Masonry Magazine December 1983 Page. 15
Mental artist Aleksandra Kasuba has created numerous brick sculptures on buildings at various U.S. locations, and whose environmental work has been included in the exhibit "Transformations In Modern Architecture" at the Museum of Modern Art. The 1700-sq.-ft. brick sculpture required 1,800 manhours to install, including the build-up of relief, which was the work of six masonry craftsmen under the supervision of the Mercury Masonry Corp. of New Rochelle, N.Y.
Unlike Mara Smith, Kasuba did not carve images into unfired brick. Instead, she used fired brick which were cut at the site by a masonry craftsman, according to Kasuba's standardized dimensions. Kasuba provided a series of drawings and a 4-in. scale balsa wood model to illustrate the complex intersections of the brick, in a design which consists of a series of bands that form undulating lines and rhythmic patterns.
"Good craftsmanship is important on a project of this complexity," said Kasuba. "The men should understand the elements that make up the design and have a clear image of the final result. For this sculpture, we had some of the best people in the field."
Masonry craftsmanship and artistry also lend themselves well to the interiors of buildings, as shown in the lobby of the all-masonry "1900 Grant Street" office building in Denver, Colo. The 13-story structure, which is built entirely of chromite grey brick, includes a geometrically shaped courtyard. The grey brick wall of the courtyard extends into the lobby of the building, and it is on the expanse of this wall that a brick sculpture has been installed, dramatically displayed by track lighting.
Brick Sculptures Preferred
Project architect Donald Dethlefs, AIA, of Sink/Combs & Associates, Denver, said that the brick sculpture was preferred over other art forms, such as a tapestry, in order to "continue the aesthetic experience of individuals moving from the brick courtyard into the building."
Artist Ken Williams carved the unfired brick as oversized units with varying depths while they were still in the manufacturing plant. His intention in designing the massive, abstract sculpture was to "fully exploit the plastic nature of clay and demonstrate what can be achieved with brick in terms of volume and form."
The sculpture was the result of teamwork among artist Williams, mason contractor Dach Masonry Co., Inc. of Denver, the masonry craftsmen, and the architect, who were all present during the installation. "This type of job requires skilled bricklayers who are interested in the work and who care about doing it well," said Williams, "and the craftsmen on this job were excellent."
During a recent tour sponsored by the Colorado Chapter of the American Institute of Architects, according to architect Dethlefs, visitors not only liked the sculpture itself but had great appreciation for the craftsmanship involved in its creation.
Positive response from the community was an important element in the success of a recent brick sculpture by Mara Smith in Reading, Pa. (Masonry, July/August, 1983.) The crowning touch on a $60-million downtown restoration and new construction project by American Bank & Trust Co., the 15 x 60 ft. sculpture depicts the cultural history of southeastern Pennsylvania.
"The people of Reading are proud of the sculpture and obviously enjoy continued on page 29
This unusual sculpted brick design, created by Aleksandra Kasuba, is the focal point atop a three-establishment shopping arcade at 560 Lexington Ave. in New York City. The undulating pattern required more than 1,800 manhours to install, including the work of five masonry craftsmen. Mercury Masonry Corp., New Rochelle, N.Y., was the mason contractor.