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planking. And you could not have it in long spans.


MW: That's why he started using pitched roof...

EM: That also led to screen walls, another thing that began in the 50's, typical of his style in the 50s-the screen wall. You see this kind of screen in the Skolnik house which is his last one, and an important one. It wasn't very successful in some ways, but it was a prediction of what would have been a new style.

MW: What do you think was the change of Neutra's style? You were saying in Schindler's case it was the economy-that it almost forced him to change in style and look for something else.

EM: Not almost—it did. Yes, it did definitely.

MW: Do you think that it was the same in Neutra's case?

EM: In a larger sense, but not in the smaller things because he didn't strive for such low cost.

MW: Yes, that was the point I was going to make. Because it seems to me that Neutra's post-war houses were more expensive, using the huge glass screens ... And using more expensive materials-stone walls, etc.

EM: True. Schindler did not like the soft pink stone, and Arizona flagstone, that Neutra used. Schindler used a stone in the Toole house, in Palm Desert, with what he called leopard spots. Then he also had a rougher stone, a bouquet canyon stone, he used in other houses because he did not like pastel stone. If he were going to use stone, he wanted it to be very expressive. The Kallis is one with the bouquet canyon.

MW: Now I want to talk about what you call the Second Generation, because your book about them is now published. And for this generation, I think most of the Japanese readers—

EM: They don't know them.