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think this was important, especially to Neutra. His work softened.

MW: Do you see some change among the architects at the period of '37 to'40?

EM: Yes, yes. I think it is for the reason that the sun really needed more overhang than the strict International Style would allow, not just a sheer face, that's one reason. And the appeal was greater. The change came in Neutra with the Nesbitt house. The Bailey house came out of that same point of view: wood, plaster, brick.

MW: Well then, now let's go into the Case Study houses. Before we go into each architect, as this program was organized by Arts & Architecture and Mr. John Entenza, could you describe him briefly for the readers? And his intentions?

EM: Yes, he was a writer and he was working on experimental films, he was interested in the avant-garde in arts. John Entenza met Harris and asked him to design a house. John was a guest editor for several months on Arts & Architecture before he bought the magazine.

MW: How were the Case Study architects selected?

EM: They were ones who were close to John personally. Those first eight were selected by John. No one expected the program to be that popular. But everyone wanted to visit the Case Study houses, so to keep the program going new ones were included.

MW: Could you describe the system? Did Entenza pay the architect for the plans?

EM: No.

MW: Was he the owner of the houses?

EM: Oh, no, no. It went through various changes. In the beginning Entenza bought a piece of land in Pacific Palisades; some lots were sold to various people, to the Baileys for the Neutra house. Eames had a share of the land. What started as a small operation simply snowballed because of the intense interest. A French writer claimed in Domus about two years ago that it was