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O S A G ECULTURAL

CENTERTrepka & Williams

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PROBLEM

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CONCEPT

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ANALYSIS

CONCLUSION

BACKGROUND

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DESIGN

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PROBLEM

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Develop a focused cultural center master plan for the Osage tribe that will deepen visitors’ understanding of the history, people, & culture.

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For the Osage tribe, war was an inevitable event. Though terribly tragic and full of hatred and fear, the process of going to war was full of ceremonious acts of preparation and bravery. Rituals were performed and spiritual leaders were worshipped before the warriors left for the battlefield. These acts were necessary for the soldiers to become armed with enough strength and dignity in order to defeat the enemy. The aftermath was just as important as the preparation though, and was met with ceremonies devoted to members that sacrificed their lives for those living.

The site is divided in half, based on the Symbolic Man’s body (his left signifying peace and his right being war) while facing east (peace) and west (war). Certain events of the battle process, the Symbolic Man, War Council, and War Paint, lay within the war side while the ceremonial

peace gardens are nestled in the peaceful land. This procession of events allows the visitors to become accustomed and educated about the Osage traditions that often led to hurt, death, and grief for the tribe members. Traveling to each exhibit is a journey in itself, each visitor is meant to feel cramped and uncomfortable within the dark, tree lined path while moving through the war side. Once one, unknowingly, passes over the dividing line, the path will brighten, feeling significantly more open than the path they were on just a moment before. The Cultural Center and Cultural Experience are meant to act as separate entities though feeding off of each other, educationally and spiritually. It is suggested that visitors experience the trail first, followed by the Cultural Center, to fully experience tribal hardship and life before realizing optimistic current and future endeavors.

CONCEPT

THE JUXTAPOSITION OF WAR & PEACE

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ONLY THROUGH WAR, HARDSHIP, AND LOSS CAN ONE TRULY BE AT PEACE WITH NATURE, MANKIND, & HIMSELF.

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MASTER PLAN

DESIGN

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scale 1” = 25’

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ENTRY & SYMBOLIC MAN

DESIGN

Upon entering the walking path, the visitor is immediately surrounded by large trees, darkening and compressing the route. Once one reaches a clearing in the vegetation, they are met with a large, intimidating statue of the Symbolic Man, the perfect, spiritual embodiment of man, positioned just off the trail. This monument is meant to act as preparation for what dark happenings may exist ahead.

Composed of broken sandstone, the flooring is carefully laid in a manner that suggests the path has been there for hundreds of years, completely untouched by man. This may be seen by the bits of grass that peek through the fill or the uneven coloration of the stone. A shallow stream flows near the path that begins at the midpoint of the Cultural Experience, the Life Monument, though this origin in unknown to the visitor.

To combat against the sites unruly contours, a retaining wall made of limestone will be surrounding the figure and along the trail. Once again, the wall will have an aged, historical appearance.

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scale 1” = 25’

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WAR COUNCIL

DESIGN

After traveling along a shadowy path for some time, the visitor will approach a circular pit underneath a massive tree canopy, the War Council. Used for strategic planning, this ceremony was a crucial step to the war process and it plays an equally important part to the procession. Immediately following the worship of the Symbolic Man, tribe members would engage in plans of attacking the enemy amongst leaders and warriors alike. Here, visitors will listen to stories and view reenactments of Osage warfare preparation and tactical planning led by scholars, living and working at the Research Center on site, at the center of the circular seating.

Seating is provided for the visitors by monolithic concrete, dyed similar to sandstone, arranged in a circle to mimic the arrangement that would have been found at a traditional council.

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scale 1” = 25’

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WAR PAINT

DESIGN

Once visitors reach this point in the trail, they are led to a clearing, immediately adjacent to the path, surrounded by plunging willow trees and purple redbud trees, the colors being an unexpected surprise to the guests. Demonstrations of applying war paint, a symbolic event for all Osage members readying themselves for battle, and seminars covering tribal art will be led by artisans from the Research Center inside this secluded space.

The seating is arranged like a lecture hall, allowing optimal sight, sound, and application for both the speaker and the guests. Dyed concrete benches are flanked by streamlined containers housing a local flora, October Sky.

Inlaid against the sandstone is red dyed concrete tiles creating a diamond pattern similar to what may be found in Osage ribbon work design, implying a stage for the artisan.

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scale 1” = 25’

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MONUMENT

After passing over the unseen line that divides the site, the visitor explores a vast amount of the site, including spaces for group gatherings adjacent to the water. At this point, one can either follow a trail north towards the Cultural Center or continue south to fully experience the trail. Choosing to follow the southern path will result in observing ruins of foundations from long ago occupied homes the Civilian Conservation Corps once inhabited. This path leads the visitor along a trail full of openings in the canopies and carefully manicured landscaping of local wildflowers and vegetation.

The trail winds near the Life Monument, a large infinity pool surrounding a sandstone water skimming path in the shape of the Four Winds, a symbol for the breath of life. At the center of the sandstone path is a single tree, symbolizing a unifying spirit of life and energy within an Osage tribe. The water flows from the infinity edge into a narrow stream that flows east, towards peace, and along the war trail.

DESIGN

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scale 1” = 25’scale 1” = 50’

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PEACE GARDEN

Following the Life Monument is a ceremonial space dedicated to remembering the Osage that lost their lives in battle. The Peace Gardens are divided into seven spaces, each with four of their own intimate lawns, that are defined by tree lined paths. Scaled towards two to four people, these gardens are meant to act as points to reflect on past events, both in the lives of the Osage and their own. At the center is a common ceremonial space where stories and peace rituals will be led by scholars and artisans.

Paths are immaculate with sandstone tiles lined within a grid and beautifully trimmed and groomed local vegetation surrounding the trail and gardens. Mature trees provide enough privacy and security for people seeking spiritual and emotional refuge within the quiet garden.

DESIGN

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scale 1” = 100’

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PARKING

Parking is based on an Osage ribbon work design and defines the site as a whole when visitors first enter. Once in one of the four designated parking zones, amongst trees and atop the inlaid open cell concrete blocks, guests are led to the center of the four spaces.

At the focus of this central location is a shallow pool, square in shape with small, square concrete blocks protruding slightly from the corners. A narrow stream flows in the northern center of the pool. At the time of entry, the visitor will not know where the water is issuing from, but will soon learn the beginning after experiencing the trails and viewing the monument.

DESIGN

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Based on the Great Division of the Symbolic Man, the site is divided in half, signifying the juxtaposition of peace and war. A procession occurs, beginning on the side of war and ending within the side of peace, which holds specific events that happen during the preparation for a battle. Traveling through each activity is an experience that provides the visitors to become accustomed and educated about the Osage traditions that often led to hurt, death, and grief for the tribe members. Furthermore, development of the Cultural Center and the Research Center and Housing will be related to the Great Division that has been expressed in the Master Plan.

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CONCLUSION

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would be half of what the numbers were in 1840. The Osage would be forced from their original homes that they have made in the Kansas region to Oklahoma.

In 1874 congress adopted a new policy; able-bodied males who receive help from the government would be required to perform manual labor for a fixed rate. The town of Pawhuska grew 10% annually from 1895 to 1901. In 1901 the First national Bank had been founded with funds mainly supplied by mixed blood osages.

The Million Dollar Elm, where 108 land leases were auctioned off for over $2 million, allowed the Osage to become the wealthiest tribe in the nation. This resulted in a reign of terror for the nearly $13,000 headright horlder

The Osage find their origin in myth. According to legends, this tribe originated as sky, earth, and water people within the heavens. A central theme of this culture is the division between the sky and earth, the Tzi-Sho.

Representing equality, chief leaders lived in houses that faced each other, allowing equal authority and duality of Osage organization.

Situated between the Missouri and Mississippi Rovers, the Osage tribe has been called the People of the Middle Waters.

Honor was a highly held value in osage culture and could be obtained in several different ways. A major position

of honor was that of priest, or little old Men. The source of their honor was ceremonial knowledge. Another path to honor was war. War played a large role in their lives, especially the men. Send-off ceremonies could last weeks.

Trade with the French and Spanish radically altered the Osage way of life but they kept their political and cultural distinctiveness.

The Osage tribe moved from their original homes to the Oklahoma reservation in March 1871. This was a rough time for the Osage. In 1855 & 1856 500 members died from smallpox and scrofula. The numbers would dwindle more and more during this period. In 1871 the numbers

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where they were often hunted and murdered in order to acquire the wealth.

The stock market crash happened in 1929, the depression follows, the oil boom ends. The derricks are abandoned and the fancy stores in town board up their windows. The white population moves away and Osages return to Pawhuska.

Osage arts and institutions have a renewed energy and young Osages are relearning their language, once almost lost.

OSAGE HISTORY

BACKGROUND

Bailey, Garrick. Traditions of the Osage (Albuquerque: University of New Mexico Press, 2010).

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Symbolic art incorporates all 3 basic elements: color, form, and subject. The designs are usually limited to three colors, and never had more than four. The color schemes are opposites and were required to incorporate paired opposite meanings. These include the Sun & Moon, the Sky & Earth, and the Morning star & Evening star.

Striking the EarthBy interacting with the Sky and Earth, physical life may emerge with unity and organization within the tribe.

Path of LifeThe path an Osage takes consists of four valleys that must be crossed.

Bends in the RiverIn order for days of calm and peace to be reached, one must flow within the River of Life, traveling through the Seven Bends.

Symbolic ManThis symbolic body was made of two grand Divisions:The left side, sky, stood for life and peace while the right side was death and war. If this man faced east, he was at peace but if he faced west, he was at war.

ColorsThere are four sacred colors, black, blue, red, and yellow, and additional colors were added as technology grew like white, yellow and green.

Osage Indians put their love into their designs and its color. Thoughts, skills, and symbols were shared between the desert cultures, woodland cultures, and the overall osage culture. Geographic position, superior organization, and great military strength are all attributes that progressed the exploration of art within the osage culture.

Men primarily focused on the graphic arts, whereas women focused on the pictorial arts. Ideas were exchanged about multiple beliefs and theories, such as how heavenly bodies moved in relationship with the seasons, how the meeting of the sky and earth made physical life possible, how life was conceived in the sky and descended to earth to take physical form, and how both spiritual and temporal, tangible and intangible existed at the same time.

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ART & SYMBOLISM

BACKGROUND

Black Stood for death, an unknown world, fires consuming natureBlueRepresented the skyRedThe rising sun, the source of life, the known world, daylightWhiteThe seen world, lifeYellowThe suns rays, union of sky and earthGreenPlant life

Burns, Louis F. Osage Indian Customs and Myths. (Tuscaloosa: University of Alabama Press, 1984).Burns, Louis F. Symbolic and Decorative Art of the Osage People. (Fallbrook, CA: Ciga Press, 1984).Lloyd, Roger Hall. Osage County: A Tribe and American Culture (New York: IUniverse, 2006).

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a bfall/spring

normallevels

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flood levelswinter

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Studies involving the suns’ path during each season were needed to determine locations that would be experiencing more daylight that would be significantly altered from the tree canopies.

The Lake experiences flooding immediately southeast of the water and along the creek at the southernmost end of the site that deems it necessary for excluding these areas from the master plan.

SUN PATH WATER & FLOODa b

ANALYSIS

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950’-925’

vehicular

925’-900’

hiking

900’-850’

850’-825’

825’-800’

800’-750’

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Elevations and slopes for the site helped determine ideal locations for each event along the procession. Higher land, symbolically being closer to the heavens, was used for the side of peace while low lands were reserved for the events along the war side.

SLOPEdThe existing paths and roads for Osage State Park were untouched when possible to preserve as much of the natural landscape and utilize touched land so as not to disturb the wildlife and vegetation

Centrally located is private property that is to remain untouched.

ROADS & PATHSc

ANALYSIS

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Greatest

LEVELS OF IMPORTANCE

Greater

Great

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ClearingMost noticeable about this space was the somewhat dense canopy the trees provided. The path was easy to navigate, consisting of mainly dirt, though the sound of cars traveling on the nearby road could be heard.

DamThis is the main area where massive flooding would occur from the overflow of Lookout Lake and the landscape is dominated by very large rocks and visible tree roots. Wind was blocked from the dense trees nearby but the rustling sounds were still very prominent.

Lookout LakeThe views offered at this location towards Lake Lookout were spectacular, through the dense trees. The rocky paths were hard to navigate, needing to look towards the earth in order not to fall, making it hard to observe the surroundings. A very steep cliff dropped off immediately next to the path.

RuinsLeftover foundations and stone walls from the Civilian Conservation Corps Camp and a large water tower dominate this eerie space. With a light tree canopy, the paths that meander through the area are mainly dirt and grass.

Lookout TowerCurrently being used as parking for the nearby campsites, this location is adjacent to the hiking trails, which are along a rocky, steep slope with very dense tree canopy. A small point for visitors to observe the landscape below offers wonderful views across the park.

EXPERIENCEeANALYSIS

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