Hey guys...
Can you post something about Schindler Rudolf...and some pictures and models.
I think that he deserve it..he is one of first modern arhitects,but he was removed in shadow of FL Wright...
Thanks

Ok...let's start with his biography:

Rudolf M. Schindler
(b. Vienna, 10 September 1887; d. Los Angeles, 22 August 1953)

Ruldoph Schindler was born in Vienna in 1887. He studied at the Imperial Technical Institute from 1906 to 1911. After graduating from the Academy of Arts in 1913 with degrees in architecture and engineering, Schindler moved to Chicago where he worked for Frank Lloyd Wright. In 1921 Schindler established a practice in Hollywood. He collaborated with Richard Neutra from 1925..

Schindler and Neutra exhibited a striking difference in the use of materials. While Neutra utilized steel-framed buildings, Schindler designed his works with reinforced concrete. The difficulty in finding skilled concrete workers led Schindler to use studwork and ply. None of his chosen building materials have aged well.

Disregarding material and technical shortcomings, Schindler's designs provide insight into the three-dimensional creation of space. Schindler achieved a vast production of 330 buildings and projects over 40 years.

References
Dennis Sharp. The Illustrated Encyclopedia of Architects and Architecture. New York: Quatro Publishing, 1991. ISBN 0-8230-2539-X. NA40.I45. p136.

Pueblo Ribera
Vacation settlement of 12 'typical' units. Designed by R. M. Schindler, the details and method of construction were integrated with the living spaces. Using simple "typical" details and formwork that doubled as framing, the building was a testament to economy and ingenuity.

MORE (http://www.columbia.edu/cu/gsapp/BT/P_RIB/p-rib.html)

Lovell Beach House, Los Angeles, California:

The Furniture of R. M. Schindler (http://www.uam.ucsb.edu/Pages/schindler.html)

Modular Chair from the Van Patten House, 1934:

Rendering, Rudolph Schindler, Translucent House project for Palos Verdes Estates,1927-1928:

Summer House for Mr. and Mrs. Charles H. Wolfe, Avalon, Catalina Island, CA (1928-1931)
[demolished 2002] :(

The Gold House, Studio City, CA, 1945:

Kings Road House, West Hollywood, CA (1921-22):

MAK CENTER (http://www.makcenter.org/MAK_General_Info.php)
ARCSPACE (http://www.arcspace.com/architects/schindler/schindler_features.html)
ARCHINFORM (http://www.archinform.net/arch/1121.htm?ID=rKMTo9dt6TpRR0mU)
ARBITAT (http://architects.arbitat.com/schindler/)

Hey thank you very much ...its great...
I like his architecture...

Rudolf Schindler

Rudolf Schindler (1887–1953) was an Austrian-American modern architect who worked in Los Angeles during the mid-20th century.
Contents
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* 1 Early History
* 2 Schindler's Early Career, and Frank Lloyd Wright
* 3 Solo work
* 4 Recognition
* 5 Quotes

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Early History

Rudolf Michael Schindler was born on September 10, 1887, to a middle class family in Vienna, Austria. His father was a wood/metal craftsman and importer; his mother was a dressmaker. He attended the Imperial and Royal High School from 1899 to 1906, and enrolled in the Wagnersschule of Vienna Polytechnic University, graduating in 1911 with a degree in architecture. Schindler was most impressed by professor Carl König, despite the presence of many other famous notables like Otto Wagner, and particularly Adolf Loos. Most notably, in 1911, he was introduced to the work of Frank Lloyd Wright through the influential Wasmuth Portfolio.

Schindler also met lifelong friend and rival Richard Neutra at the university in 1912, before completing his thesis project in 1913. (Their careers would parallel each other: both would come to Los Angeles through Chicago, be recognized as important early modernists creating new styles suited to the Californian climate, and sometimes both would work for the same clients.)

In Vienna, Schindler acquired experience in the firm of Hans Mayr and Theodore Mayer, working there from September 1911 to February 1914. Schindler then moved to Chicago to work in the firm of Ottenheimer, Stern, and Reichert (OSR), accepting a paycut to be in the progressive American city, home of Frank Lloyd Wright. He found New York, which he visited along the way, crowded, unattractive, and commercial. Chicago was more redeemable, however, with less congestion, and access to the architectural work of Henry Hobson Richardson, Louis Sullivan, and Frank Lloyd Wright.
[edit]

Schindler's Early Career, and Frank Lloyd Wright

Schindler continued to attempt contact with Wright, writing letters despite his clumsy English, and finally met him for the first time on December 30, 1914. Wright had little work at this stage, was still plagued by the destruction of Taliesin and the murder of his mistress earlier that year, and did not offer Schindler a job. Schindler continued work at OSR, keeping himself occupied with trips and study, notably familiarizing himself with the early tilt up slab work of Irving Gill. Wright was able to hire Schindler when Wright obtained the commission for the Imperial Hotel in Tokyo, a major project that would keep the architect in Japan for several years.

Schindler's role was to continue Wright's American operations in his absence, working out of Wright's Oak Park studio. Schindler met and married his wife Pauline Gibling (1893-1977) in 1919, and in 1920 Wright summoned him to Los Angeles to work on the Barnsdall House.

Schindler had already taken on several private commissions while in Los Angeles, but notably completed what many think is his finest building, his Kings Road House (also known as the Schindler house, or Schindler-Chace house), as an office/house for two men and two women by late spring 1922. And had started to take on several projects of his own.

During this time, fractures started to appear in the Schindler-Wright relationship. Schindler complained, with some validity, of being underpaid and exploited.

claimed he was being excessively underpaid, and was, as well as his architectural affairs, running Lloyd Wrights businesses, such as the rental of the Oak Park houses. Of the houses Wright built in this period, the Hollyhock House was undoubtedly the most significant, which Schindler did most of the drawings for, and oversaw the construction of, while Frank Lloyd Wright was still in Japan. The client, Aline Barnsdall, subsequently became a client of Schindler himself, designing a number of small projects for her on Olive Hill, and a spectacular beachside 'translucent house' in 1927, which remains one of the great unbuilt projects of the 20th century.

As Schindler was applying for a Los Angeles architects licence in 1929, he mentioned his extensive work on the architectural and structural plans of the Imperial Hotel. Wright, however, refused to validate these claims. Eventually, disputes over whose work was whose spiralled, until Schindler released a flyer for a series of talks with Neutra, advertising himself as "in charge of the architectural office of Frank Lloyd Wright for two years during his absence". Wright refuted this claim, and the two split in 1931, and never reconciled until 1953, less than a year before Schindler's death.
[edit]

Solo work

Schindler's early buildings are usually characterised by concrete construction. The Kings Road House, Pueblo Ribera Court, Lovell Beach House, Wolfe House and How house are the most frequently identified projects. The Kings Road house was to work as a studio and home for Schindler, his wife, and friends Clyde and Marian DaCamara Chace. The floorplan worked itself around several L shapes, and the construction features included tilt up concrete panels cast on site, which contrasted with the more 'open' walls of redwood and glass. It has largely become the symbol of Schindler's architecture.

In a search to create more inexpensive architecture, Schindler abandoned concrete, and turned to the plaster-skin design. This type of construction characteristic of his work throughout the 1930s and 40s, but his interest in form, and space never changed. He developed his own platform frame system, the Schindler Frame in 1945. His later work uses this extensively as a basis for experimentation.
[edit]

Recognition

Schindler's early work, such as the Kings Road House, and Lovell Beach House went largely unnoticed in the wider architectural world. As early and radical as they were for modernism, they may have been too different for people to recognise, and Los Angeles was only a minor speck on the architectural map. Schindler was not included in the hugely influential International Style exhibit of 1932, while Neutra was. To add insult to injury, Neutra was incorrectly credited as the Austrian who worked on the Imperial Hotel with Wright. His first real major exposure came in Esther McCoy's 'Five California Architects' of 1960. His work is undergoing somewhat of a modern revaluation, for its inventiveness, character, and formal qualities, which are bringing it to a new generation of younger architects.
[edit]

Quotes

"Can't you give me two lines, just two lines of recommendations without any hints at 'what a great man the boss is' and what poor fishes they are in comparison" - Schindler to Wright, while attempting to apply for his architects licence.

"He has built quite a number of buildings in and around Los Angeles that seem to be admirable from the standpoint of design, and I have not heard of any of them falling down". - Wright

"He has a good mind, is affectionate in disposition, and is fairly honorable I believe. Personally, though strongly individual, he is not unduly eccentric and I, in common with many others, like him very much" - Wright

"Personally, I appreciate Rudolph. He is an incorrigible Bohemian and refuses to allow the Los Angeles barber to apply the razor to the scruff of his neck. He also has peculiarly simple and effective ideas regarding his own personal conduct. I believe, however, that he is capable as an artist. I have found him a too complacent and therefore a rotten superintendent. The buildings that he has recently built in Los Angeles are well designed, but badly executed. I suspect him of trying to give his clients too much for their money. I should say that was his extreme fault in these circumstances of endeavoring to build buildings" - Wright

"Rudolph was a patient assistant who seemed well aware of the significance of what I was then doing. His sympathetic appreciation never failed. His talents were adequate to any demands made upon them by me" - Wright at Schindlers Memorial Exhibition of 1954.
:not worth

Rudolf M. Schindler (1887-1953)

The Los Angeles architect Rudolf Schindler is regarded today as one of the central figures of the modern Movement in design occurring in Europe and the United States in the early part of the twentieth century.

Born in Vienna and trained in the city's fin-de-siecle atmosphere under Otto Wagner and Adolph Loos, Schindler's migration to America led him first to Louis Sullivan's Chicago and ultimately to the fertile architectural ground of Los Angeles under the apprenticeship of the enigmatic Frank Lloyd Wright. Surrounded by a clientele of progressive thinkers in the emerging intellectual culture of Hollywood, Schindler created a radical and intensely personal architectural conception which resulted in some of the seminal works of the period. One design, Pueblo Ribera of La Jolla represented an extraordinary leap in the Modernist sensibility when constructed in 1923.

Manifesto (Vienna, 1912)

The cave was the original dwelling. A hollow adobe pile was the first permanent house. To build meant to gather and mass material, allowing it to form empty cells for human shelter.

This conception provides the basis for understanding all styles of architecture up to the twentieth century. The aim of all architectural effort was the conquest of structural bulk by man's will for expressive form.

All architectural ideas were conditioned by the use of a plastic structural mass material. The technique of architect and sculptor were similar. The vault was not the result of a room conception, but of a structural system of piling masonry to support the mass enclosure. The decoration of the walls was intended to give the mass a plastic face.

These old problems have been solved and the styles are dead.

Our efficient way of using materials eliminate the plastic sculptural mass. The contemporary architect conceives the "room" and forms it with ceiling and wall slabs.

The architectural design concerns itself with "space" as its raw material and with the articulated room as its product.

Because of the lack of a plastic mass the shape of the inner room defines the exterior of the building. Therefore the early primitive product of this new development is the "box-shaped" house.

The architect has finally discovered the medium of his art: SPACE.

The new architectural problem has been born. Its infancy is being shielded as always by emphasizing functional advantages.

The first house was a shelter. Its primary attribute was stability. Therefore its structural features were paramount. All architectural styles up to the twentieth century were functional.

Architectural forms symbolized the structural functions of the building material. The final step in this development was the architectural solution of the street skeleton: Its framework is no longer a symbol, it had become a form itself.

The twentieth century is the first to abandon construction as a source for architectural form through the introduction of reinforced concrete.

The structural problem has been reduced to an equation. The approved stress diagram eliminates the need to emphasize the stability of the concrete.

Modern man pays no attention to structural members. There are no more columns with base, shaft and cap, no more wall masses with foundation course and cornice. He sees the daring of the cantilever, the freedom of the wide span, the space forming surfaces of thin wall screens.

Structural styles are obsolete. Functionalism is a hollow slogan used to lead the conservative stylist to exploit contemporary techniques.

Monumentality is the mark of power. The first master was the tyrant. He symbolized his power over the human mass by his control over matter. The power symbol of primitive culture was confined to the defeat of two simple resistances of matter: gravity and cohesion.

Monumentality became apparent in proportion to the human mass displacement effort. Man cowers befiore an early might.

Today a different power is asking for its monument. The mind destroyed the power of the tyrant. The machine has become the ripe symbol for man's control over nature's forces. Our mathematical victory over structural stresses eliminates them as a source of art forms. The new monumentality of space will symbolize the limitless power of the human mind. Man trembles facing the universe.

The feeling of security of our ancestor came in the seclusion and confinement of his cave.

The same feeling of security was the aim of the medieval city plan which crowded the largest possible number of defenders inside the smallest ring of walls and bastions. The peasant's hut comforts him by an atmosphere in violent contrast to his enemy: the out of doors.

Rooms that are designed to recall such feelings of security out of our past are acclaimed as "comfortable and cozy".

The man of the future does not try to escape the elements. He will rule them.

His home is no more a timid retreat: The earth has become his home.

The concepts "comfortable" and "homey" change their meaning. Atavistic security feelings fail to recommend conventional designs.

The comfort of a dwelling lies in its complete control of: space, climate, light, mood, within its confines.

The modern dwelling will not freeze temporary whims of owner or designer into permanent tiresome features.

It will be a quiet, flexible background for a harmonious life.
:clap:

"...a simple wave of a few materials articulates space into rooms..."
Rudolf M. Schindler

Pueblo Ribera is a complex of 12 units designed and constructed by Rudolf Schindler in the early 1920's. Innovative in design and construction technologies, these units are the only example of Schindler's work in San Diego, California.

Originally, each unit consisted of one bedroom on a single level, with the upper level designed as a sleeping porch. Each unit has a common wall with one other, with privacy and a spectacular view of historic Windansea Beach, La Jolla.




The Pueblos were designated historic site #117 by the San Diego Historical Society in 1977.

Pueblo Ribera is in the Great Buildings Collection, a multimedia encyclopedia of architecture on Macintosh CD-ROM. ISBN 0-442-01758-8) is published world-wide by Van Nostrand Reinhold (VNR), 115 Fifth Avenue, New York, NY 10003.

Our own particular unit has had the sleeping porch transformed into the master bedroom. We are currently attempting to restore the unit to its original granduer, restoring fixtures hidden by subsequent so-called architects and do-it-yourselfers, and removing the many coats of paint applied by earlier owners from the old redwood beams and concrete composed of sand from WindanSea beach.

...

outside

Plan...
This is all for now...hope you like it.
Cheers :cheers:

I have photos of the Kings Road residence (Schindler House) a few years ago (the only thing i wanted to see in LA). They are prints, so I have to scan them and do my usual travel info thing....

Well m8, when you do, here is the location...

Besides his space system, schindler also wrote a article on building - pretty interesting- particulary about fees

Published Commentary by Schindler and Critics


THE ARCHITECT-POSTWAR-POST EVERYBODY R.M. Schindler

In Pencil Points, Oct. 1944, p.16 + 18, cont. Nov. 1944, p. 12 + 14

If we disbelieve the prophets of a revolutionary change in our economy after the war we shall be forced to base our plans for the immediate future of the architect on the trends of the prewar past.

On this basis, optimistic hopes for radically new city planning and government sponsored housing will hardly materialize. The increasing conservatism of the United States, as expressed in our Congress, eliminates the possibility that this body will top our billion-dollar debt structure by housing grants. But houses we shall need, and the only way to get them into the hands of the people is to reduce their cost to fit the average income. Improved construction methods, prefabrication, etc., may help, but will not do the whole job. It will be necessary to attack the complicated organization of the contemporary building industry and eliminate all unnecessary charges which make the home a life-long financial burden.

A few years ago one of our statisticians found that only six percent of all building was executed under the guidance of an architect. Our California Architects' Association took notice with a start and tried to convince the public of the architect's value by means of radio talks. The oncoming war blurred the effectiveness of this campaign and redirected the profession into another frantic attempt: to convince government agencies that we architects had something to Contribute to the war effort. Complete failure to accomplish this culminated in th advice to disguise ourselves as simple technicians when applying for public office.

In a way, this was no new disguise. The architect has always over-emphasized his value as a supervisor and policeman of construction work, with the result that his real social contribution is generally unknown. It can be understood why the owner hesitates to employ an architect for the portion of the job which any technician can apparently do as well at lower cost, especially since the law protects the owner against gross structural inadequacies and flagrant dishonesty. In most communities, plans and structures are inspected by structural, plumbing, electrical, and health inspectors, and in addition, the finance agencies (banks, FHA) check the construction at repeated intervals.

Unless the public will come to realize the importance of the architect's spiritual contribution, his standing in the building industry will deteriorate further. The weakness of his present position and his consequent feeling of inferiority can best be shown by comparing the services rendered and remunerations received by the various members of the building industry.

Starting from the end of the undertaking, we find:

1. The landscape architect: He plans the environment of the house, specifies the plants, and supervises their planting. His principle equipment consists of a knowledge of plants and locale, coupled with a feeling for style and enough imagination to give form to his garden. Little detailing is involved, since nature provides the units for his "arrangement. "

He charges the owner fifteen percent on the total cost of the job, and in addition collects a commission of about twenty percent from the nursery providing the stock.

2. The interior decorator: He purchases and arranges furnishings and textiles. Equipped with a sense of design and a knowledge of the market, he contributes taste and color to the interior. Because he deals largely with historical designs and with the products of mills and shops, his personal creative effort is reduced to a minimum.

Mark-up for his services: one hundred percent over cost.

3. The tradesman: The recipient of the so-called subcontract, he furnishes the various materials which compose the building, and through his technical skill and labor incorporates them into the building.

His profit on the transaction, besides and above expense and a salary for himself, should be at least ten percent.

4.The general contractor: He computes costs and manages execution according to plans and specifications. Provided these are complete, his knowledge of the building processes need not be extensive, which is increasingly the case. The contractor during the good old times, used to maintain mechanical equipment and possibly lumber and material yards. At present, however, his principal tool is the telephone. He signs the lump sum contract and promptly sublets all work to the various subcontractors, without having to contribute any special talent for the benefit of the owner. Union wage scales and price fixing arrangements amongst manufacturers prevent his helping the deal by shrewd trading. Supervision of the building process by public inspectors relieves him largely of responsibility for structural soundness of the building. The present form of the building loan, with its progress disbursement reduces to a minimum his financial contribution and his need for capital.

5. The loan agency: It provides the missing portion of the money needed for the building, charging interest. The government now agrees to insure the loan, thereby relieving the agency of mortgage risks. In spite of this, the agency usually forces the owner to build in the most conventional and commonplace fashion so as to assure quick resale in case of default. Thus the architect is prevented from anticipating imminent changes in building conception. This kind of control retards architectural development in general, and victimizes the owner in particular because designs produced under such limitations depreciate rapidly.

Present interest charges are about five percent plus fees. By the time the owner has paid off his debt, he has paid more than twice the amount of the loan. This final doubling of the cost of the house reduces into insignificance the brain-twisting schemes by which the architect tries to save a few dollars through structural short-cuts. Government bonds pay two percent. Why should insured mortgages cost more? And note here, that the FHA accepts in its valuations the usual profits of contractors and tradesmen (up to 15% of the contract), but refuses to allow more than four percent for architectural services despite the higher minimum rates published by the A.I.A.

6. The realtor: We need not dwell on the subdivider. His lack of social responsibility, coupled with his fantastic profits have started the current cry for scientific planning. But even the simple salesman who gets your signature on the lot sales contract adds another five percent commission to the cost of your home.

7. And finally . . . the architect: We have reached the man whose performance determines whether the whole undertaking will succeed or fail financially, structurally and spiritually. He must know all materials and techniques and choose among them wisely. He must understand the owner and the neighborhood sufficiently to make his design an asset to both. He must sense the meaning of life and have a vision of its future. His imagination must enable him to take a pile of building materials and create an organism which will function and live.

His plans must cover every detail, must cope with the increasing complication of our mechanical development, and convey all necessary instructions to a host of skilled and unskilled workmen. He must supervise their performance and be responsible for the outcome.

The A.I.A. says that this contribution is worth a maximum of ten percent of the cost of the building if the architect can get it. And hold on ! - this charge is not profit, but must cover the architect's livelihood, the expense of his office, and the amortization of his education, consisting of at least five years of college and five to ten years of apprenticeship. Where is the architect's profit?

Is it any wonder then, that one architectural firm confesses that all jobs under twenty thousand dollars wind up in the red and serve only to maintain connections? That less scrupulous practitioners try to make ends meet by copying precedent instead of solving problems, by asking tradesmen to work out details (for which the owner therefore pays twice), and even by accepting secret commissions from contractors?

The A.I.A. further analyzes the value of the architect's various services: "supervision" of construction (which is largely delegated to employees) is valued at two-fifths of his total fee; "working plans" (again largely executed in the drafting-room) another two-fifths and "preliminary plans" trail at the valuation of one-fifth of his remuneration. Here is final proof that the lack of public appreciation for the archtect's work is exceeded only by his own self-abasement.

The "preliminary plans" are the very crux of the architect's contribution. They embody the over-all conception of the building and represent a complete synthesis of the architect's gifts, schooling, and experience. They should be the result of minute and lengthy studies of functional, structural, financial, and cultural problems entailed by the human needs and physical and financial limitations involved in the building.

It is for this main creative effort that the architect earns the smallest portion of his fee.

A further paragraph in the A.I.A. contract allots the architect an additional four percent of the cost if the building is executed without a general contractor, on a "subdivided contract" basis. Why four percent? No self-respecting contractor will undertake to execute a building on this basis for less than ten percent.

The architect must realize the importance of his contribution and demand sufficient payment to permit proper performance. However, building is already overburdened with the charges listed above, and must be relieved. It is senseless for a family to spend years saving for the "down payment" and then occupy "their" shelter burdened with twenty years of debt bondage.

The only solution, both for the owner's over-indebtedness and for the architect's under-compensation, is for the architect to take charge of all building processes himself. His designs should include interiors and landscapes, to be executed by experts and subcontractors working under the architect's guidance ( In the planning of "contemporary" buildings, this procedure is a necessity.)

Complete management of building operations will not add much to the architect's tasks if he is in the habit of supervising properly, and need increase the percentage rate of his fee only slightly. It will bring him into closer contact with craftsmen and give him greater knowledge and control of costs. I have found it advisable to compute material schedules for all sub-contracts separately. This eliminates the slip-shod and "come-on" bid, and protects the owner against eventual litigation. Coupled with a little extra care in certifying payments, it makes expensive bonds unnecessary. The owner has insight into the use of his money, and the element of uncertainty and distrust (justified or not) which the general contract creates, is eliminated. The increasing complication of our building processes allows so many variations from any norm that the lump sum contract becomes more and more a gamble in which the owner can lose but never win, since an excessive estimate will not bring him a refund, though a low estimate can lead to claims for "extras," poor and halting execution, and even a summons to court. The general contract makes "building" synonymous with "trouble" and induces the buying of ready-made speculative buildings which do not satisfy individual needs. Building a house should be a major and stimulating event to the prospective owner.

I think this proposed simplified procedure will lower costs by concentrating charges and responsibilities, and at the same time still allow proper recompense for a key person.

It is further important that subdividing be taken out of the speculator's hands and be guided by considerations of social need and of sound economics. The architect's vision for future living conditions can be a definite force for improving this field.

A lowering of costs and a concentration of rewards will enable the architect to enter the small house field - which he must do if we are to develop an architecture representative of a national culture.

Should the architect fail to regain leading position as a builder, his outlook is dismal: the public will pay any amount for services of a commercial nature, but is unwilling to recognizing cultural contributions. Similarily war housing operations show that the government prefers to deal with large businesses and contractors who give the appearance of financial responsibility. It seems certain that the speculative builder and large manufacturer will become increasingly more powerful economically, and the bureaucrat more so politically. If he does not take steps to prevent it, the architect will end up as their hireling, and his art will suffocate under a blanket of commercialism.

from (http://www.columbia.edu/cu/gsapp/BT/P_RIB/letter.html) http://www.columbia.edu/cu/gsapp/BT/P_RIB/letter.html

For those speak German, Hans Hollein has written an essay on Rudolph M. Schindler and it is here (http://www.hollein.com/index1.php?lang=en&l1ID=6&sID=22).
I post it here just to get all the info in one place (besides it doesn't come up by Googling).

please check out this site.... you can download large tiff files of measured drawings. see below...:cool:

Rudolph M. Schindler House, 833 North Kings Road, Los Angeles, Los Angeles County, CA

http://memory.loc.gov/cgi-bin/query/S?ammem/hh:@field(SUBJ+@od1(architects'+offices))


Overview

The Historic American Buildings Survey (HABS) and the Historic American Engineering Record (HAER) collections are among the largest and most heavily used in the Prints and Photographs Division of the Library of Congress. The collections document achievements in architecture, engineering, and design in the United States and its territories through a comprehensive range of building types and engineering technologies including examples as diverse as the Pueblo of Acoma, houses, windmills, one-room schools, the Golden Gate Bridge, and buildings designed by Frank Lloyd Wright. Administered since 1933 through cooperative agreements with the National Park Service, the Library of Congress, and the private sector, ongoing programs of the National Park Service have recorded America's built environment in multiformat surveys comprising more than 350,000 measured drawings, large-format photographs, and written histories for more than 35,000 historic structures and sites dating from Pre-Columbian times to the twentieth century.
This online presentation of the HABS/HAER collections includes digitized images of measured drawings, black-and-white photographs, color transparencies, photo captions, data pages including written histories, and supplemental materials. Since the National Park Service's HABS and HAER programs create new documentation each year, digital images will continue to be added to the online collections. The first phase of digitization of the Historic American Engineering Record collection was made possible by the generous support of the Shell Oil Company Foundation.

Thanks everyone for this thread, interesting stuff.
Schindler is brilliant I think.

One of my favorite images of his is on the cover a small Taschen book on him posted below. Its just such a relaxed space, simple and easy to build and looks good with age. (It's the studio of his own house 1921-1922)

By the way if anyone has any recommendations for a better book (mine is a pretty thin photo based monograph) please let me know, I'd like a real 'architecty' book with big plans and sections.