A SCULPTURAL FACADE
by
Jerald W. Livesey
A thesis
submitted in partial fulfillment of the requirements for the degree of
Master of Arts in the apartment of Art
Fresno State College
September, 1969
v. L L i Q1 TABLE OF CONTENTS
CHAPTER PAGE
I. THE PROBLEM 1
Introduction 1
Statement of the problem 1
Importance of the project 1
II. ANALYSIS OF THE SITE 3
Responsibility to the site 3
Description of the site 3
Findings 4
III. PROJECT-MEDIA 6
Discrimination of media 6
Technical needs 6
Aesthetic needs 6
Final selections of media 7
Project media: research in related areas 7
Basic types of plastics 7
Practiced techniques related to project 8
Limitations of plastics as media 9
Conclusion 10
IV. THE APPLICATION OF MEDIA TO PROJECT 11
The Sand-Plaster Mold Process 11
Materials 11
Process 12
Findings 12 iii
The Direct-Stretch Processes 13
Materials 13
Process ..... 13
Findings 14
Conclusion 15
V. THE PRODUCTION OF THE FACADE 16
Project Design 16
The modular unit 16
The organization of modules 17
The modular unit as a continuous design 17
The modular unit as a sectional design 17
The relief design 17
The textural design 18
The color design ...... 18
Project Theme 18
Production 19
Armature production ...... 19
Modular production 19
Relief design ...... 19
The direct-stretch process .... 20
Texture and color production 20
VI. PROJECT MOUNTING AND DISPLAY 22
VII. PROJECT EVALUATION 23
The proposed project and the outcome 23
Technical findings 24 iv
Recommendations for further research ...... 25
The project's aesthetic and educational value .... 25
BIBLIOGRAPHY 26 LIST OF FIGURES
FIGURE PAGE
1. The Speech Arts Facility 28
2. The Site 29
3. Cross-Section of Site 30
4. Relief - Sand-Plaster Process 31
5. Prepared Armature - Direct-Stretch Process . 32
6. Relief - Direct-Stretch Process ..... 33
7. Sedimentary Stratification - Coalinga Area . 34
8. Cinder Rock Affixed with Resin 35
9. Low Relief Panel - Sand Affixed with Resin 36
10. Project Mounting 37
11. Mounted Sculptural Facade 38
12. The Speech Arts Facility 39 CHAPTER I
THE PROBLEM
Introduction
The intent of the problem was to design and construct a sculptural facade for the Speech Arts Facility at West Hills College,
Coalinga, California. The selection of an on campus site presupposed the need for establishing a more creative environment for students at
West Hills College. The Speech Arts Facility was selected as the potential site for the proposed facade because of the building's prominent location and its propensity to accept the application of the project.
Statement of the problem
The problem involved the analysis of the particular site with regard to its potential and limitations, followed by the production of a facade meeting the specific needs of that site.
The sequence of events in the development of the problem was as follows: (1) an analysis of the selected site, establishing needs and p otential for development, (2) selection of project media and techniques of project production, (3) designing and producing the proposed facade, and (4) mounting the completed facade upon the site.
Importance of the project
The project has a direct intent of making an aesthetic contri bution to the building upon which it is mounted. The project 2 contributes to the aesthetics of the college and college community, as well as having an environmental impact on the college student.
The project has value to the visual arts as an academic problem involving a possible solution to the production of a sculp tural facade. The technical findings of this project may affect other problems related to the construction of exterior facades. CHAPTER II
ANALYSIS OF THE SITE
Responsibility to the site
Additions to the Speech Arts Facility could not have been made without consideration for their effects on the total design of the building. Media, texture, color, and general characteristics of the site were factors considered in the project-design in order to establish an interrelationship between the facade and the site.
Description of the site
The Speech Arts Facility (Figure I) is a multi-purpose struc ture. The main building is a three-hundred seat theater, sixty feet high. A secondary structure and elevated facade juts from the main theater, and it is upon this secondary facade (Figure II) that the
project-site is located.
The architectural media of the Speech Arts Facility is pri marily reinforced concrete, with areas of cement-plaster facia and brick. Texture has been achieved through concrete molding techniques
and in the application of brick. The over-all effect of the texture
is minimal. Color plays a minor role in the architectural design of
the facility, generally blending with the immediate environment. The
facility is positioned with a north—south axis. The project-site,
facing south, is bathed in sunlight most of the day.
Aesthetically, the theater portion of the facility imports a 4 massiveness of design that is not dissimilar to the Egyptian mastaba.
The secondary facade, upon which the project is located, negates the massiveness of the total structure through its predominate use of glass and lightweight plaster-facia construction. The architectural design motif of the secondary facade and' site can be defined as an elevated flat, rectangular plane, broken only by the geometric patterning of large windows below it which horizontally transverse three-quarters of the entire length of the structure.
Professional analysis of the site by a structural engineer determined that the overhanging facade is limited in its capacity to support additional weight. The structure is constructed of cement- plaster facia over a superstructure of steel and wood bracing
(Figure III). The four inch by six inch blocking across the top of the site and the two inch by four inch blocking across the bottom of the site present a solid base for the attachment of the project.
Findings
The west wing facade of the Speech Arts Facility lacked strong relief, textural, and color definition. These design weaknesses prevented an interrelationship between the secondary structure and the main theater building. With this assumption, the project-design emphasized a strengthening of these elements. Additionally, the geometric patterning of the facade was contrasted with a freer, and more organic design of the project.
The site's limited capability to support additional weight 5 N required the use of lightweight materials in the production of the project. CHAPTER III
PROJECT-MEDIA
Discrimination of media
The selection of media was dependent upon the potential of the
media in meeting the specific needs of the problem. Media-related
needs fell into two basic categories: technical needs and aesthetic
needs.
Technical needs. The weight limitation of the project was the
primary structural requirement of the media. In addition to light
weight characteristics, project-media were required to possess
dimensional stability and good mounting potential.
Resistance to the decomposing effects of heat and ultraviolet
light were two weather-related requirements of the project-media.
The selected media were required to resist the effects of
exposure to water with a high alkali content.
Limited production facilities and resources necessitated the
use of media requiring little or no specialized equipment. For ease
of handling the media had to apply to one-man production and sectional
or modular construction.
Aesthetic needs. Beyond technical needs, project-media were
required to meet aesthetic or design needs of the site.
Project-media were required to permit production of the project
in relief form. The relief form must be applicable to an organic design motif.
Project-media were required to permit a textural definition of the project.
Project-media were required to permit a color definition of the project.
The relief, textural, and color elements of the project-media were required to apply to an organic design motif.
Final selections of media. Cement, ceramics, wood, metals, and plastics were considered for adoption as project-media. Of the potential media only wood and plastics met the weight limitation of the project.
The family of plastics offered the most potential as project- media. Plastics have strength, stability, and weather resistance characteristics, while offering potential in application to relief, textural, color, and design elements of the problem.
Project-media: research in related areas
Plastics are available to the artist in the form of liquids, pastes, pellets, powders, foams, emulsions, sheets, rods, tubes, and solid volumes. Production techniques are equally diverse including. 1 casting, molding, extrusion, lamination and fabrication.
Basic types of plastics. Thermoplastics constitute one basic
Nicholas Roukes, Craft Horizons, XXIX, No. 1 (January/February 1969), p. 18. 8 type of plastic. Thermoplastics come in sheets or blocks which can be shaped and reshaped as often as they are reheated. Thermoplastics are stable under normal temperatures, but can be made fluid or flexible with the addition of heat.
Thermosetting plastics are manufactured in liquid form, but with the addition of a small amount of catalyst (setting agent) solidify permanently. Thermosetting plastics are commonly used in application to casting and laminating processes. They cannot be reworked once 2 they have polymerized. The bonding force of polymerized thermosetting plastics is far greater than the forces of adhesion or cohesion that 3 hold most structures together.
Practiced techniques related to project. A review of the established techniques in the application of thermosetting plastics to large scale architectural problems was made to gather ideas for the production of the project facade.
Polyurethane foam has been successfully applied to architectural problems. The foam is applied from a spray-head that mixes two components as they come from the nozzle. The loaming and hardening reactions take place as the spray hits the surface. The density and consequent strength of the polyurethane foam can be varied. The
2 jan de Swart, "The Pure Research of Jan de Swart," Craft Horizons, XVIII, No. 1 (March/April 1958), p. 14.
3Alice Adams, "The New Heart of Plastics.," Craft Horizons, XXVIII, No. 6 (November/December 1968), p. 28. 9 polyurethane foam by itself is not a permanent material. A fiberglass skin must be added to the surface of the foam to produce a permanent 4 structure.
Polymer and epoxy resins are thermosetting plastics capable of curing (complete solidification) with the addition of a small amount of catalyst and exposure to heat. The production of a sculptural relief from such a plastic is made possible through the addition of glass cloth reinforcement. Resin-laminated glass cloth is both strong and durable. The tensile strength of polymerized resin for example, is normally four thousand pounds per square inch. Resin-laminated glass cloth one-eighth inch thick, increases the tensile strength to 5 twenty-five thousand pounds per square inch. Resin saturated glass cloth can be built up over a wire or wooden armature to achieve relief
form. Metalic granules, cement, sand, rocks, and minerals are some of
the inclusions possible for surface texture and color when working 6 with resin.
Limitations of plastics as media. The major limitation of
plastics is the high cost of basic materials and specialized equip-,
ment necessary for its production. These factors seriously affect
^William Gordy, "The Plastic of Architecture," Craft Horizons, XXIX, No. 1 (January/February 1969), p. 17.
5Thelma R. Newman, Plastics as an Art Form (Philadelphia: Chilton Books, 1964.) p. 82.
^de Swart, p. 14. 10 the range of experimentation possible to the individual artist.
Conclusion
Plastics, as project-media, offered two possible solutions to project product^ n through the use of polyurethane foam and resin- laminated glass cloth. Resin-laminated glass cloth production tech niques are relatively simple and require little or no specialized equipment. The application of polyurethane foam is relatively simple, but necessitates extensive equipment in the process. Resin-laminated glass cloth was therefore selected as the most manageable material for solving the problem without compromising either aesthetic or technical requirements. CHAPTER IV
THE APPLICATION OF MEDIA TO PROJECT
Open face sand-plaster molding and direct-stretching are two techniques for the application of resin-laminated glass cloth to the project. The development of project production techniques was through studio experimentation. The two resultant techniques discussed in this chapter are not necessarily unique, but rather variations of successfully practiced techniques in related areas.
I. THE SAND-PLASTER MOLD PROCESS
Open face molding techniques with resin-laminated glass cloth have been practiced for a number of years in the manufacture of boats.
The industrial boat production process is geared to mass production and requires sophisticated molding and production equipment. The sand- plaster mold process is a simplification of known molding processes.
Materials
Materials required for the production of a resin-fiberglass relief from an open-face mold of sand and plaster are: (1) a wooden frame defining the format the relief is to take, (2) sand, (3) artist s plaster, (4) wax to be used as a releasing agent, (5) medium to heavy weight glass cloth, and (6) a sufficient amount of resin and catalyst to cover the cloth with several coats. Process
The first step in sand-plaster mold making is to construct a wooden frame allowing for the desired depth of relief and its outside dimensions. This frame is used as a container for the sand which is moistened and packed into place filling the container. A negative impression is carved into the sand and reinforced with a thin layer of plaster. The wax releasing agent is applied directly to the dried plaster with a brush. Glass cloth is laid in the mold and resin brushed on, saturating the cloth thoroughly. Although thixotropic resin is generally called for, a standard polyester resin was used.
Standard polyester resin was found to be superior in that it saturated through the material, thus picking up much of the detail missed by thixotropic resin which resisted penetration. Additional layers of glass cloth can be applied as per structural specifications. After the resin sets, the resin-fiberglass relief should be separated from the mold and placed in the sun to cure. Under optimum pleasant weather conditions, two to three days are required to achieve maxi mum hardness.
Findings
The sand-plaster mold process produced a relief (Figure IV) with a very sculptural surface effect.
The plaster reinforcement has a tendency to change the design originally conceived in the sand.
A large scale resin-laminated glass cloth relief, by itself, 13 was found to be dimensionally unstable and therefore did not meet the mounting requirements of the problem.
II. THE DIRECT-STRETCH PROCESSES
To facilitate mounting, a wooden armature was incorporated into the resin-laminated glass cloth process resulting in a direct-stretch technique. Many artists have worked in the area of stretched material 7 8 9 over armatures, including: Lee Bontecu, Harold Paris, Pino Pascali, 10 11 Richard Smith, and Nicholas Vergette.
Materials
Materials required in the direct-stretch process are: (1) a wooden frame and armature, (2) wood finishing materials (rasps, sand
paper, filler, etc.), (3) medium to heavy weight glass cloth in a single sheet the size of the armature, and (4) resin and catalyst.
Process
The first step in the direct-stretch process is to construct a
7Donald Judd, "Lee Bontecu," Arts Magazine, XXXIX, No. 7 (April 1965), pp. 17-21.
8Peter Selz, "The Final Negation Harold Paris' Koddesh- Koddashim." Art in America, No. 2 (March/April 1969), pp. 62-67.
9otto Hahn, "All or Nothing," Arts Magazine, XLII, No. 8 June/Summer 1968), pp. 38-40.
10Christopher Finch, "Richard Smith." Arts Magazine, XLII, No. 5 (March 1968), pp. 49-51.
11Lawrence Alloway, "The Plastic Reliefs of Nicholas Vergette," Craft Horizons, XXVIII, No. 2 (March/April 1968), pp. 26-29. 14 wooden frame to act as a base for the project. Wooden shapes are cut from one-quarter inch plywood and attached securely to the frame
(Figure V). The total armature is then sanded and made ready to take the glass cloth. Glass cloth is then laid over the armature. Care must be taken to align both the warp and weft of the glass cloth with
the armature edges to avoid uneven tension during the stretching
process. Staples are used to hold the tension of the cloth. After the excess cloth is removed from the edges with scissors, the relief is ready to be impregnated with resin. Although thixotropic resin is superior in this case, a standard polyester resin can be used in the direct stretch process. The resin can be applied with a spray rig or simply a large brush. After the initial layer of resin has set, other
layers may be added as per structural specifications. The completed
relief (Figure VI) should be placed in a sunny location for two to
three days to cure and achieve maximum hardness.
Findings
The direct-stretch process of resin-fiberglass relief production
had a number of advantages over the open-face molding process: (1) the
complete elimination of the negative design required in the mold
process, in favor of a direct, positive design production, (2) the
direct-stretch process incorporated a superstructure suitable for
mounting, (3) there were no dimensional limitations in the direct-
stretch process, and (4) the direct-stretch process had a spontaneity
which seemed to be lost in the open-face molding process. Conclusion
The direct-stretch method of production offered the best solution to the needs as established in the problem. CHAPTER V
THE PRODUCTION OF THE FACADE
This chapter deals with the application of resin-laminated glass cloth as project-media and direct-stretching as the production technique to the actual production of the project.
I. PROJECT DESIGN
The modular unit
The necessity for constructing the facade in modular form was established in preceeding chapters. The modular requirement created a primary design problem of establishing the desired relationship between the modular units.
By definition, a modular unit results from a division of a whole into mathematically equal parts. In establishing the modular unit size for the project, a division into an even number of modules was avoided.
This was done to avoid the static divisions that sometimes result in the grouping of units into equal parts. The modular unit size was geared to facilitate one-man production and handling.
Initially, the fifty-five foot project was divided into fifteen equal parts. To achieve a greater variety in size, the modules were grouped together and divided, forming a new composition of varied units.
Module groupings included up to three modules. Module divisions included one-third and two-third modules. The new division of the facade resulting from the reorganization of modules produced thirteen units.
The organization of modules
There are two basic relationships possible in the design of modular structure: (1) a design that flows continuously across the total structure, and (2) a design that is sectional.
The modular unit as a continuous design. The unification of modules through a continuous design offered a stable solution to the problem.
The modular unit as a sectional design. The role of the module in the sectional design of the project was twofold: (1) to maintain the identity of each individual section, and (2) to relate each section to the total project. A module interrelationship was established by sculptural, textural, and color similarity among sections.
The sectional design of the project permitted a versatility not existent in the stable continuous design motif. The sections or modules, if not permanently fixed to the site, allow the option of rearrangement. Each new arrangement of the sections creates a new composition. The concept of interchangeability was the prime reason for having selected the sectional design of the project over a continuous design.
The relief design
To establish a sectional design, the relief of each section was 18
designed to be individual, while sharing basic design elements with all
other sections. To emphasize relief, relief sections were contrasted
with sections containing no relief.
The textural design
Texture, in a sectional design, must relate the various sections
as well as distinguish them one from another. The textural design is
superimposed upon the relief design and therefore required a design
relationship to that surface.
For contrast, a variety of textures was used in defining the
project.
The color design
Color plays a minor role in the design of the project. Color
selection and placement were designed to complement the relief and
textural design elements of the problem. Color selection was also made on the basis of establishing an interrelationship between the
project and architectural surfaces of the total Speech Arts Facility.
II. PROJECT THEME
The geological phenomenon of sedimentary stratification, with its infinite variation caused by faults, block-lifting, and erosion, was selected as project theme. This theme was selected for the
following reasons: (1) its propensity to relate to the sectional design concept, offering variation within a geologic process, (2) its
textural variation, (3) its subtle color variation, and (4) because 19 of its predominance in the Coalinga area (Figure VII).
III. PRODUCTION
The production of the project was geared to relate to the theme, while meeting the basic needs of the problem.
Armature production
The first step in the production process was the construction of the wooden armatures. The relief sections of the project utilized a variety of patterns based upon geologic statification.
Modular production. Initially, fifteen modules sixty-two inches by forty-four inches were constructed. After the reorganization of modules into larger and smaller sections, the resultant composition was as follows: one three-module section unit, two two-module section units, six one-module section units, two two-thirds module section units, and two one-third module section units.
For contrast, no relief was designated for: one two-module section unit, three one-module section units, one two-thirds module section unit, and two one-third module section units.
Relief design. Utilizing the theme of geologic stratification, a design emphasis was placed upon variety (1) of patterning, (2) in the amount of relief in each section, and the amount of relief one section to another, and (3) in the compositional movement of each panel. 20
While a conscious effort was made to insure variety in the
three-dimensional design of the project, there was also a concern for
establishing a basic continuity among the various parts. This basic
project interrelationship was insured through (1) the repetition of a
basic pattern motif, (2) balancing the compositional movement potential
of the various sections, and (3) the use of shapes that shared in their
basic design potential.
The direct-stretch process
After the armatures were constructed, glass cloth was applied
using the direct-stretch process, completing the three-dimensional
statement of the problem.
Texture and color production
Natural rock, pebbles, and sand textures were used for the
textural definition of the project (Figure VIII) because of their (1)
close relationship to the theme, (2) range of textural contrast, and
(3) addition of permanent color to the project.
The placement of texture was similar to the patterning of
geologic stratification (Figure IX). The textural design was subject
to the needs of the relief design and the project design in general.
Textural contrast was achieved in the placement of strong textural
areas in close proximity to areas of lesser texturing.
In that the materials used as texture (red cinder rock, ochre
and white pebbles, and light colored plaster sand) can also be 21 defined by their color, textural distribution as cited above also becomes color distribution. CHAPTER VI
PROJECT MOUNTING AND DISPLAY
To achieve mobility the project was not permanently fixed on the site. The mounting materials permit a solid mounting of the project (Figure X), while allowing potential for rearrangement.
The weight of the project is supported by a continuous band of angle iron which transverses the bottom of the site. This three inch by three inch by three-sixteenths inch angle iron is attached to the site with lag screws spaced at two foot intervals. The top of each panel is held in place with three inch by three inch by one-eighth inch by one inch angle braces. The number of angle braces per panel vary depending upon the size of the unit.
Holes drilled at one foot intervals across the length of the bottom angle iron supportive structure allow for a variation in panel size at any particular spot along the length of the site. This feature along with the independent bracing at the top of each panel make project interchangeability possible.
Angle iron was used not only as a supportive material, but also as a framing material for the project. CHAPTER VII
PROJECT EVALUATION
This chapter deals with a final evaluation of the project, including: (1) a comparative analysis between the proposed project and the outcome, (2) a description of technical findings, (3) recom mendations for further research, and (4) an evaluation of the project's aesthetic and educational value.
The proposed project and the outcome
The primary element of the project was the production of a lightweight sculptural facade. This limitation ruled out many types of media which could have offered variations from the resultant plastic facade. Polymer resin and fiberglass construction made possible the production of a two-hundred and seventy-five square foot relief facade weighing less than five-hundred pounds, well within the weight limitations of the problem.
Modular construction and sectional design were two elements which made the interchangeability of the project composition possible.
The concept of interchangeability depended upon a project design which was both sectional and united. The problem of establishing an appro priate amount of sectional individuality without destroying the potential for unity was critical. The problem involved balancing the relief, textural, and color elements to sustain this tenuous relation- ship. The success or failure of the sectional design must be judged 24
in the context of the final project (Figures XI and XII).
The relationship between the project and the site constitutes
another important area of concern. The project in general relates well
to the facade upon which it is mounted and to the total Speech Arts
Facility. The strongest defining element of the project-facade is its
texture. The color definition of the project is the less aggressive
element of the design.
Technical findings
The project suggests the feasibility of stretched resin-laminated
glass cloth in application to large scale architectural forms. The
process is relatively inexpensive (approximately seventy-five cents per
square foot at a thickness of one-eighth inch) and requires few
specialized materials for construction.
Fiberglass lacks sufficient elasticity to form strong concave
and convex shapes as it is brought into tension over an armature. This
relief limitation was outweighed by the benefit of lightness, strength,
and durability characteristics of resin-laminated glass cloth.
Rock, wood, sand, and other natural materials offer an infinite
variety of color and texture when suspended in clear resin. Once locked
in the resin, these materials are physically preserved for the lifetime
of the resin. Color stability is variable depending upon the material
used and its susceptibility to ultraviolet light. Inorganic compounds were found to be the most stable natural materials in application to
the coloration of exterior facades. 25
Recommendations for further research
The transparent and/or translucent qualities of resin-laminated glass cloth with back-lighting might present an area for further exploration. A plastic structure could exude massiveness during the day, and at night with the aid of back-lighting, become a study in light and luminesence.
The project's aesthetic and educational value
The project has aesthetic value as a sculptural or architectural statement. It further develops and enhances the Speech Arts Facility through the visual articulation of an otherwise uninteresting archi tectural site frequently exposed to college and community visitors.
The project has an educational value in its academic approach and solution to the problem. The format followed in this project may have application to future projects in related areas. BIBLIOGRAPHY
A. BOOKS
Dubois, J. Harry, and John, Frederick W. Plastics. New York: Reinhold Publishing Corporation, 1967.
Ferrigno, T. H. Rigid Plastic Foams. New York: Reinhold Publishing Corporation, 1967.
Newman, Thelma R. Plastics as an Art Form. Philadelphia: Chilton Books, 1964.
Oleesky, Samuel S. , and Mohr, J. Gilbert. Handbook of Reinforced Plastics. New York: Reinhold Publishing Corporation, 1964.
Simonds, Herbert R,. and Church, James M. A Concise Guide to Plastics. New York: Reinhold Publishing Corporation, 1963.
, et al. Handbook of Plastics. Princeton: D. Van Nostrand Company, Inc. , 1949.
Sonneborn, Ralph H. , et al. Fiberglass Reinforced Plastics. New York: Reinhold Publishing Corporation, 1954.
B. PERIODICALS
Adams, Alice. "The New Heart of Plastics," Craft Horizons, XXVIII, No. 6 (November/December 1968), pp. 28-37, 55-56.
Alloway, Lawrence. "The Plastic Reliefs of Nicholas Vergette," Craft Horizons, XXVIII, No. 2 (March/April 1968), pp. 23-29. de Swart, Jan. "The Pure Research of Jan de Swart," Craft Horizons, XVIII,*No. 1 (January/February 1958), pp. 10-19.
Finch, Christopher. "Richard Smith," Arts Magazine, 30.11, So. 5 (March 1968), pp. 49-51.
Gordy, William. "The Plastics of Architecture " Craft Horizons, XXIX, No. 1 (January/February 1969), pp. 14-17, 49.
Hahn, otto. "All or Nothing," Arts Magazine, XIII, No. 8 (June/ Summer 1968), pp. 38-40. 27
Judd, Donald. "Lee Bontecu," Arts Magazine, XXXIX, No. 7 (April 1965), pp. 17-21.
Koblick, Freda. "Plastics in Perspective," Craft Horizons, XXIII, No. 2 (March/April 1963), pp. 38-41, 49.
Roukes, Nicholas. "The Plastics of Sculpture: Materials and Techniques," Craft Horizons, XXIX, No. 1 (January/February 1969), pp. 18, 49.
Selz, Peter. "The Final Negation Harold Paris' Koddesh-Koddashim," Art in America, No. 2 (March/April 1969), pp. 62-67. 28
O Ctf Pc 4CO-J U < rC o 3. Cross-Section of Site 1. Aluminum Coping 7. 3/8" Plywood 2. 2" x 6" Blocking 8. 1" x 4" Bracing 3. 2" x 10" at 24" intervals 9. 2" x 2" Blocking 4. I Beam 10. 2" x 4" Blocking 5. 2" x 6" at 24" intervals 11. Ventilation Grid 6. Cement-Plaster Facia 33 7. Sedimentary Stratification - Coalinga Area 9. Low Relief Panel - Sand Affixed with Resin 39 o fa u < o