Complete explication of hogan and house forms, root forms, summer structures and more make this possibly the most complete study ever made of the folk architecture of a tribal society to date.
For many people, Native American architecture calls to mind the wigwam, tipi, iglu, and pueblo. Yet the richly diverse building traditions of Native Americans encompass much more, including specific structures for sleeping, working, worshipping, meditating, playing, dancing, lounging, giving birth, decision-making, cleansing, storing and preparing food, caring for animals, and honoring the dead. In effect, the architecture covers all facets of Indian life. The collaboration between an architect and an anthropologist, Native American Architecture presents the first book-length, fully illustrated exploration of North American Indian architecture to appear in over a century. Peter Nabokov and Robert Easton together examine the building traditions of the major tribes in nine regional areas of the continent from the huge plank-house villages of the Northwest Coast to the moundbuilder towns and temples of the Southeast, to the Navajo hogans and adobe pueblos of the Southwest. Going beyond a traditional survey of buildings, the book offers a broad, clear view into the Native American world, revealing a new perspective on the interaction between their buildings and culture. Looking at Native American architecture as more than buildings, villages, and camps, Nabokov and Easton also focus on their use of space, their environment, their social mores, and their religious beliefs. Each chapter concludes with an account of traditional Indian building practices undergoing a revival or in danger today. The volume also includes a wealth of historical photographs and drawings (including sixteen pages of color illustrations), architectural renderings, and specially prepared interpretive diagrams which decode the sacred cosmology of the principal house types.
Complete explication of hogan and house forms, root forms, summer structures and more make this possibly the most complete study ever made of the folk architecture of a tribal society to date.
This Handbook provides the first comprehensive international overview of significant contemporary Indigenous architecture, practice, and discourse, showcasing established and emerging Indigenous authors and practitioners from Australia, Aotearoa New Zealand, the Pacific Islands, Canada, USA and other countries. It captures the breadth and depth of contemporary work in the field, establishes the historical and present context of the work, and highlights important future directions for research and practice. The topics covered include Indigenous placemaking, identity, cultural regeneration and Indigenous knowledges. The book brings together eminent and emerging scholars and practitioners to discuss and compare major projects and design approaches, to reflect on the main issues and debates, while enhancing theoretical understandings of contemporary Indigenous architecture.The book is an indispensable resource for scholars, students, policy makers, and other professionals seeking to understand the ways in which Indigenous people have a built tradition or aspire to translate their cultures into the built environment. It is also an essential reference for academics and practitioners working in the field of the built environment, who need up-to-date knowledge of current practices and discourse on Indigenous peoples and their architecture.
The constant in architecture's evolution is change. Adaptive Architecture explores structures, or environments that accommodate multiple functions at the same time, sequentially, or at periodically recurring events. It demonstrates how changing technological, economic, ecological and social conditions have altered the playing field for architecture from the design of single purpose structures to the design of interacting systems of synergistically interdependent, distributed buildings. Including contributors from the US, UK, Japan, Australia, Germany and South Africa, the essays are woven into a five-part framework which provides a broad and unique treatment of this important and timely issue.
Over the course of their history, the Navajo (Diné) have constructed many types of architecture, but during the 20th century, one building emerged to become a powerful and inspiring symbol of tribal culture. This book describes the rise of the octagonal stacked-log hogan as the most important architectural form among the Diné. The Navajo Nation is the largest Indian reservation in the United States and encompasses territory from within Arizona, New Mexico, and Utah, where thousands of Native American homes, called hogans, dot the landscape. Almost all of these buildings are octagonal. Whether built from plywood nailed onto a wood frame or with other kinds of timber construction, octagonal hogans derive from the stacked-log hogan, a form which came to prominence around the middle of the last century. The stacked-log hogan has also influenced public architecture, and virtually every Diné community on the reservation has a school, senior center, office building, or community center that intentionally evokes it. Although the octagon recurs as a theme across the Navajo reservation, the inventiveness of vernacular builders and professional architects alike has produced a wide range of octagonally inspired architecture. Previous publications about Navajo material culture have emphasized weaving and metalwork, overlooking the importance of the tribe’s built environment. But, populated by an array of octagonal public buildings and by the hogan – one of the few Indigenous dwellings still in use during the 21st century – the Navajo Nation maintains a deep connection with tradition. This book describes how the hogan has remained at the center of Diné society and become the basis for the most distinctive Native American landscape in the United States. The Diné Hogan: A Modern History will appeal to scholarly and educated readers interested in Native American history and American architecture. It is also well suited to a broad selection of college courses in American studies, cultural geography, Native American art, and Native American architecture.
As the Great Depression touched every corner of America, the New Deal promoted indigenous arts and crafts as a means of bootstrapping Native American peoples. But New Deal administrators' romanticization of indigenous artists predisposed them to favor pre-industrial forms rather than art that responded to contemporary markets. In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programs—and how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native art’s commodity status and the artist’s position as colonial subject. In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts. McLerran marks the contributions of key individuals, from John Collier and Rene d’Harnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art “revivals” as it opens a new window on the Indian New Deal.