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Dean Tillotson, son of former park superintendent Miner Tillotson, remembered that his parents were often invited to the house for dinner, where they would sit on the floor and eat from the communal cooking pot. Nearby, Navajo rug weavers and silversmiths also lived and worked in traditional dwellings called hogans. Mostly Hopi workers built the three-story structure out of local stone and adobe masonry just as they might have done for their own homes. The ceilings were thatched with layers of saplings and timbers taken from the nearby forest. These details illustrate the unmistakable interaction between nature and culture.
Visiting the Hopi Villages
From the prominence of Hopi House and the Hopi presence there, many visitors may assume that the Hopi were the only tribe native to the Grand Canyon, but this is far from the truth. In fact, today 12 different tribes are recognized as having cultural ties to the Canyon, and the National Park Service has been working to accommodate the cultural needs of these other groups as well. For more information on other Native American tribes with connections to the Grand Canyon, visit the Native Cultures page. Above the primary bed, Mills hung a Serge Mouille–inspired double zigzag sconce from Orange. While Mills doesn’t know the exact history of this table, he was told that it came from an oil heiress’s estate in Silver Lake. In other words, Mills recognized what the house needed was restraint, not a renovation.
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When the Fred Harvey Company noticed that Native American craftspeople were doing a booming trade selling their arts and crafts at railroad stops, they began planning Hopi House, a dedicated marketplace for native American wares on the South Rim. The company then commissioned Colter to design the Hopi House gift shop next to the El Tovar Hotel. Wanting to create a building that would fit the natural setting and reflect the region’s history, she patterned the building after Hopi dwellings in Oraibi, Arizona.
Hopi House, Grand Canyon National Park, Arizona
For the next 38 years, she served in that role, often working in rugged conditions to complete 21 landmark hotels, commercial lodges, and public spaces for the Fred Harvey Company. Her employer Fred Harvey conquered the west along the Atchison, Topeka and Santa Fe Railway through strategic use of pretty girls in high-necked collars, tourism, and souvenirs. He had anthropologists on staff to locate the most likely native American art forms and artifacts like pottery, jewelry, and leatherwork. And he had Mary Colter on staff to produce vernacular commercial architecture in strategic locations, based on some concern for authenticity, floor plans calculated for good user experience and commercial function, and a playful sense of dramatic theme inside and out.
In strategic locations, Colter produced commercial architecture with striking decor, floorplans calculated for good user experience and commercial function, and a playful sense of the dramatic. SAH Archipedia tells the story of the United States through its buildings, landscapes, and cities. This freely available resource empowers the public with authoritative knowledge that deepens their understanding and appreciation of the built environment. Inside, the architecture continues to follow the traditional Hopi style. Ceilings recreate the typical Hopi method, made of saplings, grasses, and twigs coated in mud resting on peeled log beams. Corner fireplaces have chimneys constructed by stacking and mortaring broken pottery jars together.
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Please note the sample of plans featured below are not exhaustive, and some details may change as the programs are implemented. Not long before her retirement, Colter took on the 1947 renovation of the Painted Desert Inn in Arizona’s Petrified Forest National Park. During the Great Depression, a 1922 inn had been overhauled by Civilian Conservation Corps workers to the Mission Revival style, using local materials and Native American motifs. Colter supervised the refreshing, provided a new color scheme, and commissioned Hopi artist Fred Kabotie to put murals in the dining areas.
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I showed up, but tribal police had closed the entire mesa to non-Indians. The tour was finished, but I was hoping to watch a kachina dance at the village of Hano. One of them was Duane Tawahongva, a silversmith who lives in a trailer with expansive views of the desert. The Spaniards arrived in 1540 seeking gold but ended up trying to convert the local tribes. Some Navajos later became Christian, while fewer than 5% of Hopis did, Tso said.
Historic designation
A beautiful Mary Colter–designed stone building, Hopi House has been offering high-quality American Indian jewelry, basketwork, pottery and other crafts since its 1905 opening. The structure was built by the Hopi from native stone and wood, inspired by traditional dwellings on their reservation, and both the exterior and the interior mimic traditional Hopi design elements. The Hopi House (1905) is a large, multi-story building of stone masonry, shaped and built like a Hopi pueblo. When Mary Colter was commissioned in 1904 by the Fred Harvey Company to design an “Indian Arts Building” as the hospitality giant liked to call their souvenir shops, the talented and stubborn architect was eager to accept the challenge.
It is one of five buildings at the Grand Canyon that were designed by architect Mary Colter, along with Bright Angel Lodge, Hermit's Rest, Lookout Studio, and Desert View Watchtower. The Hopi House introduced Native American architecture, arts, and culture to the rail-traveling public at a time when the preservation movement was all but non-existent in the United States and cultural tourism in its infancy. In 1906, a year after the Hopi House was completed, the passing of the American Antiquities Act resulted in the establishment of national monuments throughout the American Southwest that preserved prehistoric archaeological ruins. The Fred Harvey Company invited Hopi artisans to demonstrate how they made jewelry, pottery, blankets, and other items that would then be put up for sale. In exchange, they received wages and lodging at Hopi House, but they never had any ownership of Hopi House and were rarely allowed to sell their own goods directly to tourists.
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Sandstone masonry walls of varying size and layered textures, along with ceilings of mud-coated saplings and twigs, replicated real pueblo architecture. Rather than following traditional European architectural styles, Colter took inspiration from the natural surroundings of the Grand Canyon and the ancient pueblo dwellings of the Hopi tribe’s village in Old Oraibi. Her design for the Hopi House recreated key features of these 1,000-year-old Native American homes. She was the architect and designer for the entire resort, from the buildings to the acres of gardens, the furniture, china — even the maids’ uniforms. The sprawling, hacienda-style Spanish Colonial Revival building in Winslow, Arizona, has been called “the last great railroad hotel built in America.” The hotel closed in 1957 after a long decline. The closing of La Posada caused Colter to remark, “There is such a thing as living too long.” It was then used as an office building for the Santa Fe Railroad in the 1960s and then stood empty for years.
Native American styles were employed in hand-crafted chandeliers, copper and tin lighting fixtures, tiles and textiles, and other ornamentation. Its striking blend of Pueblo people and Spanish artistic influences became very popular across the region. Colter’s pioneering masterwork may have been the 1923 El Navajo in Gallup, New Mexico, remarkable for its forward-looking fusion of a Native American-inspired design on a severe Art Deco building designed by Santa Fe Railway architect A. Here, she incorporated Navajo sand paintings and rugs with hand-carved and hand-painted furniture.
Colter began working full-time for the company in 1910, moving from interior designer to architect. Overall, the Hopi House provided an early opportunity for tourists to experience and appreciate a representation of the Hopi tribe’s unique architectural style and cultural traditions. Its construction marked an important shift in influencing architecture to look within America’s own indigenous heritage for inspiration. Hopi House was the first of eight projects at the Grand Canyon designed by Mary Colter for the Fred Harvey Company, which operated visitor services and accommodations in the park.
Gille Mills is accustomed to seeing the things he has built be destroyed. As a production designer in Los Angeles, he is given big budgets by brands and magazines to create elaborate sets, well aware that the whole point of their existence is to be temporary. “I build a $100,000 set dressed with $40,000 worth of furniture, and then you take a couple of snaps and tear it all down,” says the Tennessee-born designer. While the rock has been a Native American spiritual site for thousands of years, the modern backstory of the boulder begins in the 1930s, when a German immigrant and miner named Frank Critzer met a pilot named George Van Tassel.
The types of natural resources available determined what types of buildings were feasible, while human creativity shaped the form and function of those natural materials. The result is a building that is both a product of nature and an expression of culture. Hopi House was designed by Mary Colter in 1905 to resemble the traditional Puebloan structures built around Grand Canyon region, like those still atop the mesas of the Hopi people. A National Historic Landmark, Hopi House has sold authentic Native American arts and crafts on the South Rim of Grand Canyon for over 115 years. Take a "Minute Out In It" to get out of the snow and into the cozy warmth of this southwest abode. Bright Angel Lodge was built in 1935 to provide tourists with affordable accommodation on the edge of the Grand Canyon.
“I really just tried to maintain it,” he says, explaining that the most extensive change he undertook was painting the house. Yet even his color choices, pulled from nature just outside, are sensitive to the home’s context. For instance, the green that frames windows references a nearby jade plant.
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