds and bolts. Therefore, it must be expected that
during the proposed future restoration, deteriorated or distressed components that
were not observed or reported during this investigation, may be found. Calculations
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299 ALHAMBRA CIRCLE, SUITE 510, CORAL GABLES, FLORIDA 33134, T: (305) 461 - 3450 F: (305) 461 - 3650
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t;EI:1RL1.5 O. PL;RR~'ti{a'LP"I'liRE, "S" (CLOtiF;D)
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I'AGF. 2 OF 7
were not performed to verify the adequacy of the original design and construction,
and this office assumes no responsibility for the structural design or construction of
this sculpture. The findings presented in this report do not imply any warranty on the
performance of the "structural" aspects of this existing sculpture.
No construction drawings for this sculpture were made available to us for this
investigation.
To gain visual access to the interior of the sculpture, one panel of the steel shell was
removed (Refer to Photographs No.'s 1 through 5). After some field investigation, it
was determined that this panel was fastened with six flush-head screws
(approximately 7/16" 0 (or 10 mm) x 1 '/2° (or 40 mm)(Refer to Photographs No.'s 2
and 6). Therefore, it was possible to remove and replace this panel without any
damage to the sculpture, except for the paint around the screws and around the
perimeter of the panel.
General Information
Based on information provided by others, it is believed that this sculpture was
created in 1977. It has also been reported that it was fabricated in Italy and shipped
in pieces and assembled on site.
It is assumed that mathematical structural analysis specific to this sculpture was not
performed.
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CHANL,I::',S O. PI',R.}~.~ SCL?LFTLiRE, "S" (C[..OSETJ) JUNE 4, 2009
EZ'ALLA"X"ION R}3PO:f21' PAGE 3 OF 7
DESCRIPTION OF EXISTING
"STRUCTURAL" SYSTEMS
General
At its widest points, this sculpture is approximately 11'-8" wide in both principal
directions. It is approximately 10'-8" high, including the red base which is
approximately 8" high. The base (red colored portion, see Photographs) is
approximately 13'-4" long.
The sculpture's shape is achieved through a continuous triangular shape twisted
about itself (Refer to Photographs No.'s 7 through 16).
The main portion of the sculpture is painted a bright yellow, and the low base is
painted red. While removing the one shell plate for access, we noticed that a
previous paint layer was also yellow, but of a slightly different hue.
General Construction
This sculpture is constructed of steel plates and sheets. Generally, the flat portions
of the exterior shell (triangular-shaped ends), back-up plate to the removable plate
and internal meeting plates consist of steel plates of approximately 7/16-inch (or 10
mm, likely if fabricated in Italy) thickness. Due to the lack of exposed edges, the
thickness of the curved shell portions could not be measured at the time of this
investigation. They seemed, however, to be thinner than the flat portions.
Observation inside the sculpture revealed that the sculpture can be disassembled
into five large pieces, four from the upper yellow portion and one for the red base.
The red base, however, does appear that it may have been welded to the upper
yellow portion through two stabilizing rods (see discussion later in this report). The
primary connection of the upper portion of the sculpture to the base appears to be
through a vertical steel plate extending up from the base, into the upper sculpture.
This plate is connected with five through-bolts to the two adjacent internal
connecting plates (Refer to Photographs No.'s 16 through 20, the plate from the
base is painted white).
The four sections of the upper portion of sculpture are connected to each other with
15 through-bolts connecting the triangular-shaped steel end plates to each other
(Refer to Photographs No.'s 16 through 20). On the exterior, these connections can
be seen as seams down the middle of the sculpture (Refer to Photographs No.'s 21
through 25).
The curved face shells are welded to the end connecting plates and to adjacent face
shells with various configurations of continuous welding, intermittent welding and
welding to back-up bars or angles (Refer to Photographs No.'s 26 through 31).
Except for the connection plate protruding from the red base section, all internal
surfaces were coated with a grey-colored, dull-finish paint. No testing was
performed, but it appears that this paint may contain zinc as crust-inhibitor.
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t;.IIAKLI3S O. PE:RR~'tiCL~E.PTL.'RE, "S" (C[..OtiL:I))
E?~"ALLJt't'.I'ION RF;I'OR7"
JUNE; 4, 2009
I?AGF 4 OF 7
The shell surfaces of the re-painted base are also constructed of steel plates or
sheets. The internal construction of this base section and its anchorage to the slab
on which it bears could not be observed and could not be determined. The writer
assumes that the vertical plate which extends into the upper portion is bolted, also
extends down to through the base. The writer also assumes that there are other
stiffening elements below the top shell of the base, that there are bearing plates and
that there are anchor bolts to the supporting concrete. None of this, however, is
observable without opening portions of the base shell.
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299 ALHAMBRA CIRCLE, SUITE 510, CORAL GABLES, FLORIDA 33134, T: (305) 461 - 3450 F: (305) 461 - 3650
AFFIRMATIVE ACTION !EQUAL OPPORTUNITY EMPLOYER EB 6353
C:FIAI2LIi;S G). PE;RIt~' SCL~L,P'TL`RE, "S" (CLOSED)
I~:VAL.t;A'I'ION REPORT
NOTED OBSERVATIONS, EVALUATIONS AND
RECOMMENDATIONS RELATIVE TO CONDITION OF
EXISTING "STRUCTURAL" SYSTEMS
General
JUNE =I, 2009
PAGE 5 OF 7
In general, most of the components of the upper portion of the sculpture appear
to be in a fair and serviceable condition. The bottom of the upper portion of the
sculpture and parts of the base portion, however, are significantly deteriorated.
2. Of course, it is of no "structural" consequence, but the writer noted that the
topmost coat of exterior finish paint is noticeably dripped along the upper knife
edges of the sculpture (Refer to Photograph No. 32).
Specific Issues
At this time, the most significant structural issue is severe rusting of the steel at
the bottom of the upper portion of the sculpture (where the yellow portion meets
the red base). On the exterior, there is rust on the yellow portions, on the red
base and on the two stabilizing rods (Refer to Photographs No.'s 33 through
40). On the south side, there is a hole through the steel (Refer to Photograph
No. 40, the tool in the photograph is inserted through the steel shell). The
bottom steel shell of the upper portion of the sculpture, where it is directly
above the base is severely rusted (Refer to Photographs No.'s 17, 31 and 41
through 43). This steel is completely rusted through in much of this area (Refer
to Photographs No.'s 17 and 47).
Undoubtedly, this large area of rusting at the bottom of the upper portion of the
sculpture lessens the structural stability of the sculpture, particularly relative to
wind loads in the east-west direction (parallel to the long dimension of the
base). This condition may also make it difficult to lift the entire sculpture (if the
restoration contractor so chooses) with the base remaining attached (see
further discussions relative to the base below).
In our opinion, for relocation, the upper portion of the sculpture should be
braced in all directions and relieved of its own weight with appropriate crane
and slings. Then, the internal base plate could be unbolted, and if any welding
connects the upper portion to the base through the stabilizing rods, they would
be burned off.
Alternatively, the upper portion of the sculpture could be removed in its four
pieces, starting with the piece furthest from the base. Of course, the sculpture
and each of its four comprising pieces would need to be very well braced and
supported prior to dismantling. This is particularly true because removing the
internal bolts which connect the pieces together requires a worker inside the
sculpture.
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CE~IARLES O. P1:ftRY tiCULPTtiRE, "S" (CLOtiELI)
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Jt'NE =t, 2009
RAGE G OF 7
After separation of the upper portion of the sculpture from the red base, the
significantly rusted portions of the sculpture will need to be replaced with new
steel, welded and finished to match the original materials.
2. The red base portion of the sculpture is notably rusted in several areas. The
worst area is adjacent to and between the two stabilizing rods and the
stabilizing rods themselves (Refer to Photographs No.'s 33 through 40).
These rusted steel areas will need to be replaced.
3. The red base portion of the sculpture is also notably rusted on all of its vertical
faces (Refer to Photographs No.'s 25, 34, 39 and 44 through 49). As a test
during this investigation, a small diameter hole was drilled through the south-
facing steel at a rusted portion. Behind the loose rust, the steel was solid and
appeared to retain most all of its original thickness.
Relative to the issue of the structural condition, the observed rusting along the
vertical surfaces of the base portion of the sculpture does not appear to be very
significant, and adequate structural condition may be achieved by thoroughly
cleaning the existing steel and coating it with an appropriate painting system.
Aesthetically, however, the roughened surfaces will probably not be
acceptable. Therefore, it will probably be desired to replace these vertical steel
sections.
4. Other than the significantly rusted areas previously described, there is light to
moderate surface rusting throughout the interior surfaces of the sculpture
(Refer to Photographs No.'s 16, 17, 26, 27, 28 (note streaking of surface), 29
and 30). Some areas of the interior were damp at the time of this observation.
It appears that some amount of moisture is entering the sculpture, probably
mostly through the rusted areas at the bottom. This moisture is causing
conditions conducive to rusting inside the sculpture.
During the future restoration, all openings and seams should be sealed. It
would also be beneficial to seal the edges of the removable access plate with a
thin bead of sealant and to seal the seams where the five large sections of the
sculpture meet each other.
All interior surfaces of the sculpture should be thoroughly cleaned of all loose
rust. The surfaces should then be prepared in accordance with the paint
manufacturer's recommendations and in accordance with the Society for
Protective Coatings (SSPC) standards. The surfaces should then be recoated
with arust-inhibitive paint system, offering along-term warranted corrosion
protection period.
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5. At the present time, the red base of the structure is installed on a sloping slab
surface (Refer to Photographs No.'s 7, 8, 9 and 11). It is most likely intended
that after restoration and relocation, the sculpture will be placed on a level
base. This may require some adjustment to the stabilizing rods and base
connection plate. Since this area of the sculpture needs to be largely
reconstructed anyway, this issue should not be problematic.
6. During restoration, the exterior surfaces of the sculpture
under awell-researched and specified painting system.
should be performed in accordance with the standard
Protective Coatings (SSPC) and in accordance with the
recommendations.
should be repainted
Surface preparation
s of the Society for
paint manufacturer's
A painting system should be selected which provide long-term corrosion
protection. It should be capable of resisting atmospheric exposure, physical
abuse and UV exposure. For the exterior surfaces, the painting system should
be ahigh-performance coating system that most likely will consist of a primer,
an intermediate coat and a top coat. The paint products and applications
should be warranted.
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