 human architecture, broadcasting life, once again from three different locations in the world and we're still in the claws of COVID coronavirus. In addition to that, there is unfortunately out there at the west coast of mainland USA. I hope when the smoke at some point has gone away that we can go back to what we started to discover, which are courtyards Cabanas and we're on the ongoing search for the more proletarians. Let's get the first picture of three locations is back in Honolulu, Hawaii with you DeSoto. Hi, DeSoto. How do you do? How do you do? I'm good. But more importantly, don't we know our best friend out there? Yes, we certainly do and wrong. Oh, thank you. Have with us once again as we're feeling for a friend and business partner, Ronald Lindgren. Thank you for joining us and give us an update on what we see at the picture at the bottom right, which is what you see in real out there and what you smell in real. Well, wherever you your viewers might be viewing this program, bottom right is a picture of almost being able to see Los Angeles. Frankly, the city hasn't had such severe small conditions for 26 years. Indisputably, global climate change has led to drought, other weather and across the forest are parts and dry and they're very easy to ignite and to date, the fires have raised all across our state to the tune of 3.4 million acres of that's a little bit larger than the state of New Jersey. And as compared to last year, which was a bad fire season, it's 27 times larger than what burned last year. So what a calamity, tens of thousands of structures, entire communities, dozens of lives of all the North in California, Oregon and Washington State and at the same time firefighters and 14 other Western states are having to battle their own tragic wildfires. The picture on the left happens to be the view that I have in my home across the street to a nicely landscaped hillside. And my nightmare, of course, is that those eucalyptus trees on the hillside might become firework. Oh, boy. We have a top knot. Okay, let's go to the next slide. And while we already saw on the previous slide a lot of more nature than architecture or retaining wall, that continues here and let me share with you that my father's generation and the ones before, they were mid-century, they were amazed when all these images of the case study house series were watching ashore here to Europe. And it was majorly, again, this John and Tenza initiated program that was for Europeans just amazing. And so later on they were all combined into this publication by a German publisher that you had the chance to get to know in person to sort of write. Yes, Benedict Toschan, who is the head of the same, the company of the same name, who publishes an array of amazing art books, architecture books, et cetera, here's a book published by Toschan on the case study house series. Yeah, and the hand you see in the picture below that is Ed's hand at Killingsworth hand, where in the interview YouTube with Harvey Keller, he very proudly pointed out this book that he was very happy to be in. What was so refreshingly new for us Europeans was that we had until then more or less adopted our fellow islanders, the British Victorian house, which has an impressive front, but it's not always as equally impressive when you proceed through that front and get into the house. Americans with century have almost been turning this upside down and making the street funds very almost inapparent architecturally. And maybe you kick in here, Ron, what they were presenting itself, which we see at the very bottom left. You know, at the bottom left is actually my home. It's nearly concealed from you by, as you can see, trees, bamboo groves and other dense landscaping. And it turns with often civic and he was serious that most houses deserve to be concealed completely by landscaping. And we can even say at the bottom right, even the Frank house, which is one of the famous one of Ed's contribution to the case study house series by these more Victorian houses that probably would deserve what Ed was saying to become a flash, you know, by vegetation. So you don't see the Victorian approach, but tell us more about the case study house approach of keeping the facade so opaque and almost austere. What was the reason for that, Ron? It's just something to find that sort of architectural appearance to be the most elegant and classical because he was such a classicist. And so that is certainly the primary reason to find is that you don't spend a lot of your time trying to impress the outside. You live on the inside. You've got atriums and you've got court guards. Indeed. Ron, you want to talk about what looks like a T-shirt up there? The color of both things in the top middle. The upper middle picture, you know, an architect like Ed Tronsworth has really made his mark when his name appears on, in this case, some design merchandise. This is a striking example where the Royal Magazine, the very popular home design magazine, offered this graphic T-shirt for sale. The change with name, as you'll see, is emblazoned on it in very close to company. It's a design limited. These are great to be here. They play great and we use them to wear. I thought I'd see a T-shirt that had those names on it, like they were designer clothing names or something like that. What's wrong? Yes. Yeah, what I'd like to say is that we're talking about a colletarian version of what had now become extremely expensive case study houses to buy. The typical case study houses that have survived for 16 and 60 years are going for millions of dollars. But Ed's influence was so strong that home chapters were motivated to pick up all kinds of pieces from the Kingsworth House because they were so impressed and pick them in homes for people like myself, right at the proletariat. When Ed's older son, Ed, offered me this reflex for sale in 1973, I really jumped at the opportunity because, as I said, the contractor who had designed, developed and built the entire development that the house was in was really heavily influenced by Ed Chene's voice, iconic early modern residential architecture. As the old saying goes, imitation is the highest form of flattery. So in success, be creating an approximation of a chain for a home. The developer contractor actually copied some chains for features. I'll go through them rather quickly. As you can see, in the exterior, the home is a crisp, rectangular structure with flat roofs. There are exposed work columns and beams, which are a reflection of chains for structural expressionism. The interior spaces, which in my house comprise the tidy 1,220 square feet, had left over two stories between two solid sidewalls. So I've got visual and acoustic policy from my neighbors. This is one of Ed's tropes for doing many chains for houses in densely populated areas. The two bedroom, two and a half, both at home has an open plan. Only a second bedroom in the bathroom can be closed off by doors. Indoor outdoor living is achieved by access to two-story glass window walls, the front and rear prelaced courtyards. A great interest in terms of easy breezy is that that sort of living is achieved here by the inclusion of screen, adjustable glass levers in all of those doors, two-story walls and windows, which also occur between shaped prelaces. The home's orientation is absolutely ideal as the front elevation that we're looking at faces through south, it spits under 12 feet of shallow shading, but the rear elevation, which faces north, allows a flood of unshaded natural light into a two-story portion of the living room. One last comment, all interior doorways extend from the floor to the ceiling. And I guess I could also say that looking at these two photographs, Ed always wanted arrival experiences to any building to be memorable. So, you know, to a came to a special place. So, an especially memorable arrival experience is provided here by this garden walk, which runs its way to West Landscaping, to a two-story courtyard and an impressive pair of eight-foot tall entry doors, which makes moving furniture very easy. The closer one gets to these doors, the more architecture is revealed. At Yuzisoto, we call however the most extreme of that, the Frank houses, door being what, 30 feet run? 17 feet. That that that Boeing has to help out. And we're seeing here, well, you were sharing with us that that thing with a tall door, because he was a short guy. In consequence, we can see you being that tall guy. This door here probably isn't that tall. That's probably why. Well, if you look at the next slide, you can see standing in front of one of those two doors open. And also up on the upper right, it's wonderful again to see one of his earliest houses, the Uptall House of 1953, which I think created the finest sort of driving sanctuary between two solid walls that they would ever manage to create. Oh, this might also be time just to jump in quickly to talk a little bit about the fact that Mahon doesn't stand by itself. It's we're in a very well planned and handsome community development where several hundred people live. It's located along an old roadway cul-de-sac. It's before 1968 was a one eighth mile horse racing prank display. So when the horse racing left in 68, the road was built where the prank track was. There are 40 buildings, every one of which contains new plus living units placed around and live in that oval. And the one and two three units that have a lot of gable roofs are all designed as courtyard homes, I repeat, courtyard. Each has a garden entrance, such as the one that I'm standing in front of. And also have an interior courtyard as a private after a room. The developer and designer provided four standard plans for the deep tanks, all of which emphasize open interiors are in their upper living. And they were all facilitated by floor to ceiling fixed glass and sliding glass doors. Because all of the homes are built of common wood framing plastered, they all share similarities of an exterior appearance and that helps to foster a sense of community. In the magic of the 1960s, only the Bucke's houses are all electric homes. And in that same spirit, they don't have any backpubs, only showers. Community at each end of the other roadway, one building site has been left open for us to create parks, lawns and show trees. And pre COVID, they were actively used for picnics parties, especially for playing with children's and dogs in the grass. And you can go to the inside. Take us on and slide over your house now. Make a slide. Yeah. Yeah, kind of. Yeah. Yeah, I would say one thing about that last slide, we need to get back to it, but it turns a little bit, of course, would have added some kind of water feature reflecting cool or something to heighten that experience. That was a bit much for a little contract just to swell up. So what I didn't in lieu of that was place a whole line of statues, Buddhist and Indian videos that I picked up over the years along the garden walk to provide that interest. But the picture they were now looking at, I did have two shady courtyards at grade, which I use all the time. But originally, I asked exposure to the same. So myself, I created a south facing terrace on the roof of my one car garage, my home was two high or the interior living spaces, but the garage up front was one story. And I asked that access that we've talked to a new door from my study, which is actually a second bedroom. But because of the often searing intensity of this southern sun exposure, it seems that this picture shows a basically all artificial. The terrace is finished with artificial grass and which that last year is close. The growth of six artificial trees all eight feet tall and to the left, a cascade of artificial lines from the strip of plumber boxes. And those plumber boxes sort of remind us of the picture up in the upper right, where such plumber boxes were used by my design partner and good friends, Larry Stuker for the original Ihi-Lani hotel. It's a great effect. And almost every other Killing's Worth project, the planted troughs are really a signature feature of the Killing's Worth body of work. Indeed. Next slide. This terrace, which I've affectionately dubbed the Hymian Gardens of Lingon, is a spot for me to sunday at noon and also spend a lot of time in those cooler early morning and late afternoon hours out there reading. And as one who really is interested in furniture design, especially mid-century modern furniture design, I've got the classic Richard Schultz shades to the right. But there I am sitting on a reproduction of one of the Leap Jean's chairs, an English designer of great fame who in fact made his reputation from his work in Australia. This is a very classic garden chair. And next slide. This pine shade with outdoor space is a rear walled courtyard. And nicely enough, the contractual at the end of which shade stretcher over it. That constant movement of those striped shadows that this creates in the livens this garden room and this is yet another feature shared with Killing's Worth really homes in an office building. So you want to mention something about wall houses? Exactly. And when I look at this, it's a real architectural feature and one of the really strong elements of this is, as you said, the moving shadows, the very strong contrast of the shade and the light. But this really comes from a utilitarian structure, a lap house, which was built. And it's a traditional thing that's been in use in a lot of places for potted plants. And by having this stripy roof open, alternating, open and closed spaces, you cut the solar radiation by 50% for plants that cannot be in the full sun all the time. And so while it was meant to grow plants in the Killing's Worth vein, it really is a feature, as you said, of some of his structures that turns into something that not only cuts on down on the solar heat and radiation, but it's a real feature of the Killing's Worth appearance. Yeah, we're working for people might as well work exactly well for for plants and vice versa. Right. But talking talking creatures who we see a new acquisition of yours at the very bottom right, share us who that is. Oh, yeah. Now, the bottom right picture is those again, oh, the contractor in very adulation of Ed Killing's Worth architecture has its own structure, columns and beams. It just happens that my latest acquisition of interesting deities is a Buddhist bodhisattva playing a flute, and he's joining me up there on the Hanging Gardens of Lundra. I might say also that at the at the upper right is an example of Ed's perhaps finest use of trellis ceilings over two story gardens, and these were providing views and privacy for workers in a very slim, two-story, all glass pavilion. And adding to your collection of plastic furniture, obviously here is Tara Batoira's wire chair, but you're also very collegial to to a Californian colleague here in the back right. Yeah, my house is kind of a showcase for those you're made by just about everyone that has been paying for furniture, everything from beams to all of those core brew chairs, these tables you name it. But out here in my real shady courtyard to the very left is a kind of a twisted form, which is a side table by the Great California, at 20 years. And it looks like a miniature version of what he's famous for doing in full-size buildings. Yeah, here's just a building and just twisted. There you had it, a twisted side table by the way. And man, at least your hammock there, right? That's like the ultimate lounging in a great comfort patio. Yeah, that's that's the one radius of post-COVID times. Yep. Yeah, yeah, yeah. Hey, next slide, Ron. Yeah. The. At the right is probably the most elegant outdoor room, again, covered with covered by 50 percent by the space with jealous members. And this very elegant room was entered from a single front door surrounded by water. That was 17 feet tall and only the Boeing Aircraft Company could actually make it. But to the left was a fragment of a statue reproduction that I'm showing. And it sort of actually shows that the Hindu concept of an angel on the left as being a voluptuous dancer really contrast sharply with the Christian notion that all angels are sexless beings wrapped head to toe in flowing roads. Yeah, and outside you can see beyond the sexy angel is that same. I have all of the advantages of indoor outdoor living in a colletarian structure designed and built by a contractor that people have very luckily in a real killing for the homes. Yeah. Yeah. While in the Frank House that that trellis is too story above you, you only have it one story above you in the outdoor living room. But yes, go to the next slide. The version has something that the Frank House has, which we see here, right? What a luxury. Now, here's the view of the two story portion of the living room. In fact, the second half of a 40 foot wide living room which we didn't see on the left is just under the open master bedroom. But you can see that there are four vertical sections of glass. The two outside are fixed glass, but the two inside all the way from floor to ceiling consists of adjustable glass louvers, clear glass louvers. I can reach up to them with a special tool that I was provided with the house to open them even up near the ceiling. And when you do open the ones up near the ceiling, you get natural convection. Again, more of that breezy, breezy of living. And to the right, I have access to the second floor where the bedrooms are located, two bedrooms, by an open spiral staircase with teeth threads and it leads to a bridge which in turn leads into a way to go rather less than the bedrooms. You can see that that bridge is actually wideness and I could finish it with the James recent walking chair, which is another great place to read. But notice, too, how doors, both access doors in the center and a closet door on the far right, all run from floor to ceiling. And this greatly adds to a sense of spaciousness within my house. Absolutely. Next slide. Yeah, here I've had great luck of taking many business trips, sometimes solo, sometimes without feelings or sometimes with other partners. You know, like portions of Southeast Asia. And that's where I fully encountered Buddhist and Hindi culture. And I was so impressed by those artistic traditions that I brought home that were always very serene, sculptural images of their many deities and their mythical creatures. And so I've displayed in the garden settings, as you see here. To the left is a building. To the right is a Chinese goddess of mercy, a Buddhist deity of Kwan Yin. And they also used first inside the house all of my home's interiors in cleaning the garage, which doubles as a gallery filled with Japanese group reproductions. So the home has been a wonderful opportunity to add interesting art that means a lot to me all throughout the premises. And what I like is that they that they are both inside and outside, which really emphasizes that this is an inside outside living space. Yes. And we got a rush. So let's rush through the last type of courtyard on the next slide, which is the third kind of time. I'll say quickly is that I have outdoor access to both my front and rear gardens. I don't have to go to the house and drive, you know, hoses and driving equipment. And it's through a walled linear courtyard. Oh, and that garden sculpture, again, in terms of being cold, is actually made up of five stools that are about a wall mark that I just got from each other for about a couple hundred dollars. And getting a ceramic landscape piece of sculpture like that cost thousands of dollars. To the right is just a quick view out from my entry garden and looking out across the street. You know, I personally, I find that only the combination of graceful architecture and the less landscaping that the contract is first provided and I added to and maintain only that has provided me a true home and a refuge. And if we go to the last slide, I also want to say that gardens and my roses are a healthy bond for myself, especially in these times which are shared as if I need to remind everyone with a deadly pandemic, brutal manifestations of global warming, a vicious selection season in the United States, an extreme political partisanship. So why in the lower rising corner am I smiling out at you? Well, to end on a more positive note that all being true, because you're sharing with us something that will survive this and will help people to stay literally and figuratively cool in courtyards. I think the achievement of your houses, Ron, is huge because the killings worth avant-garde that is so exquisite and excellent was brought to the masses, made it mainstream. And you know, we were talking before the show, besides the so you remember Pule Circle, which is a rare example that we have to do a show about in Hawaii that hasn't been so much the case that really the mainstream has tried to live up to the same exquisite excellent standards than the super avant-garde. Right. So with that, we that reminded us of the topic of the next show because there's one developer who had made a business model out of that and his name was Joseph Eichler. And we want to share our thoughts about that and encourage you to join us. So that being said, until then, please, as said, please stay literally and figuratively cool if possible in your courtyard. Thank you, guys. Thanks, everyone.