Cultural appropriation in architectural discourse; where do we look?

Cultural Appropriation can be defined as the unacknowledged and inappropriate use of customs, practices and ideas that belong to another less dominant culture. In academic and artistic concern, cultural appropriation and the discourse surrounding it has predominantly been directed at representation in film, and in closer proximity to Architecture discussion has mainly revolved around historical artifacts taken out of their contexts to sit in Imperial museums. However upon closer inspection it seems that discourse in fact exists in Architecture for cultural appropriation, under the guise of imitation.

While modern re-evaluation of Architecture through the discourse of Cultural appropriation focuses on the ethnicities of architects and perhaps the nature of inspiration on design, earlier discourse on the nature of imitation also fits the bill in this regard. In fact the example of Frank Lloyd Wright’s dabbling into Mayan Revival features as an excellent example of how architectural criticism has perhaps already been addressing the nature of cultural appropriation.

The textile block houses, by architect Frank Lloyd Wright, situated in Los Angeles California is an interesting example. The houses were one of the first of the Mayan Revival movement in American Architecture. The movement itself arose, in the early 20th century, from a desire to draw lineage from Native American genealogy as opposed to European — coupled with the archaeological discoveries of the time.

Wright’s flirtation with Mayan Revival features geometric cast concrete blocks with metal bars ‘woven’ in as reinforcement. The blocks themselves are commonly interpreted as featuring Mesoamerican and pre-Columbian designs. Influenced by the Mayan bas-reliefs the blocks feature abstract textures (almost hieroglyphic in effect) that are reminiscently similar. The houses also feature certain elements common among the Mesoamerican Ziggurat, taking some of its most dynamic aspects, such as the crown-like ornamentation, foreboding doorways and canted walls.

fig 1.0 (Above): A picture of Millard House, by Frank Lloyd Wright, depicting the Mayan inspired foreboding entryway

fig. 1.1 (above): Gateway at Labnah, lithograph on stone by J. C. Bourne, based on artwork by Frederick Catherwood, from Catherwood 1844, pl. XIX.

fig1.2: Picture of Cast concrete ‘textile’ blocks at Ennis house.

An aesthetic similarity is apparent, and the argument for cultural appropriation appears because it seems that this is as far the similarities extend. In fact the Ennis house is noted to appear much more like a glass house on the inside, with the stone almost limited to the exterior. During the deconstruction of Wright’s textile block houses it becomes apparent once again that it is not Wright’s own identity that is a cause of concern but the shallow integration of Mayan Architecture. Further looking at the Ennis house there seems to be little programmatic and perhaps even climactic connection to Wright’s apparent source of inspiration. What may be noted however is the similarity to ziggurats in the stepped vertical construction and a further placement on raised site to complement this.

fig 1.3: West elevation of Ennis House, depicting stepped levels and location on raised site

Overall it seems that Mayan-revival as exhibited in Wright’s textile block houses is rather shallow, what further cements the objections against Wright is the fact that the movement of ‘Mayan Revival’ itself was predicated on the notion that the Mayans were a long gone culture, when in fact they exist as a minority in California to this day. Wright’s only saving grace can be found in the interpretation of his Grandson Eric Wright, who believed that Wright’s textile block, were not in fact an imitation of Mayan Architecture as they were cast as opposed to the originally carved blocks in Mayan counterparts. This technical difference perhaps sheds light on a more respectful intention on Wright’s part. However even Eric Wright admits that the intended effect was the same as that of the Maya. It seems that Wright’s fall is by an integration that hasn’t gone deep enough.

Nonetheless it is notable that beyond simple imitation even poor integration can be a perceptible form of appropriation. A recent choreographed dance performance by Crystal Sepúlveda in front of Wright’s Hollyhock house, in 2017, re-visited the discourse through the lenses of the existing Mayan people. The performance uses ritual dance in order to reconnect to the circulatory and performative nature of space found in Mayan Architecture, making Wright’s work once again a backdrop for the dialogue on cultural appropriation, except perhaps finally redeemed as a medium of cultural reclamation.

Bibliography

Rhodes, M.. Architecture’s Fine Line Between Stealing And Inspiration. Wired.
https://www.wired.com/2015/10/architectures-fine-line-stealing-inspiration/

HistoricalMX.. A Brief History Of Mayan Revival Architecture | Historicalmx. https://historicalmx.org/items/show/155

Cartwright, M. and Cartwright, M., 2020. Maya Architecture. Ancient History Encyclopedia.
https://www.ancient.eu/Maya_Architecture/

KCET. Frank Lloyd Wright’S Textile Block Houses Weave An Enduring Legacy. https://www.kcet.org/shows/artbound/the-warp-and-the-weft-frank-lloyd-wrights-textile-block-houses-weave-an-enduring

Zara, J.,. How Frank Lloyd Wright’S Take On Mayan Temples Shaped Hollywood. Artsy.
https://www.artsy.net/article/artsy-editorial-frank-lloyd-wrights-mayan-temples-shaped-hollywood

“Inside A Famous $23M Mayan-Revival Frank Lloyd Wright Mansion- On The Market”. 2020. Architectural Digest. https://www.youtube.com/watch?v=t87mgS8HUKQ.