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Statement of problem/issue. Destruction of Holland during WWI devastated the occupants of this neutral country. In order to regain a feeling of nationality and harmony, architects such as JJP Oud and artists such as Piet Mondrian, Theo Van Doesburg and Vilmos Huszar founded the De Stijl movement. The movement, which called for the removal of ornamentation and simplification of organic forms to their "pure state", evolved into more than fundamentals of an artistic movement. It became a way of life, the basis for the revival of Holland. Artists rejected static balance but rather explored and embraced the idea of an active and dynamic balance, applying it to works of art, architecture and literature. The Schroeder House, evolving the movement out of its conceptual nature and into the built world, further developed this idea of active balance in everyday life. Spaces were developed through the use of adjustable planes, thus creating a dialogue between adjoining rooms, morphing and transforming them into newly formulated spaces. The De Stijl artist and architect did not create mere active balances and harmonic conditions through forms and colors but rather selected exact materials for specific functions. Materials such as wood, steel and glass were used as examples of this purification and ultimate truth of form. Form and function became the fundamental law in the work of the De Stijl visionaries. Statement of significance. This thesis will create a relationship between the human body, principles of the 20th century De Stijl movement, material change and present society, thus evoking a contemporary version of the De Stijl movement. Experimenting with perception, the use of boundaries set up by the artist Piet Mondrian in his paintings and the application of color will distort the ideas of dimensions and interaction within the painting as well as architecture in the future. Method of inquiry. First, I will do a close reading of the primary documents that shaped the De Stijl movement. These include the manifestos and the English translations of De Stijl magazine. Simultaneously, I will examine some of the most significant works resulting from this movement including the composition series by Piet Mondrian, the Red and Blue Chair by Gerrit Reitveld, the Schroeder House by Gerrit Reitveld, and the exhibition interiors by Vilmos Huszar and Gerrit Reitveld. Second, I will work on a set of translations of a selection of these works to explore which elements can be moved into relevant contemporary conditions and which cannot. The use of materials other than those used by De Stijl artists will be tested for their properties. Color as well as materials will be applied to this exploration given that color was one of the essential elements used for the shaping of space in the De Stijl movement. Color was used by De Stijl artists to create asymmetrical balance of planes, projection in space, plane differentiation, and designation of spaces and objects. Third, I will use these translations to develop a new spatial and material construction in an attempt to discover what the meanings of dynamic balance and essential elements are today. I will explore different materials to describe such conditions developed by the De Stijl artists at the beginning of the 20th century. I will understand and re-invent such ideas of form and function from the De Stijl and re-apply it to the current times. Expected outcome. This thesis will expand, and perhaps validate, the work of the De Stijl members through a set of translations and an installation. I will document the research, experiments, installation and discussions that develop over the course of the semester.