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Plastering Tasks (Construction).Pdf
Year 11 Transition Tasks Plastering Introduction Welcome to the City of Bristol College the following pack is designed to give you an introduction to the types of work and tasks you can expect from a course in plastering. § Positives – Plastering is a great way to keep you fit as It is a very physical job, never in one place for too long meeting new people and has good financial rewards. § Negatives – it is a messy job and can be cold during the winter months. 0117 312 5000 [email protected] cityofbristol.ac.uk @CityofBristolCollege CoBCollege Year 11 Transition Tasks Plasterer The main role of a plasterer is to paste layers of plaster onto walls, floors and ceilings. Both, Internal and External finishes are produced. Plasterers work on a number of different buildings, including new housing developments, offices and houses (redecorations or extensions). They repair or restore existing plasterwork and plaster newly erected walls. The Historic and Fibrous side of plastering involve, plastering using lime and making decorative mouldings for ceilings or walls. The process of creating plasterwork, called plastering, has been used in building construction for centuries. Plasterers have an advantage over some trades during bad weather in that they can work inside. Most plastering tasks are completed before a decorator paints the walls or ceilings. Plasterer at work, then and now. 0117 312 5000 [email protected] cityofbristol.ac.uk @CityofBristolCollege CoBCollege Year 11 Transition Tasks Plasterer’s activities Opening the hyperlinks, I have listed below should give you more information on the activities a plasterer completes on a day-day basis. -
Materials & Process
Sculpture: Materials & Process Teaching Resource Developed by Molly Kysar 2001 Flora Street Dallas, TX 75201 Tel 214.242.5100 Fax 214.242.5155 NasherSculptureCenter.org INDEX INTRODUCTION 3 WORKS OF ART 4 BRONZE Material & Process 5-8 Auguste Rodin, Eve, 1881 9-10 George Segal, Rush Hour, 1983 11-13 PLASTER Material & Process 14-16 Henri Matisse, Madeleine I, 1901 17-18 Pablo Picasso, Head of a Woman (Fernande), 1909 19-20 STEEL Material & Process 21-22 Antony Gormley, Quantum Cloud XX (tornado), 2000 23-24 Mark di Suvero, Eviva Amore, 2001 24-25 GLOSSARY 26 RESOURCES 27 ALL IMAGES OF WORKS OF ART ARE PROTECTED UNDER COPYRIGHT. ANY USES OTHER THAN FOR EDUCATIONAL PURPOSES ARE STRICTLY FORBIDDEN. 2 Introduction This resource is designed to introduce students in 4th-12th grades to the materials and processes used in modern and traditional sculpture, specifically bronze, plaster, and steel. The featured sculptures, drawn from the collection of the Nasher Sculpture Center, range from 1881 to 2001 and represent only some of the many materials and processes used by artists whose works of art are in the collection. Images from this packet are also available in a PowerPoint presentation for use in the classroom, available at nashersculpturecenter.org. DISCUSS WITH YOUR STUDENTS Artists can use almost any material to create a work of art. When an artist is deciding which material to use, he or she may consider how that particular material will help express his or her ideas. Where have students seen bronze before? Olympic medals, statues… Plaster? Casts for broken bones, texture or decoration on walls.. -
PORTLAND CEMENT PLASTER Construction Standards PAGE 092400 - 1
Michigan State University PORTLAND CEMENT PLASTER Construction Standards PAGE 092400 - 1 SECTION 092400 - PORTLAND CEMENT PLASTER PART 1 - GENERAL 1.1 M.S.U. ISSUES A. Where construction alterations are to existing facilities, the following shall apply: 1. Patched openings in plaster construction shall be reframed and lathed in as required to maintain original plaster thickness. Areas or openings to be patched shall have the existing finish coat chipped back one inch on base plaster, and base plaster two inches on lath or as required to overlap and bond the new plaster patch to the existing plaster. Areas to be patched or tied into shall be primed with an approved latex bonding-agent in accordance with manufacturer’s recommendation. 1.2 SUMMARY A. This Section includes the following: 1. Nonstructural steel framing and furring. 2. Interior portland cement plasterwork on metal lath plaster bases. 1.3 SUBMITTALS A. Product Data: For each type of product indicated. 1.4 DELIVERY, STORAGE, AND HANDLING A. Store materials inside under cover and keep them dry and protected against damage from weather, direct sunlight, surface contamination, corrosion, construction traffic, and other causes. 1.5 PROJECT CONDITIONS A. Comply with ASTM C 926 requirements. B. Interior Plasterwork: Maintain room temperatures at greater than 40 deg F for at least 48 hours before plaster application, and continuously during and after application. 1. Avoid conditions that result in plaster drying out during curing period. Distribute heat evenly; prevent concentrated or uneven heat on plaster. 2. Ventilate building spaces as required to remove water in excess of that required for hydrating plaster in a manner that prevents drafts of air from contacting surfaces during plaster application and until plaster is dry. -
Traditional Architectural Renders on Earthen Surfaces
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1991 Traditional Architectural Renders on Earthen Surfaces Maria Isabel G. Beas University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Beas, Maria Isabel G., "Traditional Architectural Renders on Earthen Surfaces" (1991). Theses (Historic Preservation). 395. https://repository.upenn.edu/hp_theses/395 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Beas, Maria Isabel G. (1991). Traditional Architectural Renders on Earthen Surfaces. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/395 For more information, please contact [email protected]. Traditional Architectural Renders on Earthen Surfaces Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Beas, Maria Isabel G. (1991). Traditional Architectural Renders on Earthen Surfaces. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/395 'T,' i'&Sim mi> 'm m. i =ir,!t-i^-!vs i )'» \ •.'.i:'-ii-2\c-. fell ;;!•!' UNIVERSITVy PENNSYLVANIA. UBKARIES TRADITIONAL ARCHITECTURAL RENDERS ON EARTHEN SURFACES Maria Isabel G. Beas A THESIS in The Graduate Program in Historic Presen/ation Presented to the faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE 1991 Frank G.lMatero, Associate Professor 'reservation, Advisor X Samuel Y. -
Preserving Historic Ornamental Plaster David Flaharty
PRESERVATION BRIEFS Preserving Historic Ornamental Plaster David Flaharty U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services From the time America struggled for a new identity as the 1930s. During this two hundred year period, as the a constitutional republic-and well into the 20th Georgian and Federal styles yielded to the revivals century-its architecture and its decorative detailing Greek, Rococo, Gothic, Renaissance, and Spanish remained firmly rooted in the European classicism of decorative plaster reflected each style, resulting in the Palladio, Wren, and Mansart. wide variety of ornamentation that survives. The tradi tional methods of producing and installing interior Together with skilled masons and carpenters, orna decorative plaster were brought from Europe to this mental plasterers saw their inherited trade flourish country intact and its practice remains virtually un from the mid-18th century until the Depression years of changed to this day. Fig. 1. Ornamental plaster studios employed the following personnel: Draftsmen to interpret architectural details in shop drawings; sculptors who modelled in clay; model makers who assembled sculpted, plain-run and pre-cast elements into an ornamental unit; moldmakers who made rigid or flexible negative tooling; casters who made production units; finishers (often the caster's wives) who cleaned the casts; and laborers who assisted skilled personnel in operating efficiently. This studio was in Philadelphia, c. 1915. Photo: Courtesy, M. Earle Felber. Styles of Decorative Plaster in America, 18th-20th Centuries d e (a) Kenmore, Fredericksburg, Virginia. c. 1752. Georgian in style with orna mental ceilings based on Batty Langley's 1739 English style book, the plaster work was executed by a Frenchman in the mid-1770s. -
Eco-Plasters Revive the Plasterwork Techniques of the Past
Theme 2 Session 3 ECO-PLASTERS REVIVE THE PLASTERWORK TECHNIQUES OF THE PAST Eunice Salavessa, Lisete Fernandes University of Trás-os-Montes e Alto Douro - UTAD Engineering Department – CETRAD; Chemistry Department – UME; Vila Real, Portugal. [email protected]; [email protected] Ana Maria Duarte LERevPa of Laboratório Nacional de Engenharia Civil – LNEC, Lisboa, Portugal. [email protected] Abstract. Current debates about environmental degradation owing to excessive use and dilapidation of non- renewable resources by the modern construction industry, have led to recent researches about building materials and traditional art of building, to meet sustainable contemporary constructive alternatives. This study is inspired by a revival of traditional plasterwork and outlining developments in plastering; it includes descriptions of old and new techniques and alternative materials, such as industrial wastes with potential for use in decorative plasters. Its main purposes are to evaluate, by laboratorial tests: 1) the advantages of using the industrial waste product of transformation of ornamental stone instead of sand to get a plaster with better performance, as those plasters recommended in historic construction treatises; 2) investigate the decorative potential of optical glass fibers in translucent plasterwork, in contemporary architecture. 1. Introduction Historic renders durable systems must be investiga- included pozzolanic material, with good resistance to ted, to be used in restore and renovation interven- water (Papayianni 2010). tions. Traditional and regional practices are sources of When one translates ancient texts, some questions skill knowledge which can be reactivated in contem- of technological nature rest still to be resolved, with poraneous building construction, contributing to regard to technique terminology or to technological diversify and optimize the design of renders and plas- and scientific content. -
Gypsum Resources of Iowa by Robert M
Gypsum Resources of Iowa by Robert M. McKay In mining gypsum at Fort Dodge, overlying glacial deposits are removed and the deeply creviced surface of the gypsum is exposed. These crevices resulted from movement of water along intersecting fractures in the easily eroded gypsum. Photo by Tim Kemmis. One of the softest minerals known to exist is the basis for one of Iowa's most durable mineral resource industries. Gypsum is a gray to white-colored mineral that can be easily scratched with a fingernail, and is referred to chemically as a hydrous calcium sulfate. Some of its other, perhaps more familiar, names are based on its various forms of occurrence. For example, alabaster is a massive form; satin spar is a fibrous variety; and selenite is its crystalline form. Gypsum often occurs in varying proportions with anhydrite (calcium sulfate), a slightly harder and more dense mineral that lacks water in its chemical make-up. Both gypsum and anhydrite belong to an interesting group of minerals called evaporites, which are sedimentary deposits composed of salts precipitated from sea water. Evaporites form in shallow or near shore marine and lake environments where evaporation has - 1 - produced an unusually high concentration of dissolved salts, and where there is little or no circulation of fresh water. The precipitation of sediment from these hypersaline brines is associated with hot and relatively dry climatic conditions. Iowa's paleogeography at several times in the state's geologic past duplicated these environments of deposition and resulted in major accumulations of evaporite minerals. As a result, several geologic units in Iowa's underlying sedimentary rock sequence host economically significant deposits of gypsum. -
UC Santa Cruz Campus Design Guide DIVISION 09 – FINISHES - 1 February 2017
DIVISION 09 - FINISHES Includes the following sections: 09 20 00 Plaster and Gypsum Board 09 24 00 Portland Cement Plaster – Standard 09 24 00 Portland Cement Plaster – Severe Weather Exposure 09 51 00 Acoustical Ceilings 09 60 00 Flooring 09 65 13 Base and Accessories 09 65 16 Resilient Sheet Flooring 09 65 16 13 Resilient Linoleum Flooring 09 65 19 Resilient Tile Flooring 09 68 00 Carpeting 09 90 00 Painting and Coating PLASTER AND GYPSUM BOARD 09 20 00 Gypsum Board Finish Levels: 1. For occupied spaces and surfaces exposed to public view: a. Provide a lightly textured finish over a Gypsum Association (GA) Level 4 finish b. Smooth finish over a GA Level 5 finish may be used in specific areas if approved by the University’s Representative. 2. For unoccupied areas, such as storage and mechanical rooms, provide a medium texture finish over a GA Level 3 finish. 3. For concealed spaces such as shafts or spaces above the ceiling areas, and areas where gypsum board is used as a substrate for tile, provide a GA Level 2 finish. For exterior cement plaster, refer to the University’s Standard Specification Sections 09 24 00 Portland Cement Plastering (Standard) Locations and 09 24 00 Portland Cement Plastering(Severe Weather Exposure). PORTLAND CEMENT PLASTER - STANDARD 09 24 00 For more information, refer to the University’s Standard Specification Section 09 24 00 Portland Cement Plaster – Standard and Appendix H – Standard Plaster Installation and Details – Standard. PORTLAND CEMENT PLASTER – SEVERE WEATHER EXPOSURE 09 24 00 For more information, refer to the University’s Standard Specification Section 09 24 00 Portland Cement Plaster – Severe Weather Exposure and Appendix I – Standard Plaster Installation and Details – Severe Weather Exposure. -
Shale Gas Study
Foreign and Commonwealth Office Shale Gas Study Final Report April 2015 Amec Foster Wheeler Environment & Infrastructure UK Limited 2 © Amec Foster Wheeler Environment & Infrastructure UK Limited Report for Copyright and non-disclosure notice Tatiana Coutinho, Project Officer The contents and layout of this report are subject to copyright Setor de Embaixadas Sul owned by Amec Foster Wheeler (© Amec Foster Wheeler Foreign and Commonwealth Office Environment & Infrastructure UK Limited 2015). save to the Bririah Embassy extent that copyright has been legally assigned by us to Quadra 801, Conjunto K another party or is used by Amec Foster Wheeler under Brasilia, DF licence. To the extent that we own the copyright in this report, Brazil it may not be copied or used without our prior written agreement for any purpose other than the purpose indicated in this report. The methodology (if any) contained in this report is provided to you in confidence and must not be disclosed or Main contributors copied to third parties without the prior written agreement of Amec Foster Wheeler. Disclosure of that information may Pete Davis constitute an actionable breach of confidence or may Alex Melling otherwise prejudice our commercial interests. Any third party Daren Luscombe who obtains access to this report by any means will, in any Katherine Mason event, be subject to the Third Party Disclaimer set out below. Rob Deanwood Silvio Jablonski, ANP Third-party disclaimer Issued by Any disclosure of this report to a third party is subject to this disclaimer. The report was prepared by Amec Foster Wheeler at the instruction of, and for use by, our client named on the front of the report. -
Materials Conservation – Concrete and Plaster
Materials Conservation – Concrete and Plaster Carolyn L. Searls Senior Principal, Simpson Gumpertz & Heger Matthew Bronski Associate Principal, Simpson Gumpertz & Heger California Preservation Foundation Webinar 16 September 2014 www.sgh.com www.sgh.com 1 Learning Objectives • Understand the composition and properties of cementitious materials. • Recognize signs of concrete and plaster deterioration and their causes. • Learn reactive and proactive repair techniques for concrete and plaster. • Learn procedures for repairing uncoated, integrally colored plaster and concrete. 2 The Materials: Plaster, Concrete and Cast Stone • All are made up of binder + aggregates + water • Concrete = Cement (the binder), fine aggregate, coarse aggregate, admixtures and water • Cast Stone = Cement, fine aggregate, crushed rock, admixtures and water, precast in units • Plaster = Mortar applied to a substrate (masonry, concrete, or lath over sheathing or building paper) as a wall finish. Usually cement and/or lime (binder), fine aggregate, admixtures and water 3 Evaluation and Repair of Concrete and Plaster • Diagnose the problem – field investigation, lab testing, analysis and report. The treatment must be appropriate for the illness. • Design the repair – the right team • Select the correct materials • Construct field mock-ups • Select the right contractor • Provide quality control during repairs 4 Concrete • Roman concrete structures – lime putty + pozzolan (volcanic tuff rock at Pozzuoli) + aggregates = hydraulic concrete • Natural cement concrete – Erie -
Domestic 3: Suburban and Country Houses Listing Selection Guide Summary
Domestic 3: Suburban and Country Houses Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https://www.gov.uk/government/publications/principles-of- selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide, one of four on different types of Domestic Buildings, covers suburban and country houses. -
What Part Did Decorative Plasterwork Play in the Transformation of the Great House Before 1660?
What part did decorative plasterwork play in the transformation of the Great House before 1660? Annika McQueen June 2018 Decorative plasterwork has become one element that characterises the image of the Great House in England. Wide-ranging social and economic change accompanied the end of the medieval period and the arrival of the Tudor dynasty in 1485. The domestic stability England enjoyed during the Elizabethan period was cemented by the end of hostilities with Spain when James I ascended the throne1. As a result, substantial change occurred in the form, function and internal decorative design of the Great House. As will be exemplified in this essay, plasterwork continued to be important as a decorative material in the Caroline period and reflected changing fashions in architectural and artistic design. In this essay I will argue that this change was more of an evolution than a transformation, as it occurred slowly over a long period of time. In 1501 Henry VII granted a charter to the Worshipful Company of Plasterers of London, giving the trade formal recognition and attesting to its rising popularity as a material.2 As Beard has pointed out, Plaster and Stucco are distinct entities; the best plaster being derived from burning gypsum and the more usual kind of English plasterwork being comprised of slaked lime, sand and a binding agent such as hair.3 Stucco is derived from the addition of marble dust to slaked lime, rather than sand or hair.4 Gapper comments that the term ‘pargetting’ was used in the sixteenth century to mean internal as well as external plastering; alongside the term ‘plaster’.5 For the purposes of this essay, ‘plasterwork’ will be taken to include both plaster and stucco work and will focus on the role internal decorative plasterwork played in the evolution of the Great House.