Masonry Magazine April 2004 Page. 56
Masonry of the Future
Each year, the designs and the creations become more and more elaborate, held in check only by the amount of materials presented.
Inspired by the ruins at Herculaneum, the installation builds on Eizenberg's interest in materials and materiality. Her concept for the installation was to explore non-vertical applications of terrazzo while illustrating the elements that make up the terrazzo craft. "Two things have to happen. You have to spend time knowing each other, and you have to spend time knowing the material," says Eizenberg.
Her creation integrates traditional material knowledge and craft techniques in non-traditional methods and applications. Using slate, a material never before used in ground applications such as terrazzo, she built upon the conception of tensile design through unexpected bends, turns and waves both horizontal and vertical. For Eizenberg, the future of terrazzo includes further exploration of the "green" or recyclable nature of terrazzo, together with material use in non-vertical applications.
AAC Block
U.S. DESIGNERS are starting to pay attention to AAC block, with one third the density and weight of traditional block. New York architect Winka Dubbeldam's design called for sculpting the material, following the curves created in graphic patterns of sound waves. Taking a material recognized for its ability to buffer sound, Dubbeldam reverses the material's characteristics and demonstrates how architectural forms and acoustical materials can be used to accentuate sound.
Starting with some designs that would have sent most contractors running, IMI Regional Training Director Bob Mion learned new approaches and limits for the material. The installation takes a traditionally rectangular material to build non-rectangular sculptures. Using individualized formwork techniques, the craftworker team translated the computerized design, which consisted of various courses of the rectangular AAC material, into two complementary and organically flowing towers. Characterized by its unique assemblage, extensive cantilevers and subtle shaping, the installation serves as a testament to the marriage of design, engineering and craftworker knowledge, which are necessary to look into masonry's future.
For all the adventurousness of the exhibit, there was an equally practical point, notes IMI President Joan Calambokidis. "We try to educate designers, building owners and decision-makers about more creative ways to use masonry, and we also push for more affordable ways."
"Masonry: It Makes a Village"
A SIMILAR design/build challenge, presented annually by the Masonry Institute of Washington, emphasizes both creative uses of masonry products and a better understanding of how one-dimensional plans become three-dimensional structures.
Four years ago, Washington state mason contractors embarked on an untried, untested and "risky" venture to get area architects involved in the masonry industry first-hand. They were asked to create masonry structures that can be, would be or are found in a village, in conjunction with masons. They were then asked to even build them!
In the first and second years (2000 and 2001), ten teams participated, each made up of a minimum of two architects and two bricklayers from local mason contracting firms. The third and fourth years, thirteen teams participated, with as many or more predicted for 2004.
The rules were simple: a minimum of two architects and two bricklayers work together to "design" the structure; a minimum of two architects and two bricklayers work together to "build" the structure on the competition floor. At the conclusion of one initial design-brainstorming meeting, one of the mason contractors said, "You wouldn't believe it; we had eight architects sitting around a table ALL talking about masonry."
And so "Village" became a fixture in the Washington state promotional arena. Each year, the designs and the creations become more and more elaborate, held in check only by the amount of materials presented (one pallet of bricks, 40 CMU block, and a box of cultured stone) and the construction time-frame (two days).
So what did these creative beings create? There are such unique and whimsical structures as a brick motorboat, ocean wave and a school bus. We even had a structure that had turtles wearing eyeglasses no less - made of bricks and colored tiles.
More useful creations included a play wall for children, clock tower, a gothic arch for garden areas, an aquaduct and a windmill. Showing a scene directly from the geogra