1. Boat-shaped roofs of the Tongkonan—the traditional ancestral house of the Torajan people in South Sulawesi, Indonesia. Photograph by Geri Dagys instagram.com/p/CI-lqr_DG6G/…
According to a Torajan legend, the Toraja people arrived "from the north by boats, but caught in a fierce storm, their boats were so badly damaged that they used them as roofs for their new houses" en.wikipedia.org/wiki/Tongkonan
2. Bedouin tents in Morocco
Drawings by Spanish anthropologist, historian, linguist Julio Caro Baroja (1914–1995), from his book 'Estudios saharianos' (1955)
3. Yurts, or Mongolian Gers—the portable, circular dwellings used by several distinct nomadic groups in the steppes of Central Asia. [Source of the photos: nationalgeographic.org/encyclopedia/y…]
4. Uma Mbatangu, 'peaked house', the Sumbanese traditional dwelling on the island of Sumba, Indonesia
For more images and information:
'Sumbanese Traditional Houses in Indonesia / Vernacular Architecture' in 'ArchEyes', August 5, 2020, archeyes.com/sumbanese-trad…
5. The shabonos (or yanos), circular communal dwellings of the Yanomami tribes of Southern Venezuela and Northern Brazil
6. And one of my absolute favourites: The Fujian Tulou, Chinese fortified earth buildings (12th–20th cent.), mostly circular or rectangular in configuration, five stories high & capable of housing up to 800 people
7. The Igloo, ᐃᒡᓗ in Inuktitut syllabics—we may think we know it, but we don't...
8. Another example of bioclimatic, vernacular architecture: Chan Chan, largest city in pre-Columbian America
10. Goju-no-to, an anti-seismic, five-storied pagoda erected in 1407 in Nara, mixing Japanese and Chinese architecture.
In case of earthquakes, the five floors oscillate in opposite phases, preventing the structure from breaking apart...
11. And as a kind of contrapunct to the pagoda, the cave dwellings and underground cities of Cappadocia, Turkey
12. One of the oldest types of houses still widely used all over the planet—and a frequent setting in my intimate spatial reveries—is the adaptive stilt architecture.
Here's the abandoned village of Ukivok on King Island in the Bering Sea, west of Alaska (photos 1892 and 1978)
13. Nōka [農家], a traditional wooden farmhouse in Japan, as captured by the great woodblock printmaker Yoshida Hiroshi (1946)
14. The fortified granary, Ksar Ouled Soltane, located in the district of Tataouine, southern Tunisia.
Ksar means 'granary' and the name Tataouine, well... you know what I mean
17. The Roofs of Ghadames—an oasis Berber town in the Nalut District of the Tripolitania region in northwestern Libya—also known as 'the pearl of the desert'
18. The traditional Sámi home called 'gamme'
[Photographs by Ellisif Rannveig Wessel, Bente Haarstad and Fredrik Jenssen]
And the characteristic Sámi 'njalla', food storage huts raised from the ground to avoid the intrusion of nosy animals such as wolverines and bears
19. Indian stepwells, also known regionally as 'vav', 'baori', 'baoli', and 'bawadi', are structures that, in the first place, helped harvest water but were also used as subterranean temples and pleasure retreats
[Photographs by Edward Burtynsky and Victoria Lautman]
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The cinematic quality in the paintings of Henri-Paul Motte (1846–1922)
If you’re wondering, the first painting, the top left, painted by Motte in 1881, shows Cardinal Richelieu standing on the sea wall of La Rochelle during the siege (le siège de La Rochelle), which occurred during the conflict between the French royal forces, led by Louis XIII, and the Huguenots of La Rochelle, from 1627 to 1628. And the name Cardinal Richelieu might sound familiar also because of his appearance in The Three Musketeers by Alexandre Dumas
The second painting needs no further explanation, I suppose... As for the third, La Fiancée de Bélus (1885), it is based on a fanciful Babylonian ritual associated with the deity Bēl (Latin: Belus), who was offered a young girl to sit on the lap of his statue overnight, only to be replaced the next day by another, all winners of daily beauty contests. Motte references the Greek historian Herodotus, although it was later discovered that the citation was fabricated
A deer-maid from the Tsaatan tribe in Mongolia as photographed by explorer, photographer and filmmaker Hamid Sardar-Afkhami
“We exist in relation to three things,” a Duhalar shaman told Hamid Sardar, “the forest, wild animals, and our ancestor spirits. Once we lose the connection to these things, we invite demons to take hold of our destiny” doorofperception.com/2019/10/hamid-…
Just a reminder that Hariton Pushwagner's visual novel ‘Soft City’ (1969–1975) is one of the most astounding depictions of dystopian, alienating reiteration
The narrative of Soft City is deeply rooted in traditional dystopian science fiction. While it recalls the societal divide of Fritz Lang’s Metropolis and the aesthetic of Blade Runner, as well as Hilberseimer’s imagery in Großstadt, Terje Brofos (Pushwagner’s birth name) drew his primary inspiration from the dystopian visions of novelist Axel Jensen, whose works he illustrated
Silkscreen prints from the series 'One Day in the Life of the Mann Family', which arose from a lengthy visual/literary collaboration between Pushwagner and the author Axel Jensen. The series was printed by the screen printer Gunner Fredriksen in 1980