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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.. -
Fire Protection Application Guide Armacell's Products for Passive Fire Protection
FIRE PROTECTION APPLICATION GUIDE ARMACELL'S PRODUCTS FOR PASSIVE FIRE PROTECTION Tel.: +49 25 17 60 30 [email protected] www.armacell.eu 02 | Fire protection application guide Foreword “Nine dead in house fire.” Fortunately we don’t read this or similar headlines every day. Nevertheless, around 4,000 people die in fires every year in the EU member countries. In many cases, deaths, injuries and major damage to buildings can be prevented if the fire protection requirements are implemented correctly. Therefore, passive fire protec- tion in buildings aims to design, construct, modify and maintain build- ings in such a way that the outbreak of a fire and the spread of flames and smoke (fire spread) are prevented. And, if a fire does occur, it must be possible to rescue people and animals and carry out fire-fighting operations effectively. In terms of fire protection, building service equipment, such as pipe- work and ventilation systems, represents a particular weak point. Pipe- and ductwork passes through separating building elements (walls and ceilings), stairwells and corridors, and thus forms a path along which flames and smoke can spread. In the event of a fire, pipe- and ductwork has a significant impact on safety in buildings and can soon pose a seri- ous threat. The risk potential rises with the number of pipes and their various tasks, thicknesses, materials and media. Therefore, in order to achieve the necessary fire protection targets, service penetrations in separating building elements must be sealed off. These fire protec- tion measures can be carried out in accordance with the less strin- gent requirements of the MLAR (state building regulations) or with an approval. -
Case Study: Asbestos Joint Compound on Drywall/Sheetrock $100,000.00 Savings
CASE STUDY: ASBESTOS JOINT COMPOUND ON DRYWALL/SHEETROCK $100,000.00 SAVINGS SCOPE OF SERVICES: AET was contracted by a not-for-profit senior adult community facility to provide asbestos contracting services prior to planned demolition of one of their outdated buildings. An EPA NESHAP inspection of the building had previously identified 24,000 SF of asbestos containing joint compound associated with non-asbestos drywall on the interior walls of the building. The asbestos building inspector had made a recommendation to remove the joint compound and associated drywall prior to demolition. AET was asked to provide a competitive bid for asbestos work along with two other asbestos contractors. AET EXPERIENCE: Joint compound or mud is used to seal joints/seams of the drywall. After application and drying the compound is sanded before being painted. Sanding can create an inhalation hazard from the dust release. Joint compound used before 1980 can contain asbestos. OSHA regulates disturbance/exposure to joint compound and requires this building material to be analyzed separately from the drywall by PLM. The EPA regulates disposal of drywall/joint compound and allows for this combined material to be composited into a single matrix. When analyzed as separate layers by OSHA, the drywall itself rarely contains asbestos and the joint compound where asbestos is found usually contains between 2-4% chrysotile asbestos. However, when analyzed as a composite per EPA protocol, the combined building material (2 layers) rarely exceeds >1% criteria to be defined as ACM. ABATEMENT REQUIREMENTS/COST SAVINGS: AET informed the potential new client that the drywall/joint compound did not have to be removed prior to demolition. -
The Stucco Technique of the Magistri Comacini: the Case Study of Santa Maria Dei Ghirli in Campione D'italia (Como, Italy)
The stucco technique of the Magistri Comacini: the case study of Santa Maria dei Ghirli in Campione d’Italia (Como, Italy) 1* 1 2 2 2 3 LAURA RAMPAZZI , BIAGIO RIZZO , CHIARA COLOMBO , CLAUDIA CONTI , MARCO REALINI , UGO BARTOLUCCI , 3 4 5 MARIA PERLA COLOMBINI , ANDREA SPIRITI , LAURA FACCHIN 1 Dipartimento di Scienze Chimiche e Ambientali, Università degli Studi dell’Insubria, via Valleggio 11, 22100 Como, Italy 2 Istituto per la Conservazione e la Valorizzazione dei Beni Culturali, Unità di Milano ‘Gino Bozza’, Area della Ricerca Milano 3 Bicocca, via Cozzi 53, 20125 Milano, Italy. 3 Dipartimento di Chimica e Chimica Industriale, Università di Pisa, Via Risorgimento 35, 56126 Pisa, Italy 4 Dipartimento di Informatica e Comunicazione, Università degli Studi dell’Insubria, Via Mazzini 5, 21100 Varese, Italy. 5 Scuola di Dottorato in Studi Umanistici, Università degli Studi di Verona, Facoltà di Lettere e Filosofia, Dipartimento di Arte, Storia e Società, via S. Francesco 22, 37129 Verona, Italy. *Corresponding author Laura Rampazzi, email address: [email protected]; phone number: +390312386475; fax number: +390312386449 Abstract This article is aimed to define the artistic technique performed by the outstanding artist Isidoro Bianchi for the Baroque stucco decorations in the church of Santa Maria dei Ghirli (Campione d’Italia, Italy). Samples of stucco were examined by means of optical microscopy, scanning electron microscopy with microprobe, X-ray powder diffraction, Fourier transform infrared spectroscopy, gas chromatography-mass spectrometry and laser ablation mass spectrometry equipped with plasma source spectrometry. On the basis of the results obtained art historians made new hypotheses on the biography of the artist and on the historical location of his birthplace. -
Greek Interior Decoration: Materials and Technology in the Art of Cosmesis and Display
CHAPTER 41 Greek Interior Decoration: Materials and Technology in the Art of Cosmesis and Display Hariclia Brecoulaki Introduction The concept of “ordering” and “adornment” is expressed in Greek culture with the word cosmesis. The interior space—be it domestic or public—adapted to architectural features and building functions is transformed into a suitable setting for the human activities that are to occur there; a setting where various movable objects and fixed decorations inter- act to order and adorn it. The interior space becomes its own closed universe, cosmos, combining a variety of materials, textures, colors, and light. To enhance a temple with monumental statues, to adorn a tomb with paintings or a house with mosaics, to display domestic paraphernalia in gynaecea (women’s quarters) or bronze armor on the walls of andrōnēs (men’s dining rooms), to furnish a king’s residence with sumptuous couches and artworks; these are acts that reflect specific social motivations and cultural behaviors, religious beliefs, political environments, and aesthetic values. We limit our focus to the fixed elements of interior decoration in ancient Greek domestic space (wall paintings and mosaics), movable artifacts (such as freestanding sculpture and furniture), and panel painting. We shall briefly touch on the interior deco- ration of Greek public spaces. While the function of architectural sculpture was decora- tive from its origin, statues and large‐scale painting in Greek public buildings assumed religious or civic roles and cannot be considered decorative in the current sense of the word (Ridgway 1971, 337). Likewise, the accumulation, with no primary planning, of countless dedications within public buildings, particularly in temples (although on view for worshipers and visitors), did not reflect a predefined concept for interior decoration. -
Plaster, Stucco & Wallpaper
Practical Conservation Guide for Heritage Properties Plaster,Stucco & Wallpaper Introduction The conservation of plaster, stucco and wallpaper requires a highly trained professional or a knowledgeable and practiced homeowner. Although routine maintenance may seen straightforward, damage can occur to the unique materials in your heritage home as a result of inappropriate conservation efforts. This guide includes general information on plaster, stucco and wallpaper and briefly mentions guidelines for conservation to aid you in selecting the proper professional for the task at hand. In this guide: Plaster Plaster Plaster consists of a mixture of powdered lime or gypsum Decorative Plaster with water, applied to the interior surfaces of a building. Stucco The mixture was traditionally applied on walls and ceilings over a lath made of wooden bands secured to Wallpaper wall studs or ceiling joists, but has more recently been Samples and applied to heavy-duty metal mesh. The application of Documentation plaster traditionally included three coats. The first, or Maintenance and Repair base coat, was strengthened to best adhere to the lath, Safety Precautions: with binders of animal hair and aggregates of sand, for Lead-based Paints example. The second coat consisted of a similar composition and texture, but aimed at ridding the surface of irregularities. The final application often saw the addition of lime to whiten and create a smooth surface free of imperfections. Paint and wall paper would be applied directly on this top coat. Contemporary wet plaster has typically replaced lime with gypsum, a hydrated calcium sulfate or sulfate of lime that hardens more quickly. Modern-gypsum plaster does bond to the traditional plaster well, aided by lime’s softer and more porous character. -
New Fayette County Prison Volume 2 Divisions 03
SECTION 03 1000 CONCRETE FORMING AND ACCESSORIES PART 1 GENERAL 1.01 RELATED DOCUMENTS A. Drawings and general provisions of contract, including General and Supplementary Conditions and other Division 01 specification sections, apply to requirements of this Section. 1.02 SECTION INCLUDES A. Formwork for cast-in place concrete, with shoring, bracing and anchorage. B. Openings for other work. C. Form accessories. D. Form stripping. 1.03 RELATED REQUIREMENTS A. Section 03 2000 - Concrete Reinforcing. B. Section 03 3000 - Cast-in-Place Concrete. C. Section 04 2001 - Masonry Veneer: Spacing for veneer anchor reglets recessed in concrete. 1.04 REFERENCE STANDARDS A. ACI 117 - Specifications for Tolerances for Concrete Construction and Materials. B. ACI 301 - Specifications for Structural Concrete. C. ACI 318 - Building Code Requirements for Structural Concrete and Commentary. D. ACI 347R - Guide to Formwork for Concrete. E. ASTM B221 - Standard Specification for Aluminum and Aluminum-Alloy Extruded Bars, Rods, Wire, Profiles, and Tubes. F. ASTM B221M - Standard Specification for Aluminum and Aluminum-Alloy Extruded Bars, Rods, Wire, Profiles, and Tubes (Metric). G. PS 1 - Structural Plywood. 1.05 SUBMITTALS A. Shop Drawings: Indicate pertinent dimensions, materials, bracing, and arrangement of joints and ties. B. Designer's Qualification Statement. C. Design Data: As required by authorities having jurisdiction. 1.06 QUALITY ASSURANCE A. Designer Qualifications: Design formwork under direct supervision of a Professional Structural Engineer experienced in design of concrete formwork and licensed in the State in which the Project is located. 1.07 DELIVERY, STORAGE, AND HANDLING A. Deliver prefabricated forms and installation instructions in manufacturer's packaging. -
Stucco and Clay in the Decoration of the Monumental Building of Old Nisa
AperTO - Archivio Istituzionale Open Access dell'Università di Torino Stucco and Clay in the Decoration of the Monumental Building of Old Nisa This is a pre print version of the following article: Original Citation: Availability: This version is available http://hdl.handle.net/2318/1704247 since 2020-02-19T10:43:04Z Terms of use: Open Access Anyone can freely access the full text of works made available as "Open Access". Works made available under a Creative Commons license can be used according to the terms and conditions of said license. Use of all other works requires consent of the right holder (author or publisher) if not exempted from copyright protection by the applicable law. (Article begins on next page) 07 October 2021 Stucco and clay in the decoration of the monumental buildingS of old niSa Carlo LippoLis Università degli Studi di Torino, Dipartimento di Studi Storici, Centro Ricerche Archeologiche e scavi di Torino Patrizia Davit Università degli Studi di Torino, Dipartimento di Chimica Francesca turco Università degli Studi di Torino, Dipartimento di Chimica résumé – Contrairement au décor architectural en terre cuite et à la sculpture en argile crue, la production de stucs dans l’ancienne Nisa n’a été que marginalement étudiée. Ceci est essentiellement dû à la rareté des représentations fgurées. Cependant, des fouilles récentes ont permis de découvrir quelques fagments de sculptures en stuc et en argile, en même temps que des moules doubles en mortier de gypse qui éclairent d’un nouveau jour les techniques de fabrication des sculptures. Le procédé de fabrication d’une sculpture est identique pour les deux types de matériaux puisque le modelage de la fgure se fait grâce à l’application successive de couches d’argile et de stuc (ou les deux), de plus en plus fnes et pures. -
USG Levelrock® 2500 Floor Underlayment Architectural Spec
SECTION 03540 [03 54 13] ® Cementitious Underlayment LEVELROCK ™ 2500 Specification PART 1 - GENERAL ***Notes to Architect are highlighted in red**** 1.01 SUMMARY A. Description of Work: Work of this sections includes self leveling underlayment for interior finish flooring but is not limited to, the following: ® 1. LEVELROCK 2500™ Floor Underlayment covering normal project conditions and applications. 2. Division 3 Section “Concrete Toppings” applied over various substrates. 3. Division 9 Section sound control, patching, and leveling compounds applied with finish flooring. 1.02 REFERENCES A. ASTM C472 Compressive Strength B. ASTM C33 Sand Aggregate C. ASTM D4263 Standard test method for indicating moisture in concrete D. ASTM F2419 Standard test method for installation of thick poured Gypsum concrete and preparation of surface to receive resilient flooring E. ASTM E492 Impact Insulation Class (IIC) F. ASTM E90 Sound Transmission Class (STC) 1.03 RELATED WORK SPECIFIED ELSEWHERE A. See Section 9 for acceptable flooring materials including vinyl, tile, wood, and laminates. 1.04 SUBMITTALS A. Product Data: Submit manufacturer’s specifications and installation instructions with project conditions and materials clearly identified or detailed for each required product or system. B. Acoustical Data: Submit sound tests according to IBC code criteria ASTM E492 (IIC) and ASTM E90 (STC) 1. Submit in writing that all sound tests or data provided has been tested according to UL (Underwriters Laboratory) fire resistance design number. ® ™ Cementitious 03540 - 1 LEVELROCK 2500 Underlayment Floor Underlayment Updated 9/6/06 1.05 SYSTEM REQUIREMNETS A. Performance Requirements: ® 1. LEVELROCK 2500™ Floor Underlayment a. Minimum compressive strength 2,500 psi. -
Section 092400
SPEC MIX, Inc. – Guide Specification Note to User: This section contains macros to aid the editing process. By default Microsoft Word disables macros for virus security reasons. When you open a file that has macros, the yellow message bar appears with a shield icon and the enable content button. To enable these macros, click the Enable Content button. SECTION 09 24 00 PORTLAND CEMENT STUCCO (To View Hidden Text, Type CTRL-H) PART 1 – GENERAL 1.1 SECTION INCLUDES A. Portland Cement, Pre-blended Scratch and Brown Coat Stucco. B. Portland Cement, Pre-blended Fiber Base Coat Stucco. C. Portland Cement, Pre-blended Colored Finish Coat Stucco. 1.2 RELATED SECTIONS A. Section 03 30 00 - Cast-in-Place Concrete. B. Section 04 20 00 - Unit Masonry. C. Section 05 40 00 - Cold-Formed Metal Framing: Light gauge load-bearing metal framing. D. Section 06 10 00 - Rough Carpentry: Wood framing. E. Section 07 21 13 - Board Insulation. F. Section 07 92 00 - Joint Sealants. G. Section 09 22 16 - Non-Structural Metal Framing: Non-load-bearing metal framing systems. H. Section 09 22 36 - Metal Lath. I. Section 09 29 00 - Gypsum Board: Exterior gypsum sheathing. 1.3 REFERENCES A. American National Standards Institute (ANSI) / American Hardboard Association (AHA): 1. ANSI/AHA A 194 - Cellulosic Fiber Board. B. ASTM International (ASTM): 1. ASTM A 641/A 641M - Standard Specification for Zinc-Coated (Galvanized) Carbon Steel Wire. 2. ASTM A 653/A 653M - Standard Specification for Steel Sheet, Zinc-Coated (Galvanized) or Zinc- Iron Alloy-Coated (Galvannealed) by the Hot-Dip Process. -
Sheetrock Plaster of Paris J928
® Plaster of Paris For patching interior walls and ceilings Description SHEETROCK Plaster of Paris is a fast-setting material used to repair ▪ For drywall and plaster surfaces holes and cracks in drywall and plaster walls and ceilings. It dries hard within 30 minutes. SHEETROCK Plaster of Paris may also be used ▪ Also ideal for molding and casting for casting, modeling or sculpting forms. ▪ Advantages Sets hard in 30 minutes Ideal for patching. SHEETROCK Plaster of Paris is the solution to ▪ For interior use only interior drywall and plaster surface problems. Patching both holes and cracks is easy and fast. Fast setting. SHEETROCK Plaster of Paris is easy to work with and hardens in only 30 minutes. Economical. Mix only the amount of SHEETROCK Plaster of Paris you need to use for each application. For molding and casting. SHEETROCK Plaster of Paris is formulated so that it provides excellent molding and casting properties Directions Mixing—Use cool, clean water and clean equipment; mix powder and water in proportions shown below. Mix to the consistency of a smooth paste. Do not overthin. Avoid mixing more material than can be used in 15 minutes. Mixing Proportions—Mix powder thoroughly into water until completely wet. The initial mix should be slightly thicker or heavier than the desired working consistency. Mix until smooth. Let this initial mix soak for approximately one minute. (Note: The cooler the conditions, the longer the material must soak.) Remix approximately one minute, adding water to achieve the desired working consistency. Do not mix with other compounds in wet or dry form. -
The Sound Design Guide
The Sound Design Guide a transparent resource for sound & fire information get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. As a manufacturer, we have taken great strides in simplifying this part of the building envelope by providing new comprehensive tools and rich online resources to you, the architect and specifi er. Our product specifi cations and sustainability tools, available at www.PABCOgypsum.com and ARCAT, have been paired with new continuing education courses that cover everything from sound and acoustic challenges to discussions related to new 2015 industry standards. Meet your design goals with ease. Be it our trusted FLAME CURB®, light-weight LITECORE®, protective PABCO GLASS® or our award winning QuietRock®; we have what the job demands. what the job demands PABCO® Gypsum technical services: 866.282.9298 www.PABCOgypsum.com QuietRock® acoustical products: 800.797.8159 www.QuietRock.com get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design.