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

The target of the Bauhaus school was to combine art, craft and design to make a vision of the modern future. The Bauhaus style, otherwise called the International Style, rejected ornamentation and favored a harmonious relationship between an article’s structure and its capacity.

The Bauhaus upheld for consolidating moderation with 20th century large scale manufacturing methods to produce buildings and furniture, in addition to other things, and would impact Art, architecture, graphic design, interior design, industrial design and typography.

To commend the school’s establishing, Google launched an animated Doodle on Friday that incorporates the development’s minimalist aesthetic in a rolling art show that highlights some 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 would create objects that were both beautiful and useful.

Art school “must come back to the workshop,” Gropius contemplated in a concise 1919 manifesto.

“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 underlying Bauhaus course introduced students with the basic standards of elementary form, color theory and studies of materials. Students would then enter specialized workshops, including metalworking, cabinetmaking, typography and wall painting.

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

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

Under pressure from the emerging Nazi regime, 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 world.

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