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No.2 

the Tischler house, I had left his office and I went back 2 or 3 times when he needed help, and one of those times I worked on the Tishchler house. 

MW---You were in his office from 1944 until…? 

EM---May have been '44 or '47, [[strikethrough]] There was a break there, once, [[/strikethrough]] with one break, then I may have gone back in '48 or '49 for a couple of weeks. 

MW---After you started writing about California modern architecture. 

EM---Yes. There was so much interesting work being built [[strikethrough]] houses [[/strikethrough]] in L.A., much more than any place else. [[strikethrough]] And [[/strikethrough]] So magazines would ask me to [[strikethrough]] do certain things for [[/strikethrough]] write about them.

MW---[[strikethrough]]So [[/strikethrough]]You mean that L.A. was a booming city in the 40's. [[strikethrough]] after especially late 40's. [[/strikethrough]]

EM---Yes. [[strikethrough]] There happened to be bastered with houses, and they had been -- [[/strikethrough]] The editors knew [[strikethrough]]knew their work [[/strikethrough]] the architecture from the prewar days and [[strikethrough]]so they were looking for new work [[/strikethrough]] then there were young postwar architects. When I was in the Schindler's office, there were many requests unanswered for work of his for publication, and he hadn't had anything photographed for a number of years, and so I [[strikethrough]] said that he must get something [[/strikethrough]] urged him to get the late late work photographed. [[strikethrough]] and so, I looked over the photographers and in the magazines. [[strikethrough]] Schindler didn't like photographers [[strikethrough]] as a rule, anyway. And he would just chop them up, you know, to get [[/strikethrough]] much. He would crop the photographs and come out with some little detail.

MW---I was about to ask you about the conditions of L.A. in terms of the architects in the 40's.

EM---The volume of building was great because everyone was building a great deal. [[strikethrough]]you see[[strikethrough]] There was so little building in the 30's, and the increase in population made it absolutely necessary. [[strikethrough]] to build.[[strikethrough]]

MW---I see. It's not only the Modernist, but all the people ...

EM---Yes, everyone.

MW---Before we go into the 40's or 50's, I'd like to ask you about [[strikethrough]] Schindler and [[/strikethrough]] [[strikethrough]] and [[/strikethrough]] Schindler's clients and Pauline Schindler. What was your impression [[strikethrough]] about those people. [[/strikethrough]] of them? The reason I ask is that I have an impression that Schindler and his clients are made up of an avant-garde cultural circle.

EM---They were either in the avant-garde [[strikethrough]] politically, or [[/strikethrough]]in the arts or left wing politically. Or [[strikethrough]] even in teaching they [[strikethrough]] Or clients were interested in reforms in teaching or other fields. [[strikethrough]]They did attract a great many friends, [[/strikethrough]] The Schindlers attracted avant-garde friends in music, dance, arts, photography. I knew Pauline very well and liked [[strikethrough]] Pauline [[/strikethrough]] her. She [[strikethrough]]'s[[/strikethrough]] was a very difficult woman, but I [[strikethrough]]liked her,[[/strikethrough]] was very fond of her.