One hundred years prior, an art school opened in Germany that would make a standout amongst the most compelling movements in art, architecture and modern design.

The target of the Bauhaus school was to consolidate art, craft and design to make a dream of the modern future. The Bauhaus style, otherwise called the International Style, rejected ornamentation and favored an amicable connection between an object’s design and its function.

The Bauhaus pushed for consolidating moderation with twentieth century mass production techniques to produce buildings and furniture, in addition to other things, and would affect art, architecture, graphic design, interior design, industrial design and typography.

To praise the school’s establishing, Google propelled an animated Doodle on Friday that consolidates the development’s moderate tasteful in a rolling art show demonstrate that features a portion of the object designs born out of the Bauhaus, including buildings, coffee pots, lamps and even cocktail glasses. And, of course, fine art.

The school was established in the city of Weimar on April 12, 1919, by German architect Walter Gropius, who built up an extreme educational programs that intended to turn out artisans and designers who might make objects that were both wonderful and helpful.

Art school “must return to the workshop,” Gropius contemplated in a short 1919 pronouncement.

“This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds,” he wrote. “When a young person who senses within himself a love for creative endeavor begins his career, as in the past, by learning a trade, the unproductive ‘artist’ will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence.”

The initial Bauhaus course acquainted students to the underlying principles of elementary form, color theory and studies of materials. Students would then enter specific workshops, including metalworking, cabinetmaking, typography and wall painting.

A portion of the school’s increasingly prominent faculty included Swiss painter Paul Klee, Russian painter Wassily Kandinsky and German-born American artist Josef Albers.

The school would migrate to two other German cities throughout the years, changing leadership and shifting its concentration with each move.

Under strain from the developing Nazi routine, the school’s leaders shut down the institution in 1933. As the students and staff left the school and emigrated from Germany, they spread the Bauhaus’ idealist precepts around the globe.