 Think tech away, civil engagement lives here. So good to see you all back on human humane architecture, which is the show that tries to find out if there is architecture that is as comprehensively perfect as a build environment, as our natural environment, as here on the island. But we're not going to talk about, there was just, I attended the, in our front yard, sunset on the beach, Y5O and Magnum PI Reboot, we're talking about in our last show. And there's a sort of fictional mansion that we try to find out is that, and now they go inside, so they have staged it, and I call it the Coral Coarchic style. That's a fake Magnum PI house. Yeah, yeah, yeah. So we're not talking about that yet, because we think it's not so relevant to what's really urgently that matters on the island here. And we talk about architecture, which are the forces behind, meaning client, meaning money, meaning economy. If I'm not mistaken, it's still number one is the military, but shortly followed by tourism. And third is what we're going to talk about today is education. Which amazingly enough is a major economic force. And we're going to talk about higher education today. That's right. And we're going to sort of massage with that massage or acupuncture, that hand that feeds me as you keep to remind me. Because you are a UH Manoa employee. There we go. So let's take a look how that all started, and if we can get the first picture up. And we couldn't, I always ask you for your marvels from your archive. And you said, sorry, there were no planes yet at that time, because that was in 1890, 1892. Right, no airplane. And so the only indication we see here is the couple of X's down there. And that's what we can read. And that's all from, we did our homework. And you, bad student, left your textbook. I didn't bring my textbook. I get punished for that. But I got you one, because this is what Don Hibbert assigned us. This is called Building a Rainbow by Victor Kobayashi. And so we both got that book and studied hard. Yes, we did. As well, we went up and took pictures. Yes, we did. So the black and white pictures are either from your archive or from the book. For the book. Everything else is from us. So that's a very early plan that shows the location of what is now the UH Manoa campus. But before anything had been built. And you can just see some natural features of the topography. Otherwise, you see the big landowners. The names of the big landowners. That thing on the top right is the Mountain Rich, which is close to East West Center now. Right? That's right. And a couple of X's down there are actually what we read is where Metcal Road then will be now is, so to speak. So it took many years until airplanes were able to fly. And the very first, well, not yet. So the next picture is actually, can we get that up? There we go. It's actually confirming something that I've sort of provocatively said a couple of times before that sometimes the engineers are the better architects. Than the architects. So actually, the foundation of UH architecture is pretty much by an engineering professor. And he laid out this pretty colonial, we can say, classicist plan. Yes. And that pretty much dropped and plopped it on the land. But it took several years after that. And it's comprised of interesting and lofty disciplines of medicine, law, veterinarian, science, and, yes, architecture. Architecture, isn't that something? So there, and today there is an architecture building kind of in this same sort of, and we got to talk about this at the very end because a very different touchy kind of subject. And this layout extends all the way over to where the East West Center is today. This did not actually come into existence. So don't be confused. I think this is the way the campus really was. They pulled this quad over to the very sort of left side of that, to the west side, and that's the next picture. And of course, next picture, please. You think of the bosses first, the administration, right? Yes, you do. So this is pretty much it. This is Hawaii Hall in 1912, as it says down there. Right in the center. And that's the first big building of the UH campus. It is. And the next picture sort of shows a little bit about the life around it. And that was early where the people, the way people dressed were rather modeled after, beyond Hawaii, wanted to look like on the mainland and in the world, because that's what supposedly sophistication was. Absolutely. And that's what education was sort of higher, intercultural education. And this little poster that looks very third-ish there, I find interesting because it says, years of progress. And actually, the artist was sort of designing or drawing Hawaii Hall way more modern with the square columns that is actually with these more sort of Greek revival columns. That next picture, we can see the next building and the quad completed in that sort of style. And that is Gartney Hall. Correct. And I think what you've said, and I want to just emphasize this, is this is very much an outside, Eurocentric slash classical type of architecture layout, et cetera, because that's the way a university was supposed to look. And they were wanting to make it look like the expectations. I guess so, yeah. And architecturally or tectonically, next picture is they were built like anywhere else, where it came from originally that style from Europe and then from America early on the East Coast. It's a stereotomic. This is stone on stone. This is heavy stuff. We're avoiding to judge it as being our term of invasive. Let's just say it's imported as of now, because we're continuously debating how thermal mass works in the tropics. That's right. But air conditioning was not around. So it must have worked in one way or another. And next picture is a missed opportunity, because here Gartney Hall was pretty much remodeled, pretty much gutted. The interior was scraped out, and they basically redid everything. And unfortunately, that's the top picture is how it looks right now. It looks like the generic universal classroom with drop ceilings and cheesy carpet tiles and fully aced and fully neon light. So I think they missed out on that opportunity to really sort of bring back the original feel of how it was way back. And non-openable windows. And either you sweat it or not. It worked somehow. So this is not historically correct, right? Correct. And one of the things we just said is the windows originally had to open for ventilation. The windows may look similar now, but they don't open anymore. I mean, maybe they open. They could, but no one does it, because it's a seat. So you're not even supposed to open the window, right? And David Rockwood did an interesting studio. He just reminded me of way back when there was under construction. The students did what you call a critical reconstruction. Oh, yeah. Where you basically do sort of installations and interactions, leave the torso sort of speak intact. And everything else goes free and easy breezy and maybe shaded and stuff like that. But again, not so in reality. Next picture is showing another aerial view of the buildings that we just talked about, Gartley Hall and Hawaii Hall. But then there is a third building added. And which one is that? Well, that's the library building. That's the one that you see on the upper side of the quad, which in this case only has three buildings. And do we go to our next picture for this to see the, yeah. Now that's the library under construction. And it was called the library till 1956 when Sinclair Library was built and all the books were moved to it. But you were saying that this one is even more classical perhaps than the other two. This looks like a real piece of cake, like more like a big cake. All the ornaments and all that decoration and later on modernists wanted to strip naked and strip away. Correct. That's right. And next picture shows another aerial view of another building that's sort of between Gartley and Hawaii Hall is basically Dean Hall. And then the little picture at the bottom left is Crawford Hall that was added next to George Hall. So then the quad was almost completed, which indicated that architecture building was still waiting. And we keep you sort of excited about that and don't go there yet. Yeah, we won't. So then they kept going basically east towards that mountain ridge you see on the right side. And the next picture is the fountain they had built there. And you just taught me that this, it was named after that lady. Right, it was named after a woman named Barney. And I said she was just a normal school teacher, but then you taught me what normal means in that case. Yeah, actually she was the head of what was called the normal school, which was the school part of the educational system where teachers were taught how to be teachers. And I didn't know that until not that long ago that I always thought, why is it called normal? Aren't they all normal? No, so when she became, and then eventually that became part of the U.S. system. And sort of opposite of that is another classes is building that in the book it says they wanted just to match the classical style of the other ones that's Farrington Hall. And then the very top right is the end was outdoor theater, which the book is very nicely humorously written by grad students and other professors. So there's a lot of humor in there. And they said, you know, there were events there, but when not it was even more exciting because it was a favorite Rondeau group place, right? In the dark. And you know, so that is tropical exotic erotic. That's tropical and exotic and erotic, but it's also, that's a classical Greek form, but it's very adapted and appropriate for the tropics. No, very much. And that is true too for the next building, next slide please, which is Hemingway Hall, which is still existing. We will show in the next picture how basically original it is. But here we can see how overdressed people were for the tropics. Of course. They wanted to be like mainlanders. The next picture shows little collage of pictures we took that it is from 1938, as you can tell here. It's got these amazing breeze blocks and it's got the original very thin steel frame windows that are still in place and intact. And you know, they need a little bit of touch ups and corrosion, you know, reconstruction and stuff like that. But our pleasure is keep that. And the building has a pretty significant roof overhang so that obviously it works. And to the south, next page please, you see it has a large overhang and that became a theme for some other buildings that you just extend the sort of a night or the outside. You can see these folks there sitting and being in the shade and enjoying. Being total comfort. Being students in the tropics, fine. Which is, you know, there is one more tropics in the United States, that's Florida, but that's way humid. So we got these privileged tropics and they want to remind us where the treatments blow and it's too paradisical and to be true, right? It is. And so architecture better takes that in consideration and did it at that time. And next picture is the building is introducing something that you find out while studying very well. Yes, I did. Being a student, you found that could have become a theme for the later developments. Because I feel that there definitely has been an intention and UH buildings to construct courtyards. And you see courtyards in a lot of the buildings and which are intended to be lived in and used for students to hang out, study and whatever. And as you pointed out, this is possibly the first appearance of such a courtyard in the UH system. And this is still one of our favorite hangout spots because there's Manoa Garden now and you're able to drink beer there and alcoholic beverages. You just can't go beyond that line that this is a party courtyard. So it's very cool. And the building next page picture is as curious because when I walk by to grab lunch, I see some vacant spaces in there at times. And I'm always wondering. Oh yeah, next picture, next picture. In best case, it's multifunctional space, but as you said, sometimes it's a bad sign if you see things vacant. So please, please, please put some well-deserved functions into that building. And also please, please, please, next picture is do some maintenance because I kept that little picture small to not offend you too much because you see some really gross stuff in there. Stuff peeling off and things being in despair and needs to be repaired. And choose the big one as the platter year for, I mean, look at these tiles. This is a corner tile that's soft edged. I mean, it's rounded. Try to make that these days. Try to spec that out. Good luck, you know, at least not. And that's got a fired glaze. Oh yeah, absolutely. That's a fired ceramic glaze. So that's beautiful. So now we're sort of exiting this sort of pre-war era. Yes, we are. But we won't do it without saying we're not gonna claim to be comprehensive. We only touched on some selective works. Read the book and go beyond. But this is it because we don't have more time to show. We don't have time to cover everything in the US. So we jump post-war and the similar, the equivalent to what Hawaii Hall was basically plopping from the sky. We got the first pre-war sort of thing there plopped from the sky. Next picture, you can see it here. And this picture, this building is very familiar to you because you had the privilege to grew up in a building by the same architect who is? Vladimir Ossipov. And yeah, as you can see, as we're about to show you too, Bachmann Hall, 1949, is surrounded by a lot of open space and it still does have that open space, which is very unusual and exceptional on a campus which is increasingly congested. And when they're overly generous in wasting, so to speak, and I say this humorously, that sort of space and land in front of them, but it has a reason because next picture is that's how you approach. It has this very majestic lawn. So when you come as a parent and potential student, you're like, wow, it looks like a temple, in fact, up on the hill. Yes, it does. So as you pointed out, it's a very classical motive, but yet once you get closer, you see it's very modernly interpreted, right? So let's go to the next page. And then there is this sort of side part of it that's absolutely rigorously modern, did a show about Le Corbusier's Brie Soleil and I'm sure he was in there, which is basically designed after the sun to make sure no sun ever gets in because it's fully glazed behind, right? And the little picture insert from the book at the bottom is Bachman Hall, and not a wire hall, has been that space for activism, for demonstration. That's right. Along the era of Vietnam War and other things. Correct, and in the little photograph at the bottom, you can see there's a banner that says Liberation Hall, instead of Bachman Hall. There you go, there you go. And La Résistance. Yeah, Vive La Résistance. So its next picture is basically comprised of sort of a composition of outdoor spaces here, so well-lit, but well-protected from the sun and the rain, just as you should do it, and it's all concluding in the next picture in that central courtyard. Yeah, and the central courtyard is a theme of a lot of different architectural styles from other countries, but it's very suited here. And as you just said, this is a classical style with the pillars holding up the roof, but it's stripped down and unornamented to be very modernist. And we've got a nice breeze block wall on the right-hand side too. And it reminds me very much of, you said internationally, but nationally, Cranbroke Academy, by Eliel Sarenin, the father of Errol, that we pointed out the TWA terminal a while ago, and it's very much in the same sort of classical manner, but very sort of subtly sort of modernized and touched up to evolve, so to speak, that sort of classical theme. And next picture is pretty much inside, it's a jungle, and it's a pretty wild jungle. It's not a manicured, like you always say, it's like ornament. This is wild, I love it. This is true, this is real. And these are tropical plants which are either native Hawaiian plants or brought by the Hawaiians. So it does have an intentional Hawaiian relevance in what they got planted in there. Absolutely. And so next one is a map, is a cute map from the book that shows in the area of B, we want to point out where they basically started to extend the quad, the axis, the central axis of the quad. Yeah, right up at the top. Exactly where the number B is. So we actually want to look at these buildings that they're sort of symbolically put in there. And the first one is next page here is Bilger Hall, and these are two historical pictures, one from the archive at the top and the bottoms from the book. You can see, and the book basically says it's a very sort of modern building that wanted to be modern and tropical. And you see this sort of large amount of windows and you can see them being open. So it was easy breezy and operable and worked that way. And next picture is a contemporary shot that we took. And the architects of renovation because someone must have thought redo the windows and they try to match the profiles, make them pretty thin. But again, there are theoretically or practically operable, that's why I zoomed in at the very top, but no one does it because the building is now fully AC. So that's sort of contradicting the architect's original idea. And basically, which was, when we go to the next picture to make that a truly exotic tropical building and making this, there we go, courtyard again, right, the theme that you discovered. And there are single-loaded corridors and the hallways are facing what he called the outdoor study room or learning space, right? Correct. So those are open to the outdoors. They are not enclosed corridors so that you get to your classroom by walking in an outside space, an open space. And next picture is another typology that we're at it because the student needed to live somewhere and this is sort of freer hall that we touched on that sort of earlier. And there's also the dorms, which we will talk about because that belongs to the next area that we're gonna cover in the next show, which is gateway dorms. So we wanna jump on to maybe one of the most stunning buildings and not maybe, certainly, I should say. Next picture. And that's the one that you already mentioned before. This is Sinclair Library. And I always take the students there and say this is basically people and planet-friendly architecture 101 perfect. I mean, this is Frank Haines and his buddies Le Mans and Frith at that time. And this is the Northern Elevation and I found this picture online. And even because it's facing north, these horizontal window bands have horizontal little fins. So you'd even take away that little early morning and late afternoon sun pretty well. And to the south side next picture, it has these lanais, once again, which we know from Hemingway Hall. So he might have been contextual and looked at that, but then he gave it an even more extremely modern twist. And again, it's all easy breezy. It's jealousies. Whenever we have guests like Will Bruder up here, he loves it. Whenever we have colleagues of ours like Bill loves it. So many love it. So you, because of the nature of what you do, have a little bit of a differentiated view. Yeah, yeah. Please share. Yes. Sinclair Library is very human-friendly and is very enjoyable for people. But it is not good for the things that are in it because I'm an archivist and I know that books and papers need to be protected and unfortunately they need air conditioning. So there is something we'll be talking about in the future as to the need for air conditioning for Sinclair Library and its contents. What do you do about that? We won't talk about it yet, but we will in another few. Well, I think we should a little bit because... Well, we can hint at it. We hint that we say by now, such a fan of tropical exotic erotic architecture that you don't force AC into that building, but you basically recommend the books to walk out of the building and find AC spaces. That's right. And we have people walking back in from somewhere else into Sinclair Library, right? That's right. So please, administration, do not AC that gem because it will ruin it. That's what we say. Yeah, and there is another solution to this. There's another hypothesis, let's say. Some ideas, exactly. So the next picture is moving on to the music complex. The music complex always feels like it's off campus, but it's not. It's just on the sort of Makai side of Dore Street. And this is like, if I would propose something like that, and I sort of at times have, that's why I know what that means. This is like the three do not because of liability and suites. So one is basically an exoskeleton that's problematic. Then this one is a butterfly roof where the water gets trapped in the middle. And then the roof is suspended from these little rods. So positively saying, and that's how I mean it, these guys were pretty much freaks and experimenting. And taking risks. And it was professors. There was an acoustic professor who consulted on the interior. So it was pretty much homemade. And look at the building, how awesome and still sort of, and you had something to say about the very specific trees they planted. Exactly, and if you look in the bottom photograph, you see that there are paper bark trees. Paper bark trees were almost a cliche of the modernist era here in Hawaii, particularly on Oahu. So buildings like this one, which are really aggressively modern, frequently were trans or landscaped with these same trees. So when I see those two things together, that is really evocative to me of that period, late 50s, early 60s. And next picture, of course it has courtyards and of course it has covered walkways, as we can see here. But also, of course, which you wanna add because there's also a theme across campus at least was in the past is artwork. And this is a Brownlee sculpture. It's rather beautifully interpreting again the nature of music, what they do in the building. So please go and check out the building, but we gotta move on and go back to the extended quad central axis to McCarthy Mall next picture. And the first building you then see after the fountain is pretty much Webster Hall here. And Webster Hall is sort of has a sibling behind and that's Spaulding Hall. And that thing in the middle, that vertical piece we wanna go inside next picture. And this is again, if you wanna make a vertical circulation right and we did shows about that, did a show about that, this is the way to do. I mean, it's open, it's easy breezy, but it's breeze block shaded and so it's perfect. Love it, can't get better in the tropics. And next page is the entrance, which if you remember that picture we just showed from the very beginning had only a bunch of palm trees in front of it. And here there was someone, I don't know, I have to do more research when that was to do something pretty smart. You basically got as close to this sort of class title. I have tree texture and basically build a canopy basically out of vegetation. There's other examples of that, like your house architect, Osipov, down the hill from you, the Outrigger Canoe Club, he did that, another example. How Tree Lanai. But here done as well and the structure is sort of maybe a little bit sort of inspired by how trees branches, but not overdoing it pretty subtly, not post-modernly over-themed. It's a pretty nice thing and you were saying, well, it's pretty courageous too because in the fall when it rains more it might get pretty slippery down there because everything drops down and can dry out very much. But isn't like to feel the seasons and certain things you can only do at certain times and not at other times. That's exactly right. This is part of nature and you just go along with it. Exactly, exactly. And there's, next is a sad thing about Webster because the southern elevation and the western one had basically these sun shields in front of it and this is pictures from now. Someone took them away, fixed glazing and so again we did a show about these golden grills and gonds and King Street is a major, basically street that has that. So we basically say bring these back because they belong to the building. The building was basically designed by Anbi and Lee. So again, these architects designed them so please bring them back. The next picture is Spalding, luckily still has them, but when you creep and crawl under it you see that little wide suspicious box up there. So someone put central, not central, decentralized AC in there and we're saying come on, it's shaded already so sweat a little bit, won't hurt you, just change your attitude because that's what it majorly is pretty much about. Another sort of sad story to share is the next page. This is Edmondson Hall where at some point they added the staircase and elevator tower and they did it with a sort of Miami Visey, Floridian materials of stucco and sheet metal that don't age very well and don't seem to belong to the tropics. So maybe think about your material pellet and means and methods a little bit more than you have done in the past which also applies next picture to the east and west elevation of that and we talked about that a while ago in the shows disorder, right? Do you remember that? Yeah, and we were talking about, I mean what's been added here are these new exterior vertical fins but they do not conform to the original typology of the building in that they've got a little bend to them and one of the things I was worried about is how robust are they going to be? Are they gonna fall off because that's something we're gonna talk about in a later show is to things falling off of buildings and different maintenance? Yeah, I mean technically I trust them but again aesthetically I mean just throwing fins on doesn't cut it, fins are not like, you know. Then you just said pragmatic versus poetic and pragmatic, I mean if it's pragmatic it's fulfilling a function. Exactly, and architecture always gotta do both at the same time. Exactly. We're saying maybe these not so much. Correct. So we're closing second to last picture with our biggest pitch, this is Snyder Hall. Snyder Hall is by the same architects of Webster and Spalding by Anbi and Lee and this building is luckily still in the original condition and it has these sort of tilted 45 degree tilted louvers. They have gelacies, glass gelacies behind so you got one screen over the other one that does a pretty good job. But they've got AC now. And they got AC and we heard rumors that building might be gone soon and we can't believe that and we wanna tell you why not and this is the last page here. Here you see a collage of these impressions that we took from the canopy reminded you of the Obama apartment. It does, it does remind you of the lobby of the Obama apartment. And Bill Chapman said this is like the Fonsworth Pavilion, both is true and then you got these beautiful breeze blocks. You got these sun screening blades, the car rails, they're basically like the rebar rods. Like connected in the most beautiful way. You try to make a building with that sexiness and that material pride, good luck because for the budgets you have and the mindset you have, so don't do it. So please, please upper administration, find a use that's gonna appreciate the building. I can say for myself and a couple of my colleagues in architecture, we wouldn't move in there. So yeah. Yeah, something else to keep in mind. And as I said too, before if, once you, if you destroy an old building, you're gonna destroy things you cannot replace because it's too expensive. Nobody knows how to do it. The materials are not available, et cetera. Exactly. So before any demolition. Exactly. A very important message. So we're gonna close here. We call this the rise phase. We're gonna call the next one the thrive phase. The next one is gonna be about you call it the jet age. And then Kobayashi calls it the boom age. All is true and more. So there's more goodies to come. It's our trilogy or it's our UH trilogy. Absolutely. So until then, please stay educatedly exotic. Bye-bye.