大卫·格布哈德将1928年视为为辛德勒与“风格派”完成艺术妥协的一年。尽管他宣称，将这个词应用于他的作品只是部分合适的。他指出，这些与欧洲“风格派”的运动有一个重要的共同点：使用相交的体量而不是想国际风格的简单的体量，如格罗皮乌斯、密斯、勒柯布西耶和诺伊特拉。此外，格布哈德解释说：
辛德勒的“风格派”演绎了一系列有限的主题，他一遍又一遍地重复，规模从墙体到小细节和家具。最常用的主题是开放键。他经常使用的其他图案是低L和正交Z，以及部分相互叠加的矩形平面。
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).
