 between the natural and the built environment. And that is so much more important in these days of COVID-19 where easy breezy and easy breezy seems to be the key. And we've been looking at architecture from our islands from the past and potentially for the future. And that being said, this is the volume three of the Monolani Magic Mountain show with Larry Stricker, a partner in Killingsworth, Stricker, Lindgren, Wilson, and Associates. And we have you back from your vineyard in Napa Valley, California. Hi, Larry. Good to have you back. And of course, we're having with us our co-host back in Honolulu, Hawaii, to Soto Brown, hi to Soto. Hello, everybody. And Martin, you should be introducing yourself and speaking from Germany. Thank you for adding that. That is so true. So we're from all over the world. And let's go the first slide here, which is recapping where we had left last time. There's you, Larry, bottom left, above your butt and friends at Killingsworth. And then we see a couple of quoting pictures from the last shows where we have actually been talking about the hotel, the Monolani Resort first, then the bungalows, second. And then the last show we did with your business partner and friend, Ron Lindgren, Larry, and he was sharing the shocking news that in your typology of hospitality design, the percentage of project build is only 15%. And that's especially you are the Soto not from our discipline. I was shocking for you, but for me, having been in practice too, still am. This is shocking as well because in other typologies, it's not quite as drastic. But today we actually want to share one of these who haven't made it yet to become real. And these are the Monolani Groves. And can we get the next slide up? And you, Larry, please orientate us where they are and what we're looking at. Yeah, we see the main Monolani hotel with the bungalows on the far left. And then to the right of the hotel is the 80-unit condominiums that we designed that opened about three years after the hotel. And then the circle that you see to the right of the condos is the five-acre site that we'll be looking at for the grove. And immediately behind that, the golf course. Yeah. And we should add that you are a proud resident of the apartment where you secured yourself a unit with a prime unit with prime view. And so this project, it would have been your neighbor's. And you had to guess why it didn't happen. Can you share that with us, please? Yeah, I think to the best of my recollection, the Japanese representative that was bird-dogging the project did not maybe complete all his due diligence, because once we had designed the project, completed construction drawings, had the estimate from the contractor, had a building permit, and were very close to starting. And once, I think there was a, someone forgot to discuss this with the golf management people, since the project, access to the project requires access through the golf clubhouse property and across the golf course. So that was the only reason I had ever heard that the project did not go ahead. It was unfortunate because it would have been a very nice addition to the first funds. And I think we can say, too, that when you look at this aerial photograph, you can see the configuration of the coastline and where the natural fishponds are, but you also can see in between where the golf course is that this is all raw, untouched alava, which is extremely rough and very rugged and very uninviting. So to turn that natural alava into what we're about to look at is quite a feat. Yeah. And the golf course, by the way, is still carrying the name of its original owner, your ancestor. Yes, Francis H. I. Brown. Exactly. So the next slide, all the material we're showing today is from Run every once in a while, even here around the world, sends me lovely things. And this one was a marketing brochure, I guess we would call it these days of the Monolani Grove. And I wish our medium would be tactile because this is a wonderful brochure, very well done, very tactile, very finely made. And so now we want to flip through the brochure and next slide. And you Larry, please give us the background information of what we're seeing. This is a very soft sell, a nice history of the islands, some of the earlier Captain Cook discovering Hawaii. And then a lot of the, I think it may be the next slide that shows the some of the canoe paths or routes that were taken between the islands. And you know, definitely this area of the fish farms has always been a secret and heavenly place for the Hawaiians. And I can only go back to that one quickly to the previous slide unless I can you go back. I was just going to say that in this, the pages, the initial pages of this big brochure, this marketing brochure has got the pictures of artifacts, which come from Bishop Museum where I work. So the actual surviving pieces, some of these come from Bishop Museum. And they are being used to emphasize the Hawaiianess of this very natural environment, which was just in the early stages of being developed at the time that we're talking about in 1990. And as you said earlier, Ron, I mean, Martin, we could date this brochure to coming from 1990 because based on the deck that's on the first page. Yeah, and per your point, Larry, it's a nice soft sell because you just sort of and I get annoyed when contemporary developers like Howard Hughes sort of more shamelessly use history to sell that project and they only point out pre-contact as if it never has been discovered by other people. And one of them here, or the first one Captain Cook mentioned here too, that's a way more objective way to, you know, set the historical stage. Let's go to the next slide here, which is an illustration. Well, that one we can skip over because we already talked about it. But the next one is Larry, a sort of an illustrated animation of the siding of the actual five units, right? Yeah, there was a good slope to the site such that the three units that are closest to the fish farms are considerably, you know, down at the, just about five feet above the water level. And then the unit, the two units beyond are cited so that they look over top of the lower units. And the total site was just under five acres. So there's, you know, great views and a good sense of privacy and garden between the units as we get into the rendering, you'll see how privacy is so essential to the farming. Mm-hmm. Let's go to the next slide. The orientation, you know, and north is straight up. The golf clubhouse would be to the right of the site plan. Yeah. And this is the site plan. And the text is hard to read, but I want to call the beginning of it, which is along with the images of pre-contact. They dedicate one sentence. The beginning of their design consideration was that they observed the traditional way of wine living and the ali, and basically said different parts of the building for different usages. And that's all they say. And then they say, or we say culture has changed, but climate's not. You guys were seeing this as still the appropriate and designing accordingly. And now let's get us oriented and explain to us kind of the zoning, kind of the layout, which is very fascinating, Larry. Yeah. With the H-shape, you see the entry four-year coming into the center. And then to the left is the living, dining, kitchen, laundry, utility area. And to the right, we have the terracing of the three bedrooms. So we enter at the mid-level, and then go down to the lowest bedroom, and when I, and then up on the flight to the master, which actually serves as fact. So we have a good size one eye for most of the master having the largest one eye. But again, as far as zoning, the three bedrooms were all with the ocean views on the right side, and the living, dining, kitchen on the left. Absolutely. Let's go to the next slide. And all the illustrations that we're going to see following are by the fame, Carlos, the needs that you guys, Ron and you had shared was almost your personal illustrator, who has done work for other architects too, but you almost commissioned him for every drawing. And he has this beautiful sort of, you know, handwriting of being so suggestive as far as tropical exotic. And explain us a little bit what we see. So here we're looking from the lagoon back at the, at the residence. On the left, we see the almost transparent living room. And on the right, the three levels of bedrooms. And then the entry at the center, which overlooks the left pool, and the lagoon's beyond. And I wanted to say that in looking at this rendering, not only do I see the signature exposed protruding rafters of the Killingsworth look, particularly on the left, but also on the right, it really resembles part of the Holly Kulani Hotel, which had been designed about 10 years before this by our friend, Ron. And as you pointed out, Larry, the double-hipped Dickey roof that we see here was something that the Killingsworth firm had adapted by that time as one of also its signature looks or signature elements for the building that it was designing here. Yeah, I think that was largely from the Holly Kulani. And we would kind of make that part of our theme for all the low-rise buildings, the bungalows, the canoe house restaurant, and then carrying us through to the units here at the Grove. And we've also, as Mark pointed out earlier too, we see the signature planter beds with the Bougainvillea vines, which is also something that was used not only at the Cahala Hilton Hotel, but also at the Holly Kulani Hotel. Yeah, and this is interesting because typologically, it comes full circle to add beginning work in the early 60s where Conrad Hill had discovered him and then they started to do resorts together. And this is coming full circle to one story or single story, a few story residential, but it has evolved and emerged. And we were once making you guys the compliments as the best postmodern architect because you were cynical, you were you know, eye-winking. And the Dickey Roos are sort of referential, but you know, they make a lot of sense. And while Anne had started out as the flat-roofed McSenshree guys, you had been sort of sneaking that into the repertoire. Yes, right. Pretty cool. And let's go to the next slide, which gets us actually into the building. And let's discuss this a little bit, Barry. Yeah, well, you entered through a very lush garden and then we have the hosting beam trellis and the chapel with the entry. And that's kind of the center to going to the right. We go to the living dining wing, to the left, to the bedroom wing. So again, you come through here and your first impression is on the, we'll see on the next slide, you see the legumes beyond and then the ocean in the background. So the whole sense of a place of being, you know, in the lushness of the legumes and the privacy. I think it really takes hold of the site and puts you in touch with the specialness of the legumes. And I can also say too that that atrium, as you walk in, is another killingsworth thing element of the very high ceiling there, because it looks like it's almost a two-story entryway with these very high windows and curtains that extend all the way from the ceiling down to the floor. And that really reminds me of the Cahala Hilton lobby as well. Yeah. And as we were characterizing that, it's intentionally the absence of architecture for the presence of nature. And what clearly proves that you guys are, you know, modernist and have been trying to stay away from postmodern in its sort of, you know, true sense is that the fountain, I stole the anecdote already, isn't just a decorative fountain as you were questioning that to Soto, but it's multi-purposely a jacuzzi in the brochure. It says, by the push of a button, it turns from a fountain to a jacuzzi. So that's a very kind of a modern, again, eye-winking kind of performance element there. Let's go to the next slide here, which is maybe the most telling because that's kind of the gathering room, the outdoor room that is almost entirely outside and just has the main roof as the protection from what we need to protect us from, which is the sun and the rain. But otherwise, as you said, Mary, you feel like you're out there, right? Secondly, a transparent space and we're completely wrapped by the washiness of the gardens around the lagoon. It really, you see the density of the palm trees and the palms just continue. But during the early construction, we actually removed some of the palms for you to sit out and wear on the site. So it was a nursery for palm trees and it still has that look. And you just saw that we're questioning the mitigation of elements when it forms as we were just been lucky again to not get hit by Hurricane Douglas and that illustrated well in the next slide, please. This is, again, stepping down to the lower lanai where there's the cocktails and outdoor cooking area. And we see the treatment of the glazing. Again, we're looking at taking for a tie, a glass line and then the additional center of the living space. But again, the openness to the lagoon and the landscaping. And let's go dining. It's about dining time. So next slide. And there's a little bit of a surprise and it explains that more of a formal space. So it would have a side view of one of the golf poles. And the kitchen would be to the right. And then the living space, we just looked at to the left. But there are, when we see the actual metric that we're drawing, we'll see that they're actually three or three. There's a breakfast lanai off the kitchen. There's the formal dining room that we're looking at now. And then also a cocktail outdoor dining area down in the lower lanai closest to the lagoon. And after we have this nice meal, I think we're all tired. Let's go to bed and the next slide for that. So that's the bedroom. We're looking at the master bedroom and we'll see fairly enclosed. It would have the one wall facing the outside of the age. But again, we're looking to the landscaping and then looking back from where we are opens to the next slide showing the study or sitting area and the outdoor lanai and lagoon's beyond. So again, going from a more private or enclosed sleeping area to a semi open study or lounge area and then to the summing lanai. So a nice progression of space for the master suite. And there also are these very high ceilings. We don't have flat interior ceilings in these rooms, but we go up into what is actually the exterior roof space to give them a much more hairy and dramatic and elegant look too. A lot of these spaces are considered reminiscent of some of the main buildings at the Holocaust line. And if we go back for a second to the previous slide, we see something else, which is a very traditional device to mitigate our tropical well being, which is the ceiling fan. So again, the cross breeze and the ceiling fan and hot air rising up and the fan basically taking it out. So these houses are very comfortable, would have been very comfortable. And we know from your other projects, which are very biochromatic. So this is just another example for that. So let's go to the slide after the next slide. We'll jump over one, this one here. This is a great exonometric explosion drawing here that sort of subsidizing everything you have been talking about, but illustrating it in an even better way and gives us a better clue than in the plan, where they sort of extract the floor plans in showing the cleverness of space planning with a sort of split level strategy that you had explained. And it's actually in part, a multi-story building that never feels that way. It feels like a very gentle flow of spaces and places, right? Yeah, I think from the entry, and then you can see the small roof on the tallest element, which is actually the entry. But you're coming in at the mid-level, so that space, the arrangement of the roof forms, and the terracing of the limites, it's not a box in the building. It kind of moves like the slope of the lamp. So I think the zoning and all really shows well here in this exonometric would be, yeah, and then going from the lagoon facing when I back into the building from the more open areas to the more private areas. Yeah. And Larry, these buildings were never built, but did you design any homes or other buildings on the site that were sort of similar to these? Not really. I found that I had actually, he was with the originally hotel consultant with the Hale Kalani, Jack Hudson, and had a life right at the 18th Tee. And he wanted a single-story home, again with the similar Dickey roofs, a very Hawaiian feeling and high ceilings. And while that was under construction, a great cardiologist had bought a property a few blocks away, and he was taken with the design of his first home. So we had a second home for a doctor, and both very different. The home for the doctor was again just a single-story home, but it had similar zoning to what we have here at the door. Okay, so us running out of time, let's phase out with the solo shing with us, although you guys had closed down your office, but let's illustrate why your legacy lives on and get to the next slide for that, and please share with us the photo. So, Martin, you said that this was a preliminary design for potential use of the office of Hawaiian homes, which would have been for people of 50% or more Hawaiian ethnicity to be able to build on their properties. Is that right? Is that what this was? That's correct for the digital, yeah. Yeah, and you unknowingly, we used a very similar plan, an H shape. You've got an entryway, although the entryway is not decorative, it would have been for potentially having fish that you could eat, but basically, although it's a very scaled down version, it's somewhat like what we just looked at for a very affluent clientele versus a very down-home and back-to-the-land type of clientele. Yeah, and as Ron had shared with us, Larry, that there was a project by Ed, an early project where he was doing courtyard houses for Latin American low-income people. We can see this in the tradition of, again, sort of proliferizing your guy's kind of strategy. And let's go to the last page. Now, this is a sunset view here from that beautiful piece of land, and then we threw in the note that after the $200 million renovation, which you attended its reopening, Larry, it's like everything in Hawaii had to close down because of the COVID pandemic soon after that. And that's obviously a bummer and tragic, but we know from Ron that actually the owner of the Haulingpani that we talked quite a bit about, they take advantage, they make a virtue out of the dilemma and say they keep the hotel close, the Haulingpani to do some long overdue renovations. And we're hoping these are going to be mechanical ones and not aesthetic ones, and they stay to the original. So that means in some cases, if clients are affluent enough, they might have some money to be able to do some things. And our suggestion is here, no surprise, why don't you build the Mauna Lani growth project? Because if anything, aren't they very COVID-conventing compliant, right? Well, they have a lot of air circulation. True. Absolutely. So with that, we're at the end of the show, but we're going to see you back, Larry, next week and the week after is to actually share with us the last project that you guys have done on the Hawaiian Islands. And that one is the one that you have been the project architect again, and that's the Ihilani resort. So stay tuned for that. And until then, once again, stay as tropically exotic as Ed and Ron and you, Larry, and easy breezy and easy breezy. It's safe and sound. Thank you, guys. Bye. Very good.