David Gebhard marks 1928, as the year in which Schindler’s artistic compromise with De Stijl was complete. Although he declares that is only partly appropriate toapply this term to his works. He states that these have a essential point in common with the European De Stiji’s movement: the use of intersected volumes instead of simple volumes, which are the ones that use the representative figures of the International Style such as Gropius, Mies, Le Corbusier and Neutra . Moreover, Gebhard explains that:
Schindler’s repertoire of De Stijl comprehends a limited series of motifs that he repeats again and again, in scales that vary from the great wall unities to the small details and the furniture. The motif most frequently used is the open key. Other motifs that he uses frequently are a low L and a orthogonal Z, and rectangular planes that are partially superimposed on each other.Gebhard, David, Schindler, Thames and Hudson, London, 1971, page 105.
This text was published as a communication in the Fourth Congress DOCOMOMO Ibérico -“Modern Architecture and Tourism: 1925-1965”-held in Valencia between 6th and 8th November 2003).