You Should Have Been an Architect

After reading my blog post about Fieldston, my friend Don wrote, “You should have thought about architecture — you have a keen eye for design, which is a good start, but also a keen mind for function — as in the design of the porches facing south.” That opens up a backstory, or to use the term my friend, Grace Camblos, facilitator of writing workshops taught me — it’s a prompt.

As a teenager I studied, and was enamored with, the works of Frank Lloyd Wright. Moreover, I was a Bauhaus kid — Form follows Function. Even at that age I was always designing buildings, laying out floor plans and seeing how to correct the problems in the buildings I was working in and the projects I was involved with. I have always been interested in helping determine ways of utilizing the resources that the environment makes available while still maintaining its potential to do that and in preserving its natural beauty. See my blog post on the cabin I lived in when I was fourteen.

Orthographic of stairs
Orthographic of stairs

In shop, I took up woodturning under Mr. Kent and made a Lazy Susan. I kept it for years, but it never met my standards. Mr. Houghton, who was the head of the shop, taught mechanical drawing. One day he was attempting to explain to one of my classmates what the orthographic of a model he was holding would look like. I’m almost willing to bet my bottom dollar that you don’t know what an orthographic is. Imagine the two-dimensional images of a three-dimensional object — front view, top view and side view — on an 11” x 16” sheet of paper. That is an orthographic. I grabbed a pencil and a sheet of paper and sketched out what the model would look like, including the dotted lines for the edges that were not directly visible. “That’s what it would look like” Mr. Houghton said to the student. He asked me if I would like to take mechanical drawing. “Sure” was my reply.

Now let me introduce you to another concept. Again I’m almost certain you are unaware of it. It is called the “error of enclosure”. You start the mechanical drawing at one corner — for each of the three images — work yourself along the first, second, third and fourth side and if all goes well you are back to the spot where you first started. The distance between where you started and where you actually ended up is called the error of enclosure. For me it was always too large. Although I could easily see what the image should look like, it never came out the way it should. So I gave up on mechanical drawing. I learned later in life than my fine coordination skills are poor.

Let me say that, at the time, the first step on the road to becoming an architect, was as an architect’s apprentice. In that role you were responsible for creating the plans and images of the structures. It was done by using mechanical drawing. Computer assisted graphics did not exist. Need I say more?

Photo © Timothy Hursley. Paolo Soleri
Photo © Timothy Hursley. Paolo Soleri

Later in life I worked with the well-known bellmaker/architect, Paolo Soleri. I traveled with him from his home in Phoenix to Arcosanti, the village he designed, constructed and ran. Both the ideas and the implementation are important. However, they don’t have to come from just one person. It is important to be open to and listen to those of others. I learned from Solari by counterexample that regardless of how creative and imaginative you are, it is very important to incorporate the ideas and suggestions of those who are working along with you. All the answers do not come from the person at the top, even if he/she is in control. You can look up to him/her but they are not God. You are all part of a team.

I also considered set design as a career. After checking around I found there were two schools — Yale and Carnegie Tech. However, at the time, the employment opportunities were very limited. They were either on Broadway or summer theater. There was no TV. I first saw TV on a cathode ray tube at the 1939-1940 New York World’s Fair. However, it did not begin to flourish until the 1950s after World War II. Here again my lack of mechanical aptitude and skills came into play. I did not think I was good enough to make it under those conditions. So I gave up on that as well.

I have always been fascinated by architecture and by structure, function and design. And by the relationship of structures to the land around them, to their environment. In spite of that, I decided not to become an architect. Who knows what would have happened if I had grown up knowing a fine, supportive architect who had taken me under their wing or if we had computer graphics at the time.

So, Don, that is why I didn’t become an architect.

I have been able to use those interests and skills in the field that I have chosen — economics. I also added the fascination and understanding of process — the steps necessary to get things done — that I learned working in manufacturing as a teenager. And then there is my love of the arts; architecture being only one of them. In college, my art history professor, Dr. Clemens Sommer, taught that “Art is a product of the culture”. Since economics is an essential component of the culture,  I have been able to incorporate all of those concepts, interests and skills into my work in economics. See Behind Each Work of Art to learn more about how I have done this.

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The Fieldston Years

EthicalCultureLet me tell you about the advantages of a good high school education and the importance of one’s experiences during those formative years. I was a 1930’s kid. I entered The Ethical Culture Fieldston School in September 1941 as a Third Former, a high school freshman. Fieldston is an educational arm of the New York Society for Ethical Culture. It is the granddaddy of the humanistic movement. It was founded by Felix Adler in the 1880s.

Three months later, after the Japanese attack on Pearl Harbor, we were into World War II. The war ended in August four years later, shortly after our Class of ’45 graduated. Of the seventy-six students in the class, fifty were girls. Many, if not most, had been together since kindergarten, either at Downtown Ethical or at Fieldston Lower and Middle School. I was the only Queens kid.

My previous school experience was in traditional Queens public schools — PS 48, 23, 21 and 20. In fact, I was accepted by Fieldston directly from 8A. Consequently, I never finished the eighth grade and never graduated from elementary school.

We lived in Flushing, a mile away from the end of the No. 7 IRT subway. It took you to Times Square. From there you picked up the Broadway Subway and traveled to the end of the line at 242nd Street and hiked up the hill to Fieldson. To avoid the long, daily two-way commute during the week I boarded with three local families over the next four years. Being away from home during the week helped me learn how to take care of myself. Continue reading “The Fieldston Years”

The Cabin

Photos by Grace Camblos

The Cabin
The Cabin

My first trip to the South was during spring break in 1942, at age 14. I took the Southern Crescent from Penn Station in New York to Spartanburg, SC. An employee of my father’s picked me up there, and we drove first to Hendersonville, NC, and then another 10 miles west toward Penrose along Kanuga Road. It turned into Crab Creek Road once you got to the top of Jump Off Mountain.

It was a bright and sunny spring day, with the Carolina blue sky above and mountains to the left and to the right. As we negotiated the dirt road along Crab Creek, we finally got to what eventually became Shoals Falls Farm. There was a broad expanse of bottomland to our left that rose into the hillside and the mountain. It was spotted with small houses and shacks. In the distance stood a small wooden barn.

Shoals Creek
Shoals Creek

Just past a largish house on the left — it turned out to be the Patterson’s house — we turned left onto an even narrower dirt road, crossed over one rickety bridge over Crab Creek, another bridge over Shoals Creek, and passed two houses on the left. I later learned that the first and smaller one was called the Little house, and the larger one the Jack Newton house. Along with my Dad, he had just purchased some property there. Just beyond the houses, past the wooden barn on the left, the road took a jog to the left and then the right, right on up the mountain.

A short distance up the road there was another one that cut back to the left. There were two stone pillars, with the gate between them swung open. Passing through the gate, the road dipped down toward Shoals Creek, then fanned out into a parking area that butted up against the creek, with an old-fashioned gasoline pump standing to one side.  The roads were so shrouded in trees that you couldn’t see the sky. Continue reading “The Cabin”