This collection aims to attract attention to the admirable achievements of indigenous builders in Indonesia and to contribute to a broader sense of commitment to the endangered architectural heritage in the region. It presents the second part of the results of a research project on vernacular architecture in western Indonesia, sponsored by the Royal Netherlands Academy of Sciences. The volume is intended to provide an introduction to all relevant vernacular architectural traditions and developments in western Indonesia. The 21 contributions, all written by researchers with long first-hand experience in the area they are dealing with, are arranged according to the location of the ethnic groups from west to east—from Aceh to Western Java. Each contributor was asked to enrich the architectural description with a self-chosen particular topic illustrating social, ideological and environmental peculiarities of the field situation. The book takes account of the rich diversity of the various contexts and artistic elaborations that developed in the region. The first collection of essays, Indonesian houses, Volume 1: Tradition and transformation in vernacular architecture, was published as nr. 207 of the Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde (Leiden, 2003). It focussed on case studies demonstrating how a common architectural heritage has been affected by historical changes, giving shape to a multiplicity of local developments and adaptations both in their material aspects and in their functions as objects of social value and meaning.

This exquisitely illustrated study takes us into the traditionally built dwellings of African society. This life-in-architecture material culture reveals the socioeconomic and cosmological organization and the world views of these societies. Bourdier and Trinh connect structural patterns - setting, design, decoration, orientation - to factors such as kinship, gender, history, religion, poetry, and oral traditions. The authors focus on a variety of African peoples, including the Fulbe, Tokolor, Sereer, Joola, Soninke, Mandingo, Jaxanke, and Bassari. Through photographs, beautifully detailed drawings, and theoretical reflections, Bourdier and Trinh challenge the common perception that traditional dwellings are static artifacts.

This book is an investigation into the stubborn endurance of tradition in the modern world.

Rooted in real world observations, this book questions the concept of tradition - whether contemporary globalization will prove its demise or whether there is a process of simultaneous ending and renewing. In his introduction, Nezar Alsayyad discusses the meaning of the word 'tradition' and the current debates about the 'end of tradition'. Thereafter the book is divided into three parts. The three chapters in part I explore the inextricable link between 'tradition' and 'modern', revealing the geopolitical implications of this link. Part II looks at tradition as a process of invention and here the three chapters are all concerned with the making of landscapes and landscape myths, showing how the spectacle of history can be aestheticized and naturalized. Finally, Part III shows how traditionis a regime, programmed and policed and how it has been deployed, resisted, and reworked through hegemonic struggles that seek to create both built environments and citizen-subjects.

Following Italy's unification in 1861, architects, artists, politicians, and literati engaged in volatile debates over the pursuit of national and regional identity. Growing industrialization and urbanization across the country contrasted with the rediscovery of traditionally built forms and objects created by the agrarian peasantry. Pride in Modesty argues that these ordinary, often anonymous, everyday things inspired and transformed Italian art and architecture from the 1920s through the 1970s. Through in-depth examinations of texts, drawings, and buildings, Michelangelo Sabatino finds that the folk traditions of the pre-industrial countryside have provided formal, practical, and poetic inspiration directly affecting both design and construction practices over a period of sixty years and a number of different political regimes. This surprising continuity allows Sabatino to reject the division of Italian history into sharply delimited periods such as Fascist Interwar and Democratic Postwar and to instead emphasize the long, continuous process that transformed pastoral and urban ideals into a new, modernist Italy.