Studying the work of Schindler is interesting not only to recall the teachings of the most forgotten modern architecture pioneers but it basically comes out from the perception that his work anticipates and coincides with certain postulates that contemporary vanguard and critique have attributed as original to Canadian-Californian architect Frank Gehry. The beginning of his best known career, climaxing with his own house in Santa Monica, 1978, is directly linked with Schindler's attitudes, search and buildings to the point that is no longer possible to believe the myth supported by specialized critique of a supposed vanguard hiding its sources. The first one of the coincidences sprouts out of the condition of both as foreign architects in Los Angeles as well as the link to the Mexican tradition exemplified in Schindler's Martin House (1915) and Gehry's Danzinger's House (1964). The Austrian born architect maintains a search for the spatial possibilities of architecture since his first works specially the house at Kings Road (1921), avoiding any stylistic classification. This independence and placing space as the main goal of his buildings, such as the Tischler, Kallis, Armon, Lechner or Skolnik Houses from the 40s, foresees the visual techniques used by Gehry, introducing a spatial complexity based in the loss of orthogonality, in the variety of sections and the leading role of diagonal lines producing an apparently formal randomness as well as the acceptance of ambiguity and experimentation as project characteristics alternative to established manners. The similarities in both architect's interests extend towards the expressive use of conventional materials such as metal mesh, corrugated metal or plywood beginning a new glance upon the architecture of second materiality in the second half of last century. Gehry and Schindler participate in a similar evolution of their language from two common realities: the use of wood and the attention to California's tradition understood as Los Angeles urban landscape and incorporating to architecture what others considered banal. The permanence of fragility demonstrated in Janson's House (1949) magnifies Schindler's presence among contemporary vanguards. Schindler was in that sense, the first one to include a new formality beyond the symbolic image of the machina while including popular expressions from South California. This fusion implies an unquestionable contribution that Gehry will spread among contemporary clamours.
