African art: an impetus but implicit magnitude of architectural thought in Bauhaus schooling

Abstract

African art had a consequential inspiration for its aesthetic value over avant-garde mutiny, while the European artistic thought came to recognize the perpetual aspect of its composition and adapted these characteristics to evade naturalism which defined Western art, since the Renaissance. Architecture has opprobrium for its late response to any transformation of what other arts embrace certainly. But still, this ‘frozen music’ echoes the African ‘muddy or woody’ lyrics in its most constructive era of evolution; the zenith of Bauhaus. Why was this synthesis possible? To architecture, it is still regarded as a craft and the craftsmanship steered this communication to materialize both in elegiac comprehension and lucid scrutiny. The search for the sculptural need over architectural similes was probably to stimulate architecture in such way that is somewhat more humane. In fact, our retort to the nature is inevitable and such desire creates Metaphor and fabrics over symbolic representations which are experienced through climate, obtained by sensuous discernment of human being in what is referred to‘primitive’. Supplementary curriculum from the early Bauhaus school demonstrates the emphasizing practice of its unique connotation. Likewise, Uses of indigenous constituents got a different dimension, which were distinct in Modernist practice of African architecture. This, along with the curse of ‘unaesthetic’, could be better explained by the modern theory of fractal art; which is something beyond our conformist splendor.

Keywords: African art, African artifacts, Fractals, Cultural Exchange, Stylistic Influences, Bauhausand Modernism