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The face of interior design and decor luxury has certainly changed over recent years and although many elite still spend a fortune on their abodes, the glitz and glam seems to be fading. Rich velvet drapes with Swarovski crystal embellishment, gold plated finials and opulent chandeliers have seemed to diminished in popularity and have been reserved for the outlandish lifestyles of the middle eastern oil barons and sheiks. Tough times and worldwide recession, has had an impact on even the wealthiest and although they may still have their abundance of wealth, have decided to "play down" their unnecessary ostentatious ornamentation. This is a world wide phenomenon whereby the trend of individuality, tactility and technology have created a complete new aesthetic as well as new found appreciations. A great example of this paradigm shift is the new found appreciation of solid wood in it's most natural form, mostly devoid of any carving or inlay, but rather the thickness an

Walter Gropius studied architecture between 1903 and 1907 in Munich and Berlin. From 1908 to 1910 Walter Gropius worked for Peter Behrens, in whose practice the seminal AEG Tubine Hall of concrete, steel, and glass was planned and built. From 1910 Gropius had his own architecture practice in Berlin. In 1911 Gropius designed the Fagus Works in Alfeld. Walter Gropius was a member of the Deutscher Werkbund from 1910, where he joined Henry van de Velde in his initial efforts to counter standardization of design and promote individual creativity.
In 1908 Walter Gropius was invited to head the school for the applied arts Henry van de Velde founded in Weimar. Although Gropius did not take up the appointment and the school closed in 1915, Walter Gropius kept in contact with Weimar. It was Walter Gropius who designed the concept for merging the "Kunstgewerbeschule" with the "Hochschule der Bildenden Künste" to found a teaching facility that would operate as a consultan