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The Julius Shulman photo is handsome, and that Chevy panel van is a rare bird. We recall that Neutra gave Shulman his first commission as an architectural photographer. https://socalarchhistory.blogspot.com/2 ... -1936.html
I'd love to see a group show of Neutra's and Schindler's renderings and other drawings. I continue to be tickled by Neutra's initials on this pre-Fellowship drawing of the Textile Block system:
On page 242 of Monograph 4 a white-on-black image of this drawing, including titling in German and measurements in centimeters, is reproduced with this explanation: "The block system as shown in the drawing below with German text was prepared for the book Frank Lloyd Wright, by H. de Fries, published in Berlin by Ernst Pollack, 1926." The cast block pattern is nearly identical to that of the Ennis house. The version shown here was included by Mr Wright in "The Natural House," 1954. Mr Wright can be credited with leaving Neutra's initials intact, in both versions of the drawing.
In the Monograph no index number is given to the German-language version of the drawing; Taschen also reproduces it, in color (it turns out to be a cyanotype---a blueprint) and with the erroneous [?] number 2111.001.
So, their collaborations began with Neutra doing landscape plans for Schindler houses---How, and the Lovell beach house---and then, between 1926 and 1931 under the rubric of AGIC (Architectural Group for Industry and Commerce), and joined by the urban planner Carol Arnovici, they designed an "amusement center" and cafés, hotels, and apartment houses. "Their largest planning schemes were for the Falcon Flyers Country Club, near Wasco, the auditorium and civic center art Richmond, and a series of 'highway bungalow hotels' (no locations given, signed only by Schindler and Arnovici). Not one was built" (Gebhard). He suggests that Neutra's presence may have "encouraged Schindler to rid himself of his bag of fussy Wrightian details which he still used on occasion. The cleaned-up machine-like quality of Schindler's buildings of the thirties, his increased use of hard, non-tactile materials, and his rejection of 'warm' materials, especially wood, during much of his de Stijl phase of the thirties probably owed much to the stimulus of Neutra."
Interesting. On the other hand, he wrote somewhere that he was not happy with stucco: "An inorganic and rigid material applied over an organic wood frame which moves with the weather and the seasons"---or the like. It's interesting as well to read of the Richmond, CA projects; this might explain a lone house by Schindler on the San Francisco Bay shore at Richmond, far north of most of his work.
(Most of the pictures wouldn't display for me, and the realtor links are obsolete.)