[3] The Raphael Guastavino Company's vaulting technique created monolithic assemblies by layering thin bricks and structural tiles with fast-drying mortar.
Rumford tiles had previously been made with rich organic soil that burned off during the firing process and created pores, this procedure was ultimately irregular and difficult to control.
[8] Consequently, Akoustolith was produced by binding well-sorted pumice particles with Portland cement to create an artificial stone, a process which offered consistency and allowed for a variety of shapes and color.
[9] Although sand and Portland Cement were typically used in the production of Akoustolith, the tile patent states that crushed rock or brick could be used as the aggregate, while lime or Plaster of Paris could be used as the binding material.
[10] Akoustolith's efficiency in absorbing different pitches was largely dependent upon the dimensions of its particles; its most imperative feature was its use of aggregate graded to a uniform size.
Although the production of Akoustolith tile was short-lived, its effectiveness in reducing reverberation in ecclesiastical spaces led to its installation in a variety of building types, including commercial, industrial, and institutional structures.
[5] In addition, Akoustolith's aesthetic qualities were touted: the tiles were available in several shades of gray and buff intended to blend with the warm colors of adjacent stone.
[5] Resembling a stone-like masonry material, Akoustolith tile was incorporated into several of the Guastavino Company's major building projects, including the 1929 construction of the Buffalo Central Terminal.