by Maurice Silber
My first job was with an architect-builder doing drafting. The original idea of the architect was used by me to create internal working arrangements. I used tracing paper overlays and constantly moved and shaped the internal space to fit the normal flow patterns. Since these plans were of large apartment buildings the various units had to mesh and interlock like a jig saw puzzle. Except for orientation, each floor had to contain a breakdown of three, four, and five room apartments. Apartments of similar size were identical in layout and square footage, with almost identical fenestration. Cost of materials commonly used and budget were limiting factors. This was finalized and finished plans were made. Blueprints were submitted to the proper authorities for approval and permits to build were obtained. The firm closed its doors when the architect owner, Julius Fishkind died.
While still in high school, I took on an independent project in a national competition. I built an exact scale model of the 69 inch reflector and observatory at Wesleyan University, Ohio, the Perkins Observatory. Using photographs, I had to calculate dimensions and I used as reference a standing figure of a six foot man. Surrounding this model was a large oil painting I had made specifically as a backdrop, depicting the solar system. The entire unit was enclosed in a large glass box. It was exhibited at the Museum of Natural History in New York and then moved to the Westinghouse Building at the New York World's Fair in 1939. It won first prize and a specially created award for dramatic value. This particular experience was valuable as I learned how to use various materials to simulate real life objects. At the same time I had been accepted to Pratt Institute, attending in the evening and majored in Industrial Design. This course included the creation of designs from my drawings and seeing them become a reality by using a diversity of fabricating techniques.
In making studies, the use of clay, plaster, plastics etc. was utilized. The novel use of ordinary materials for simulating the actual products was commonplace. Extraordinarily accurate simulation resulted from the use of paper, cardboard, plastics, granulated paints, sponges, screening, and other methods and materials. When the simulation was good enough it fooled the eye. Whenever possible a working product was made. Models and prototypes were evaluated and changed when improvement was seen possible. The function of the product was considered first, and then integrated with forms and colors pleasing to the eye, keeping in mind its marketing and acceptability to the public.
I studied the leading designers of the time and their works. Individuals such as Walter Dorwin Teague, Raymond Loewy and Donald Dohner were my teachers. I studied everything available, the Bauhaus, the publications of architecture, interiors, design, materials, and concepts.
I made use of all of these principles to build and decorate a custom designed house in Costa Rica. I designed and fabricated furniture scaled for the house model and had a hand in its carving. Practical considerations were combined with the aesthetic and theoretical. I explored historical methods and designs. Applying these concepts, I ensured that everything fit into the house in a practical way.
Several years ago I purchased land on a mountainside in Costa Rica, designed a house and separate studio for the site. I was involved in the actual construction. I spent seven weeks roaming over the land, drawing and redrawing roughs. I studied the terrain with the view of orienting the house and studio on the hillside. Factors such as solar exposure, wind, vista, drainage and landscaping were taken into consideration. All this affected the layout. Initially I had a topographical map made of the site. I made a true to scale model prior to construction to ensure no costly changes would be made during the the actual work. Changes were made in some aspects when I noted in the model a more judicious use of space, light and architectural refinements.Everything had to relate. This was quite overwhelming but I feel overcome successfully. In keeping with the influences of the country the house is designed with an understated Spanish motif.
Due to extremely heavy rains and the molesting of the substructure of the soil, a landslide occurred. This necessitated building a highly designed and engineered wall, something I suspected from the beginning but avoided. Being very familiar with the nature of the terrain I had to evaluate ideas, modify others and discard some. The forces that caused the slide had to be understood in order to overcome the stresses and pressures Steel bars of various diameters were laced across one hundred feet and down into solid ground a meter and a half. Native river rock and cement surrounded the steel. In order to enhance and relieve the design of the inclined wall I constructed wooden forms to be inserted during construction. The design is in keeping with the existing architecture.
The project was complicated by the fact that the subsoil was of a loose granular composition called "lastre" in Costa Rica. This has the appearance of rock or slate but actually is a clay like substance that breaks up when the rains and enormous pressure cause the sheering and falling away of the hill. To overcome this problem the wall was built in sections. In order to accomplish this without further collapse a heavy planked and trussed wall of wood was built piecemeal. The stone wall was constructed in front and when completed the wood was removed. Drainage ports spaced irregularly were part of the wall.
Landscaping conforms to the terrain. I performed studies to ascertain the best methods to combine looks with drainage problems due to the heavy rains. Water acts in strange ways and over a period of time it is observed to take its own course. Instead of fighting the situation one works with it and contributes to a solution. I experimented with flora that would thrive at an altitude of 5200 feet. Consideration was given to color and placement.
The wrought iron work such as sconces, railings and rejas were designed with a Spanish motif. These were handmade in the iron and foundry shops and I often helped with the bending, sawing, hammering etc. I installed all the fixtures and wired some. The object of all this work was to release creative energy and give me a place where I could paint in peace and serenity. This project ran the entire gamut from aesthetic appeal to engineering and was quite a learning experience.
I used native materials as much as possible. This included the tiles, stone, ceramics, roof tiles and lumber, some of noble variety. Traditional methods were used but incorporated modern technology such as reinforced concrete to withstand earthquakes. Concrete block with steel rods of different diameters were laced throughout the construction. Critical areas received the heavier rods. All this was embedded solidly in the block which was stuffed with cement. The great advantage of this type of construction is its durability, fire safety, vermin proof and resistance to dampness and temperature changes. Considering these qualities, it is relatively inexpensive. In the case where I had arches or other types of shapes, molds of wood were put in place and steel rods were positioned properly and the mixed concrete poured in. After several days the molds were removed. While the concrete was setting water was sprinkled onto the surface to improve the curing and strength. Depending on the hardness desired, the mixture of cement, gravel, and sand was varied. The usual mix for great strength was one part cement, two parts sand and three parts gravel. Since the surfaces were rather rough a finishing veneer of finer cement was applied. Maintenance was reduced to a minimum and that in itself is a great factor.
Millwork was done on the site using noble native woods. Before installing any of the frames for the doors, arches, and windows, a compound impervious to vermin and weather was placed between the cement and wood. This resulted in a "tight house".
The problem with the heavy rains necessitated the removal of the free water from our hillside and house area. This was accomplished by retaining walls, French drains and piping to divert the water. In addition several hundred tropical plants of a special variety were planted in the worst areas to retain the soil and hold it in place. After our last rainy season I was pleased that all is in place and no adverse conditions occurred, since it appears the water was drained adequately. The slide discussed previously is stable and there is no failure in any of the systems.
My acquired knowledge in all the facets of the arts in conjunction with industrial processes made this particular project an important addition to life experience. I have even been asked to design houses by prospective builders like myself because of its attractiveness.
The iron work, sconces, furniture and architecture blended into a homogeneous whole. My father was a master cabinet maker of the old school and from him I learned the use of tools, woodworking and related machinery. I also used other metal fabricating techniques and machinery to finish my designs, and to this day this knowledge and experience has served me well in other projects.
Documentation is available showing roughs, instructions, and specifications to my builder. I made a scale model of the house prior to actual building by way of a study and practical design confirmation. My learning experience benefited tremendously through this process given the many methods of construction and fabrication that were employed. Further challenges were met in transporting all building materials up the mountain to an isolated site using primarily primitive methods, due to the isolation of the building site. The house is quite an achievement and beautiful to behold.
