How Can We Amplify Indigenous Design?

Honoring First Nations Peoples

To truly center Indigenous design, we must first honor First Nations people, amplifying their creative voices and integrating their time-honored practices into modern design for a more inclusive and sustainable future. For example, Michael Maltzan’s design for Qaumajuq, the Intuit art center at the Winnipeg Art Gallery, was the fruit of years of consultation between the gallery and an Indigenous advisory circle. That influence clearly shows as the museum is now a site for illumination, transparency, and connection for all. Meanwhile, Perkins&Will worked with Indigenous community groups to design the Centre for Innovation, Technology and Entrepreneurship at Seneca College, incorporating native artwork, lunar-cycle traditions, and materials, showing the school’s commitment to Indigenous education and cultural awareness. Finally, architect Peter Hildebrand designed the Doig River Cultural Centre in British Columbia with the First Nations community in mind, providing a coherent vision and a multifunctional community space with heritage-inspired aesthetics.

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People, Practices, and Projects

The cultural landscape is evolving, and with it, the future of American design is being reshaped through decolonization. BKSK Architects’ Tammany Hall 2020 restoration honors Lenape symbolism, challenging the historical erasure of the Lenape people from their homeland. Similarly, Joseph Kunkel, founder of MASS Design Group’s Sustainable Native Communities Design Lab, accelerates the development of quality housing for Indigenous communities. Chris Cornelius of studio:indigenous also emphasizes decolonizing architectural practice, education, and experience, by revisiting the meaning of “Native Architecture.” Meanwhile, in forecasting the future of “American Design”, Joseph Kunkel, MASS Design Group Principal and Director of Sustainable Native Communities Design Lab, discusses how the architecture and design industry must adapt to meet the housing needs of Native Americans.

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Decolonizing Design Canons

Meet the trailblazing thinkers and institutions reshaping art and design canons through decolonization. Elizabeth (Dori) Tunstall, former dean of the Ontario College of Art and Design University in Toronto, stands out as the first Black person to hold such a position at a design school globally. In her book Decolonizing Design: A Cultural Justice Guidebook (MIT, 2023), she advocates for centering Indigenous knowledge and dismantling eurocentric and racially biased frameworks in modern design. Similarly, Julia Watson explores Indigenous design in her book Lo-TEK: Design by Radical Indigenism (Taschen, 2020), introducing a movement that reconnects design with Traditional Ecological Knowledge and sustainable, climate-resilient architecture. Meanwhile, residencies like Taghkanic, New York’s Forge Project, and New York’s Center for Architecture Lab helped Indigenous architects Chris T. Cornelius and Anjelica S. Gallegos advance their research and practice—offering a platform for design innovation.

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Rethinking the “American Southwest”

How should we rethink the American Southwest? Portland architect Daniel Kaven suggests viewing it through architecture, landscape, and transit, as explored in his book Architecture of Normal: The Colonization of the American Landscape. Meanwhile, Scott Johnson and Bill Fain of Johnson Fain Architects reflect on these themes through their 25-year journey designing Oklahoma City’s First Americans Museum, blending Native traditions with modern design despite economic and environmental challenges. Similarly, the Indian Pueblo Cultural Center in Albuquerque spotlights Pueblo architecture in the exhibit Nah’thu-ahhth (Where We Live), emphasizing Indigenous resilience and enduring cultural perspectives. These efforts make it clear that decolonizing design and centering Indigenous architectural practices are essential steps forward.

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Incorporating Indigenous Traditions

Decolonizing design and incorporating Indigenous traditions into architecture and community strengthens both cultural identity and environmental sustainability. In Colombia, Fundación Organizmo supports local artisans by teaching regenerative ecosystem practices while promoting Andean cultural heritage. Globally, architecture firms like Suphasidh Architects in Thailand, Keru Mbuubenne in Senegal, and Taller Hector Barroso in Mexico use materials like rammed earth and compressed earth bricks to adapt to local climates. In the U.S., the National Museum of the American Indian in Washington, D.C., reflects Native cultures through collaboration with Indigenous architects. 

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Conclusion

Decolonizing design is an ongoing journey toward equity, representation, and cultural respect, while also strengthening the resilience and positive impact of the built environment. By challenging entrenched narratives, amplifying Indigenous voices, and embracing diverse design traditions, we can create a more inclusive, sustainable, and just creative landscape—one that honors the past while shaping a better future.

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• Community Engagement
• Decolonizing Design
• Equitable Design
• Indigenous
• Traditional Knowledge

• Architecture
• Diversity
• Equity
• Sustainability