influence of Dutch designers Gerrit Rietveld and Theo van Doesburg. He was known to such giants as Le Corbusier and Mies van der Rohe, whose architectural vocabulary he was later to adapt as part of his own, but hardly considered an equal by them who were his senior by 15 and 16 years. Despite the widespread popular belief that one of the most famous of Breuer's tubular steel chairs, the Wassily Chair was designed for Breuer's friend Wassily Kandinsky, it was not; Kandinsky admired Breuer's finished chair design, and only then did Breuer make an additional copy for Kandinsky's use in his home. When the chair was re-released in the 1960s, it was named "Wassily" by its Italian manufacturer, who had learned that Kandinsky had been the recipient of one of the earliest post-prototype units. It was Gropius who assigned Breuer interiors at the 1927 Weissenhof Estate. In 1928 he opened a practice in Berlin, devoted himself to interior design and furniture design and in 1932 he built his first house, the Harnischmacher in Wiesbaden. The house was white, with two floors and a flat roof; part of it and the terraces rose freely on supports. London In 1935, at Gropius's suggestion, Breuer relocated to London. While in London, Breuer was employed by Jack Pritchard at the Isokon company; one of the earliest proponents of modern design in the United Kingdom. Breuer designed his Long Chair as well as experimenting with bent and formed plywood, inspired by designs by Finnish architect Alvar Aalto. Between 1935 and 1937 he worked in practice with the English Modernist F. R. S. Yorke with whom he designed a number of houses. After a brief time as the Isokon's head of design in 1937, he emigrated to the United States. Massachusetts In 1937, Gropius accepted the appointment as chairman of Harvard's Graduate School of Design and again Breuer followed his mentor to join the faculty in Cambridge, Massachusetts. The two men formed a partnership that was to greatly influence the establishment of an American way of designing modern houses – spread by their great collection of wartime students including Paul Rudolph, Eliot Noyes, I. M. Pei, Ulrich Franzen, John Johansen, and Philip Johnson. One of the most intact examples of Breuer's furniture and interior design work during this period is the Frank House in Pittsburgh, designed with Gropius as a Gesamtkunstwerk. Breuer broke with his