Field Evaluation of Pavement Marking Materials, MLR-79-02, 1979

Pavement marking materials other than conventional paint must be evaluated as environmental standards become more restrictive. The new EPA classification for solvents states that all oil paints are photochemically reactive and, therefore, contribute to smog. This will eventually result in the elimination of organic solvents from all paints, which may occur in Iowa by 1985. The Special Investigations Section of the Office of Materials field reviewed all urban and rural applications of pavement marking materials in the spring of 1979. The field review consisted of a visual estimation of percent marking missing, percent satisfactory, and percent non-satisfactory; reflective readings by ERMA; and notation of special conditions which may have impacted performance. ERMA was not effective in evaluating the reflective quality of pavement marking materials. No pavement marking materials evaluated have been successful enough to date to totally replace conventional painting methods.

Field Evaluation of Electro-Reflective Measuring Apparatus (ERMA), MLR-81-01, 1981

The Electro-Reflective Measuring Apparatus (ERMA) was developed by the Minnesota Department of Highways in 1974 to measure the retro-reflective characteristics of pavement marking materials. Minnesota researchers recommended that due to the increased cost of pavement marking materials and reduced availability of these materials, ERMA can and should be used as a maintenance management tool to determine when painting is necessary rather than according to a fixed time schedule. The Iowa DOT Office of Materials built an ERMA device patterned after Minnesota's design in 1976. Subsequent efforts to calibrate and correlate this ERMA device to District Paint Foremen ratings proved unsuccessful, and ERMA modification or abandonment was recommended in 1979. Lyman Moothart, Materials Lab. Tech. 4, modified the ERMA device in 1980 and correlation attempts to District Paint Foremen ratings conducted in November 1980 have been moderately successful. A Paint/No Paint ERMA value has been established which will identify about 90% of the painting needs but will also include about 40% of the marking lines not needing repainting. The Office of Maintenance should establish a trial ERMA program to study the accuracy and potential cost savings of using ERMA to identify pavement marking needs.

Hydro-Surface Preparation and Coating for Painted Structural Steel, TR-407, 1999

Cities and counties in Iowa have more than 8,890 steel bridges, most of which are painted with red lead paint. The Iowa Department of Transportation (Iowa DOT) maintains less than 35 bridges coated with red lead paint, including seven of the large border bridges over the Mississippi and Missouri Rivers. Because of the federal and state regulations for bridge painting, many governmental agencies have opted not to repaint, or otherwise maintain, lead paint coatings. Consequently, the paint condition on many of these bridges is poor, and some bridges are experiencing severe rusting of structural members. This research project was developed with two objectives: 1) to evaluate the effectiveness of preparing the structural steel surface of a bridge with high pressure water jetting instead of abrasive blasting and 2) to coat the structural steel surface with a moisture-cured polyurethane paint under different surface preparation conditions.

"Locus Ecclesiae" : Passion du Christ et renouveaux ecclésiastiques dans la peinture murale des Pyrénées françaises : les styles picturaux (XIIe s.)

RESUME FRANCAIS Le premier chapitre de la thèse prend en considération le style des peintures murales du XIIe siècle à Toulouse, en Comminges, en Couserans, en Carcassonnais et en Roussillon. Chaque oeuvre est analysée de manière comparative avec les autres oeuvres de la même région. Dans la conclusion, on propose de reconnaître l'existence d'au moins trois - peut-être quatre - centres de production de peinture murale, qui exercent leur influence sur la production de la région. La ville de Toulouse se présente comme une véritable capitale régionale en matière de peinture murale. La découverte d'une inscription qui permet de dater une partie des décors de Saint-Sernin à l'année près constitue l'acquis majeur de cette partie. Le deuxième chapitre est consacré à l'analyse de l'iconographie de la Passion du Christ dans les peintures de Saint-Sernin de Toulouse, Saint-Plancard et Montgauch. L'on étudie ici lés valeurs ecclésiales et le thème de la rénovation dans l'iconographie de la Passion. L'étude explore aussi la notion de «lieu rituel » et la fonction spatiale des peintures dans l'édifice. Elle propose d'identifier des réaménagements du lieu selon l'exhibition d'un discours portant sur l'identité religieuse et l'autorité temporelle de l'Église, en coïncidence avec différentes facettes de la Réforme au XIIe siècle, dont l'étude a retrouvé certaines sources écrites. La troisième partie de la thèse est occupée par « le corpus des oeuvres », base documentaire de notre travail comportant les données historiques, architecturales, techniques, épigraphiques et bibliographiques de chaque oeuvre. RESUME ANGLAIS The first chapter of the dissertation takes into consideration the style of mural painting in Toulouse, Comminges, Couserans, Carcassonnais and Roussillon. Each work is studied in a comparative way with the other paintings of the same region. In the conclusion, we propose to recognise the existence of at least three - maybe four - centres of production of mural painting, influencing the production of the region. The city of Toulouse represents a real capital for the region in terms of mural painting. The discovery of an inscription that dates a part of the paintings of Saint-Sernin is the major result of this part. The second chapter is devoted to the analysis of the iconography of Christ's Passion in the mural paintings of Saint-Sernin of Toulouse, Saint-Plancard and Montgauch. The enquiry explores the ecclesiastical values and the theme of renovatio in this iconography, as well as the notion of "ritual place" and the spatial function of the paintings in the building. It identifies the redevelopment of places according to the exhibition of a speech on the religious identity and the temporal authority of the Church. These meanings coincide with different aspects of the XIIth century Reform, evidenced by unpublished sources. The third part of the dissertation is the "corpus", a documentary base for the whole enquiry composed by information on the historical background, the architecture, the paintings' techniques, and the epigraphic data of each work.

The glasses of the transept's rosette of the Cathedral of Tarragona: characterization, classification and decay.

The glasses of the rosette forming the main window of the transept of the Gothic Cathedral of Tarragona have been characterised by means of SEM/EDS, XRD, FTIR and electronic microprobe. The multivariate statistical treatment of these data allow to establish a classification of the samples forming groups having an historical significance and reflecting ancient restorations. Furthermore, the decay patterns and mechanisms have been determined and the weathering by-products characterised. It has been demonstrated a clear influence of the bioactivity in the decay of these glasses, which activity is partially controlled by the chemical composition of the glasses.

The glasses of the transept's rosette of the Cathedral of Tarragona: characterization, classification and decay.

The glasses of the rosette forming the main window of the transept of the Gothic Cathedral of Tarragona have been characterised by means of SEM/EDS, XRD, FTIR and electronic microprobe. The multivariate statistical treatment of these data allow to establish a classification of the samples forming groups having an historical significance and reflecting ancient restorations. Furthermore, the decay patterns and mechanisms have been determined and the weathering by-products characterised. It has been demonstrated a clear influence of the bioactivity in the decay of these glasses, which activity is partially controlled by the chemical composition of the glasses.

Les pintures murals negres del monestir de Pedralbes: problemes de conservació-restauració causats per l’envelliment de l’acetat de polivinil

Aquesta tesi s’inicia com un treball de recerca i posteriorment passa a formar part delprojecte de recerca BHA2002-02411 fi nançat pel Ministerio de Ciencia y Tecnología, dins elPlan Nacional de I+D+I (2000-2003).La idea principal, però, s’origina a partir d’un encàrrec professional del Museu-Monestir dePedralbes i del Museu d’Història de la Ciutat l’any 2000.Les pintures murals negres (Figura 1) són una de les obres menys vistoses, de les que tenenmenys protagonisme, d’entre les que integren la col·lecció del Museu-Monestir de Pedralbes.No semblen, a priori, l’obra més interessant des del punt de vista d’un encàrrec professionalper a un conservador-restaurador. Però el poc que es coneix de les pintures negres i la sevararesa (es desconeixen altres pintures similars que s’hagin pogut conservar), així com lespatologies derivades del seu arrencament i traspàs l’any 1974, aconsellaven aprofundir en el seu estudi, que, mica en mica, va acabar resultant absorbent.

Les pintures murals negres del monestir de Pedralbes: problemes de conservació-restauració causats per l’envelliment de l’acetat de polivinil

Aquesta tesi s’inicia com un treball de recerca i posteriorment passa a formar part delprojecte de recerca BHA2002-02411 fi nançat pel Ministerio de Ciencia y Tecnología, dins elPlan Nacional de I+D+I (2000-2003).La idea principal, però, s’origina a partir d’un encàrrec professional del Museu-Monestir dePedralbes i del Museu d’Història de la Ciutat l’any 2000.Les pintures murals negres (Figura 1) són una de les obres menys vistoses, de les que tenenmenys protagonisme, d’entre les que integren la col·lecció del Museu-Monestir de Pedralbes.No semblen, a priori, l’obra més interessant des del punt de vista d’un encàrrec professionalper a un conservador-restaurador. Però el poc que es coneix de les pintures negres i la sevararesa (es desconeixen altres pintures similars que s’hagin pogut conservar), així com lespatologies derivades del seu arrencament i traspàs l’any 1974, aconsellaven aprofundir en el seu estudi, que, mica en mica, va acabar resultant absorbent.