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Esther McCoy                                               15

the tensions created by the broken rhythm were what made his buildings unique--in a way they were like a composition in twelve-tone scale.
At the site the foundation had been poured and stakes driven [[strikethrough]]in[[/strikethrough]] at intervals at the perimeter, firmly planted. Schindler and Andy working together marked the four change points on the stakes. Only at those points could surface occur. The points were always the same. As I remember, they were two [[strikethrough]]2[[/strikethrough]] foot six, four, door height (six foot eight) and eight. In the thirties after his concrete experiments became too costly and he had turned to cubism, his plans automatically required a variance from the building department; some of his ceilings were below the mandated eight feet but with other ceilings soaring above eight feet he was always able to persuade the plan checkers to issue a permit [[insert]] as the [[/insert]] height averaged out at eight.
It was all very simple. Within strict controls he did indeed play at architecture.
I questioned his about how he had arrived at the points but he laughed as if it were a secret. I thought it might have something to do with proportions but the only way (beside the eye) that I knew the proportions were determined was by the Golden Section, and he ridiculed that. The answer was under my hand on the board, and all around me at Kings Road. It struck me while I was working on the Presburger house, the first I had carried from start to finish. Window sills at two-six and four (there was a bank of four-four windows in many of the