Bauhaus 100: Symmetries and Proportions in Modern Architectural Composition
Guest Editor: Vilmos Katona
The architects’ community celebrates the first centenary of Bauhaus. The famous design school of post-World War I Germany combined crafts and the fine arts, announcing a new program for modern life. Based on pure geometry and functionalism, it chose a scientific approach to re-create the human environment, to liberate that from historical allusions, and to redefine culture as a product of rational thinking. Bauhaus changed the structure of the education of applied arts, and placed architectural master planning to its centre as the peak of all major specializations. However, those specializations each were progressive actualizations of traditional crafts due to the needs of industrialized construction. Materials were processed and objects were fashioned accordingly in the Werkstadts of the old campus at Staatliches Bauhaus in Weimar, then in the southern wing of the new school in Dessau. Light penetrating through the great curtain wall of the new building was an achievement that already promoted the age of transparency.
Modernism to Bauhaus was initially a different concept and behaviour of living under the aegis of the old Europe, yet it became a broadly generalized architectural language in America’s open air. Philip Johnson referred to it as the international style, and categorized its features in order to give a simple guide to the nouvelle design—ironically, he later altered his style to post-modernism. His guide, though, is an important source to us, since Johnson described one of the characteristics of modern composition as a genuine play between the adaptation and the violation of symmetry. If he was right, then either the early Bauhaus or late neo-modernist compositions share the same principles.
The commemorative architectural issue of Symmetry: Culture and Science welcomes papers with different approaches focusing on symmetries and proportions in modern architectural composition. We expect studies either on the semiotics of the “international” architectural language, its role and metamorphosis over time, or the structural, psychological, sociological effects of the modern use of symmetry in architecture. Studies considering the impact of modern composition on architectural education are also welcome. Historical studies about Staatliches Bauhaus, its institution, work methods, communication, and human network are also encouraged to re-introduce symmetry in a different light. Contemporary critiques and re-formularizations of Bauhaus compositional principles may also be appreciated.
Please, follow the instructions for authors and use the MS Word (preferred) and TeX style-sheets downloadable from the bottom of the page Instructions. Please, take special care of: (1) the page size, margins, running heads; (2) the use of the built in styles; and (3) follow precisely the given style of references. MS Word users, please, use MathType for formulas and equations.
The length of the papers may vary from 6 to 16 pages, including illustrations. Note, the papers will be published both electronically and printed. We can publish colour illustrations online, but we can print those illustrations in b/w only. The latter means that colours should be made distinguishable in grey-scales after conversion into b/w.
Deadline for submissions is July 31, 2019. The papers will be peer-reviewed before decision on their acceptance.
Submission: Please, send the manuscripts to the issue’s Editor.