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McCoy- 21

none at hand, smudged the line with his thumb. All the while Vick predicting what he would do, based on what he had done in previous houses. But Schindler was outwitting us; the plan was almost square. As I predicted a wing, he closed the square, then at a "change point" he rotated the plan 45 degrees, laying down square on square. Then a third square. "You have a bridge left over," I said, reminding him of one deleted from a recent project, and pointing out a likely place to use it up. By the time Schindler slid the plan across the desk for our closer inspection laughter tears were on his cheeks and Vick and I were bent with laughter.

Schindler usually left it to one of us to work on inked presentation drawings, but he did the Ott house himself. It was like snowflakes. Alas the client abandoned the project.

It was in a spirit of jovial defiance that he had designed the Tischler house, again in the role of anti-contexturalist. The neighboring houses on the steep upslope faced the long side to the street, half way up the slope on a flat pad. He pulled his forward and strung it out along the north setback line, facing the rooms to a large south patio. The neighbors had west patios with retaining walls to keep the slope stable. (His son Mark later bought one, and the Cesar Pellis lived in another.)

Having broken with the custom of the street, Schindler celebrated his independence. The typical house was one with a front porch, designed for a flat lot and in appearance lifted to a leveled pad two stories in the air. Schindler's street