Among the important pioneers of modern architecture and design, Marcel Breuer (1902 – 1981) occupies a very special position. By 1976, on the occasion of his receiving the Grande Medaille d'or from France's Academie d'architecture, Breuer was called “the last living landmark of the Bauhaus international school of architecture”, when he died five years later, he was recognized as the last modernist icon related to Bauhaus, school of design.

Furthermore he was heaped with architectural honors and awards according to his 150 structures accomplished on four continents was named as one of the form-givers of the twentieth century, and described as a “monumental figure among modern architects”.

Breuer, in his design from the first chair to his most recent house, has always insisted upon giving equal weight, clarity, and expression to each important element – and to create a vibrant architecture of many contrasts of schizophrenic modern life by balancing the transparency and solidity in each project. His design manner as an icon of early modernism has influenced the contemporary architecture regarding the innovative theories of architectural culture, the creation of unique, fluid space, pure but varied organizations of regular geometry, encouraging the production of artificial, construction of industrial - modulated elements and their successful applications in sensitivity of a sculptor.

This paper's aim is to redefine and prove the existence of the traces of Breuer's design in the contemporary architecture in the context of modernism. In this context, the paper's preferred method is to find out the influences of Bauhaus school in Breuer's design concepts, to make a comparison between Antonio Gaudi and Marcel Breuer as two icons of traditional and modern architecture, to analyze Breuer's geometrical application methodologies and to discover the connections between Breuer and the contemporary architects regarding modern design theories.