t to two dimensional planes, line and colour, their harmonious ideals were embodied in this absolute abstraction.
             The search for an idealistic world was best demonstrated and revealed in the paintings, sculptures and buildings of the De Stijl. Their aim was to use a visual language to change society's view of reality. This vision was particularly evident in the De Still's founder Theo Van Doesburg, who was a diverse member of the group. As a poet, painter, innovator, but above all an architect, Van Doesburg believed that the ideals of De Stijl were not just isolated to painting, but also played a tangible role in modern construction of the external world. These constructions, in contrast to architecture of the past, were anti-decorative. Like his colleagues he sought to trim back the clutter to reveal a simplistic plastic design believing that this would in turn result in true freedom. An articled entitled the 'Van Doesburg Manifesto' states:
             The functional space is strictly divided into rectangular surfaces having no individuality of their own. Although each one is fixed on the basis of the others, they may be visualized as extending infinitely. Thus they form a coordinated system in which all points correspond to the same number of points in the universe. It follows from this that the surfaces have a direct connexion to infinite space.
             In his attempt to create a fourth dimensional realm of space and time he sought to do away with the separateness of painting and combine all of the
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