encouraged young artists and commissioned art works for his buildings, in particular a now lost relief by Rudolf Belling on the wall above the staircase in the De Volharding Building. He collected modern art and also had a collection of crystals, which he displayed under carefully planned lighting. Stylistically, Buijs' buildings usually combine De Stijl and New Objectivist approaches. He gave slide presentations on modern architecture, in which most of his examples were German. In his interiors, he preferred an approach reminiscent of the Bauhaus, with unadorned, modern furnishings in gleaming metal; he was one of the first in the Netherlands to use Marcel Breuer steel furniture. Notable buildings Rudolf Steiner Clinic, The Hague Buijs carried out the commission to build the clinic (1926–28) based on Rudolf Steiner's own architectural ideas; he studied Steiner's Goetheanum for a month before designing it. The building is "unornamented, almost animistic" and uncharacteristic of Buijs. De Volharding Building, The Hague Built for a workers' cooperative by that name and designed to house shops, storage for products and a dental clinic as well as offices, the De Volharding (Persistence) Building (1927–28) is De Stijl or cubistic in conception, influenced also by Russian Constructivism, and clad entirely in glass. A light tower rises from the roof above a large sign which bore the name of the cooperative; these are in white, yellow and blue glass, the blue extending downwards to form a divider between the lift tower and the staircase tower, which consist of glass bricks, as does the strip above the ground-floor windows. The remainder of the façade consists of ribbon windows separated by opal glass spandrels, which can be reached from gangways and had lettering mounted behind the glass advertising the benefits of membership. In response to the client's requirement that he include as much advertising space as possible, Buijs designed a building the entirety of which advertised both the organisation and the cooperative movement itself. It was "a city-scale luminescent sculpture", an internationally famous example of architecture of the night, "[p]robably the most frequently cited example for the potential applications of a future 'light architecture' in 1920s Europe", referred to in 1935 as "the most famous of all luminous buildings". However, it was criticised by some in the modern movement for combining expressionist elements and thus not being entirely devoid of ornamentation. The building inspired the design of Boston Manor tube station which