impact on the amount of business Kaufmann's firm received, although he did receive an offer, never executed, from Max Reinhardt, head of the influential Volksbühne (Folk Stage), to build a new ballet theater. It is not clear whether Reinhardt seriously wanted Kaufmann to build the new theater or not. From then on, Kaufmann decided to take private commissions. Private Commissions Kaufmann also worked on private projects. In 1917 he accepted the commission by Leo Lewin for the interior of his villa in Breslau. Some of Kaufmann's first private commissions consisted of a series of villas built in and around Berlin, many of which still survive. Kaufmann, however, soon grew to dislike designing villas and other single-family dwellings, as they did not prove financially profitable enough for his firm. He returned to theater building and constructed two notable theaters during this time, the and the Krolloper. The latter took nine years to build, from 1920 to 1929. Interior Design Especially Kaufmanns style of his interiors can be described as non puristic. In 1928 art critic Max Osborn invented the term Expressionist Rococo to describe Kaufmann's work. Some furniture designed by Kaufmann was exhibited for the first time after World War II in 2015 by Markus Winter at Lampedo Gallery, New York. In 2016 the Bröhan Museum showed his furniture in the exhibition Deutschland gegen Frankreich - Der Kampf um den Stil. Crisis and Emigration The Great Depression, although it did not affect Kaufmann's firm as strongly as many of his business contacts, caused a marked decline in the number of commissions his firm received. The Machtergreifung, or seizure of power by the Nazi Party in January 1933, caused Kaufmann's partner Stolzer to flee to Palestine in May of that year, and Kaufmann himself followed Stolzer to Palestine in September. A Moscow-based theater group, the Habima group, wished to build a new theater in the city of Tel Aviv. The project was first given to another German architect, Erich Mendelsohn, but the bid was withdrawn after Mendelsohn showed too little interest in the project. It was then offered to Kaufmann, who soon accepted, and moved his family to Palestine. In addition to this theater, he built a cinema for the city of Haifa, and a row of private apartments. However, in Palestine Kaufmann was unable to attain the same success and reputation that he had attained in Berlin. On top of that,