Abstract
For Rudolph M. Schindler, the role of geometry was a driving force for the consistent and systematic quality underlying most of his works. It provides an order for the formal expressions that encompasses both composition and construction. Among others, the Packard House stands out the most in terms of its unique employment of triangular geometry. By fabricating a scaled model and reworking drawings, this article reveals the underlying geometry of spatial composition of the house. It also discusses that Schindler′s treatment of the grid is unique, in comparison to his contemporaries, for instance Frank Lloyd Wright.
