 We all back to human-humane architecture, broadcasting live from our tropical exotic paradise in Honolulu, Hawaii. That is in the center of everything. That's true. Recently also strong winds. That's right. Last show we were saying we're just past Hurricane Lane, but now we're saying we're in Hurricane Jebi, but that's not us. That's in Japan. That's right. That's one over. There's a garden coming to the golf course. That's exactly right. And there might be a Norman coming to us. Exactly. So it's hurricane season throughout the world. It is. It is. So how we escaped the last one, first picture please, is a compilation of some goodies from you that you took? Yeah. Yeah. Well, we're very vulnerable to hurricanes, and hurricanes not only do damage to the natural environment, as you can see by the fallen banana trees, but they also damage buildings like the picture, the small insert picture of the Cocoa Palms Hotel, badly damaged in 1991's Hurricane Iniki, and still not rebuilt. And then of course we had to do all this very quick boarding up, and we lost all gas supplies because everybody filled up. So this emphasizes how fragile we are and how vulnerable we are. You said everything evolves around fossil fuel or not, right? Yeah. No fossil fuel, no civilization. Wow. Yeah. Whatever civilization means. I mean, that's not available. That's true. But the hurricane, another hurricane actually hit us, and that's Hurricane Howard. Let's look at that one. Yeah, you can say it's Hurricane Howard. It hit us hard, but it's actually not a real hurricane. It's the Howard Hughes Corporation. And yes, they've done some, they've made some alterations in Honolulu, and what you see here is the former Word Warehouse building when it was being demolished. Yeah. And way back we were sitting in there not that long ago, appreciated because it was a very easy breezy, inclusive for all the people, you know, place. Now it's gone. Now it's gone. So I think this hurricane here on CIS caused some pretty collateral damage. It certainly did. The next picture shows it from another beautiful view that you've captured. And that's the end of the Ward Warehouse after Hurricane Howard passed through. Yeah. And we were pointing out, the little picture in there is a previous show where we were comparing the architects of the former. This is Steve Owl here at his tree house, by the way, in Anikai, which he now sold as well. And he's, you know, casual guy, easy breezy, local boy. And what's supposed to take over here is by this star architect, general man, Richard Meyer, who sits there all tied up. So next picture, his architecture was supposed to be. This is referencing a previous show where we had Will Bruder coming, stopping by, and we could not show this to him. He was pretty quiet in the eye of what he saw there as very sort of hermetic, very inclusive, sorry, very exclusive, very little inclusive. And that was just before the summer. And this was the Ward Warehouse site. It was supposed to have these two high-rises. It was supposed to be Gateway Tower. That's right. That's correct. Correct. With one small space, small open space between the two of them. And this is the, the top right is that showroom that Howard Hughes has in the IBM building and Aussie Post IBM building with this pretty surreal where they put this sort of wallpaper in front of the window. So it's sort of, you know. As if you're looking out of your, of your high-rise apartment. As if. And all that glass, you know, there is some sort of whimsy, sort of gesturing of some shading, but not really, you know, this is a fossil fuel hog. And it's a glass box. That's a glass box. That's by Stargate Tech. So it's kind of nice and clean and lean and mean, but it is fossil. So that's why, you know, Will being a very environmentally sensitive, his Phoenix library is a masterpiece of living in balance with the elements, with the natural elements out there in the desert. Yeah, which is hot. He looks, he looks pretty puzzled. So I was, the next picture, because over the summer I thought you were playing a late April's Fool's play with me when you sent me this article. No. I said, like, no way, you wrote this, right? No, I did not. And you were, Martin had gone to Germany for the summer and this appeared in the Honolulu Star Advertiser. So I sent it to him and those two big buildings that we just saw, on which they had spent a total of something like 40 million or 26 million or some huge amount of money, they totally dropped. And so that whole plan is now up in the air. We don't know what's going to happen. Or at least on a long hold. Yeah, yeah. And, you know, let's zoom into that picture there because, on the next page or next, so that is, we read in the article that, of course, you know, now they pull the carpet and now they're going to propose something new. And there's supposed to be a new boss there who is celebrating his genius idea of making this a park, which we love, for the topics and vegetation. But then there's something that puzzles us. So we're starting to do a little cultural research on that and history on that. That is an elevated walkway. Correct. It reminds you of when were they first introduced. Well, back in the 1970s, when Kaka Ako was first being proposed for a massive redevelopment, there was a very old idea. Actually, it comes from the 1930s in which all traffic is on the ground level and then all pedestrian traffic is one elevated one level up. So that's what was being discussed back then. And now we see it's returned with this current statement from the Howard Hughes Corporation. Yeah. And I have to say, you know, looking some years back when I started my full-time academic career in the U.S., there was a really hot project that everyone loved. Yeah. And that's the next picture. Right. And that is a place you just recently visited, that city, that is. That is the High Line in New York City. And that originally was an elevated train track that was just used in a small area of Manhattan for a moving material between the docks and factories. And it was for trains. It went out of use, I think, in the 1950s, and then the structure sat there falling apart. And instead of demolishing it, it got turned into the High Line Park redeveloped so that it is a walking park that has these little elements of trees and stuff in it. It became like a very hip project. Yeah. Architects Disco. The name is... Appropriate. Dylan Scaffito is the architect's couple's name. But more recently, actually, this year, next picture, I found this article on the web which sort of sheds a little different light on that very sort of feeling very inclusive project, which is for the people, everyone can walk there. Right. But all of a sudden you start to see, hmm, maybe that was, you know, at least as a welcome side effect of the High Line that all of a sudden, you know, being hip means some, you know, hot shop people want to live along that. They do. So that reminds us again of that part of Kakaako, High Line Value, how it is wanting to develop. So maybe these sky walks are, you know, in that sense of the High Line sort of like elevating the way, you know, towards sooner or later. And our elevated train line is going to go through that area as well. That one, too. Yeah. And maybe that one, there's always budget drama and crisis. Maybe that one ends up like a ruin as well and Vines Grover, you know. Well, we'll see. We'll see. But the next picture is talking exclusive and, you know, being hip. This is us. We made number 23 in the global ranking of the most livable city. And this is better than it sounds because this is the first or the only American city that's amongst cities from all over the world. Vienna, by the way, hit number one, never mind. We were discussing the criteria, you know, of that, but that's a whole another story. Correct. So we are, according to this sort of institution, we are the most livable city, American city in the world. And the question that we increasingly raise is for whom? Is it for... We also hit record high. It was a title of the start of the Tizer Tourists. We have the most tourists ever coming to our place. But what happens to some people who've been living here before, as you're one, for example, and I recently joined, where do we end up? The next picture is where I literally end up. Is this project that we ran a show way back at the Waikiki Grand. The little picture is the original condition from the mid-century where there was a little tree. And this is a picture. The big picture is a picture I took, because this tree is essential, or I should say, existential, to my neighbor, Vanda, who lives on the other side of the hallway, who has, you know, birds in her place and big parrots. And she needs the view of the tree, the view of the trees and the other, you know, buddy birds out here. Yes, yes. Want to look at it too. This is really essential. So we want to look into... But also, Waikiki Grand, the next picture is one morning, one recent morning, there was a big show going on outside, and they started to film, which they had, as you told me before, at your place, up at your guy's house. This is the reboot or the remake of Magnum PI. And we found this trailer here, and pretty much screenshoted the house. Because the little picture in there in the middle is us, we were talking about the coolest commercial classic, the Alamana Tower, and where it was all featured, Elvis Blue Hawaii in, of course, a Y5O, but also with Tom Selleck way back there. So we're looking, of course, for architecture, and as you told me, Tom Selleck is obviously gone because he's too old. I was under the impression his Ferrari made it, but you told me watching the trailer. The original Ferrari was blown up. So now they've got a new red Ferrari, and they've got a new house too. And what happened to the old one? Well, the old house, the real house, that they filmed the original one, has been wiped out, has been demolished. So I think that's another show, right? That's another show, but I think the other crazy thing is that that's a fantasy view. That's not a real house. That's special effects. Alrighty. So that's pretty... That's pretty crazy. It is. So let's move on. And a little review of last, next picture, please. This is from last show with our tropical tutor, Bill, who runs the architecture school with us, and he's a big fan of movies, so I introduced him and you to Must Watch, and I made this the viewing assignment for my current studio. And this is Alexander Payne, who is the maker of the Descendants, which we probably all know, and we better do if we don't watch it. And somehow, half through the movie, we're from this sort of shrunk down, idealized, middle class America, still some fall through the net and don't make it, even though they're small, but their problems don't go away. No, they don't. So they put them in these buses and then they drive by this sort of no one's land, as you can see, and there you can see a lower gardens is the project development there. Right. So the work with him has sort of this illusion of paradise that sometimes sort of in not matching reality. Right. And they wanted to, what that billboard is indicating is that there was going to be something called Aloha Gardens and it never happened. No, no, no. So it was a utopia they never created. There you go. There you go. So, and interesting is really in the movie, at the bottom left is like that city outside of the city is where the action is, where life is, where empathy is, where humanity and humility is, where people talk. Everything that middle-class America lacks, suburbia lacks, they have there. So it's a great, it's a must-see movie for architects and architectural enthusiasts. And it really points out the sort of what's important, I think, in any kind of architecture, but increasingly, you know, more than ever because we design from outside in more than ever is this inside-out approach. We want to sort of now turn over to the last third of the show, which is going to bringing back a couple of these polemic propositions and saying, hey, you know, here are some things that we might want to need on the island and we might, something that Howard, you know, the hurricane might want to have on their development. Which is relevant for discussions of hurricanes. Want to do maybe instead of what they just dropped, right? Correct. So let's jump in. Next picture. So this is jungleism. And I think what we're going to be looking at is some of the projects and some of the work that Martin's students have done in various classes at UH. And jungleism is the idea of building along the lines of how a jungle actually forms itself. And as you pointed out, there's a lot of going on in jungles. There's a lot of livability. There's comfort. There's protection. And yet it's also open to the elements. And so the big picture so is a tangle of how tree branches. And on the bottom we see a little girl who is hanging out with one of the mock-ups that was done at your, for one of your classes, which if I can remember correctly, I was present at. Next picture. Right. Proofs that. There I am sitting in the background next to Neil Abercrombie, former, former governor. And this is, this is your tree texture art. This is your tree texture class. Well, it's sort of segueing into tree texture. We can go to the next picture. This is still jungleism. This is jungleism. Okay. Pardon me. That's what I meant to say. Yeah. We're not there yet. This is looking into the fabric. Correct. So to speak. Because once again, this is not traditional city planning where we like make a master plan and we feel like we're God, right? Yeah. We're in the jungle. We're like Corazon and Jane. Correct. That reminded me about the, the, the elevated walkway, you know, through a jungle, you do it like Jane and Tarzan. You swing. Right? Yeah. And you don't walk on a walk. No, no, no, no. Yeah. So the idea is here that you zip line from one building to the next because the clue is here. Next picture. And this is taking out just sort of a bundle or a bunch of these. Correct. Just from a, from a larger fabric because what really fascinates me that only here in our privileged, relatively mild tropical climate in Hawaii. Yes. If we let buildings, you know, follow the same bio climatic code, what nature does as, for example, a bamboo grove that you like as the best example from us? Yes. Yeah. So the, and one of the things that you pointed this out to me, a bamboo grove is a very interesting structure because each one of those bamboo stalks is very flexible. And yet in a grove, they all protect each other. And I just was watching Hurricane Jebi on, on YouTube last night, moving all this bamboo grove around and it was staying intact even as it was being thrown around. So that's one of the things that's going on here. A forest, if you will, of tall skinny towers functioning in a sort of similar way. Exactly. Next picture is showing it in its larger context surrounding. So these are the same ones sort of embedded in that large, in that larger jungle. And again, they get as close as possible to shade each other from the sun primarily and the wind. And they're as loose as they need to be at the same time to let air and rain and allow, still allow privacy. Correct. However, we see a lot of sort of greenery in them. So greenery in a jungle, the jungle is very diverse, right? You've got all sorts of species and, and you do all kinds and people. But you don't really recognize them, right? Because the jungle is very discreet and it's also an entity of its own self. Absolutely. Absolutely. So next picture shows it's in its, in its macro, right? And this setting is what's now downtown Honolulu. We're looking at the site of Aloha Tower and Honolulu Harbor. And this is the sort of idealized redevelopment, including some of the existing buildings, but also the forest of tall, skinny towers like a bamboo grove. And they spill out just like mangroves and then they go to the ocean. They want that. That's right. And that way, you basically talking, the catchy term, you know, has been for some years has been resilience, right? How can we make ourselves more resilient? Right. Towards. Right. And it mostly leads, okay, we basically fortify ourselves. Right. Right. But, but this is a different approach and looking to that through some individual sort of, um, declarations of individual, uh, plans here. And the next picture, once again, they all start out again. The methodology is inside out. Um, I ran the show way back about this particular project, um, with Jeff, who is one of our, my neighbors in my hood, and he's an urban nomad. Correct. Right. People call him a homeless, which I avoid. Right. Right. And so this is meant for all of us, including Jeff. And it's basically, um, you know, inhabiting pretty much a raw structure. Yes. Uh, providing the necessary for the protection for the sun and the rain. You bring vegetation in and that's pretty much it. What, what, what else do you need? Right. Um, and so that, that's what that is doing. And the next picture is then showing how that might look architecturally. And you can see some sort of tectonical pattern. And what this originally was is cargo steel, avoiding to say shipping containers. Right. And they, they got a sunscreen put on because containers get hot. And there's some LBZ, um, you know, slats, show about slats. And reuse. Yes, we have. And so we did that. The next picture, which is also a permitting background picture whenever at the beginning or at the end, vegetation again grows around that and basically, you know, makes it, diffuses it, you know, and basically dissolves it in itself. And what I like about the shipping containers is that pardon me, the, the shipping steel is that each one is a, is a unit. And all of them are identical, but you can stack them and move them around in different ways. And there have been projects like that. And one of them is in Las Vegas, which I had been to, which is a commercial development. It can be done. It's being done. And you've got all these containers. We should be using them. Absolutely. So another species here in, in jungle is the next picture. This is what? This is primitiva one. And primitiva one is a circular tower and it's got a lot of open space and it has areas for people to meet. It has areas for plants to grow. It has various for people to exchange things, barter, buy things. And one of the crucial aspects of this is that it is an open structure. And that's relevant for when we talk about hurricanes. And as well as the top, as we can see here, we're, and as well at the bottom, next picture, at the base, it's an open farmers market. And then, so these are the public or semi-public areas. Next picture is the private one. And that's interesting here because we had this discussion about resilience and how does that actually work? And both of us, we had to admit we're not sailors. Yes, but as much as we can imagine being out there, it makes little sense to basically sew a different layer of fabric onto your sail when there's a storm. You've got to bring that sail down. That's as much as you can get it out of the way as non-sailors out there. And that's right. That's right. So here, primitiva one doesn't have traditional fenestration. It doesn't have glass. It has an elevated floor that's a side effect of flipped generic double tees. So all your belongings go under the floor and yourself, you go into these cone-shaped cores, which comprises, well, the restrooms and the bathrooms. And that's where you ride out the storm. Correct. These are made out of solid-locked timber. So they're strong, sturdy, and protect you while the storm goes through. Goes through. And I was just telling you that last night I was watching a video of Hurricane Irma last year going over Naples, Florida with its most maximum winds. And one of the places where the guy was shooting from was an open parking garage. So the air, and here's the wind and the rain blasting through, but it's not destroying the structure because it can pass through. That brings back a memory of the beginning of the year show that was called Post-Petroleum People's Park. Exactly. Reusing. Adaptive views of these parking structures and not having much to do with them just inhabit them. Right. Exactly. So next picture is only then sort of, it starts to look like that. And once again, here's Primitiva been put in front of the Alamoana Hotel, for example. Also on top of the mall, to basically somewhere, all these, you know, low-paid labor people have to live somewhere and rather than trucking them out, I had them drive out way west to Waini or Makaha and then being stuck and traveling in the morning having to start at 3, they might as well live in there. And it's way more organic structure. This isn't meant post-modernly, literally. This is figuratively because the nature and the anatomy, as we just explained of Primitiva, is more organic. Right. Correct. That's right. So next picture, yeah, we referenced this before. That means it's camouflaged and hardly noticeable, this could be out in West Oahu, here's the campus where DHHL people and students could live in a condensed, comprised way to then keep the country country for growing food or what was the other great suggestions like algae for fueling airplanes. Yeah, yeah. That's right. That's right. Biofuel. Yeah. Right. And only at night, next picture, they would pop up. Right. So you're looking through it to a great extent and or you're looking at the greenery that grows there. Exactly. So last but not at all these, next picture is the third species, that is. And that's Primitiva 2. And this, again, this is not a circular building, this is a rectangular building, but again we've got an open plan. Incorporating now a few other things that Primitiva 1 didn't have. And this one, this is again the living quarters, lots of openness and lots of vegetation. Yeah, very nomadic, you dry your clothes naturally and all these things, you sleep in hammocks. Next picture, which you already pointed out, the anatomy here is different. This is a core and cantilevering out and open stairways. Open stairways, lots of exercise people get. And next picture, again, here's the staircase again, but that's the only sort of iconic performative element because everything else is pretty much camouflaging itself as being texture, architecture, more than architecture. And last picture from that sequence, again, the emerging generation having done a great job here in illustrating that pretty well, also introducing the water curtain wall. So there are two ways of sort of protecting these walls. One of them is kind of an open netting, and you can see that as crisscross cables. And then there's also the curtain walls made of falling water. And that hydrates, it cools, it also is purifying the water, you can reuse water that falls as rainwater. So the whole point was to make these students think of outside the box. And things you can do all me in Hawaii. Right, where we are lucky. So the final picture is you the tree hugger, can we have that? There he is, the tree enthusiast, as he was seen on... So you got yourself in trouble with the authorities? No, I didn't get in trouble with the authorities. A tree fell near my mother's house and it fell on a truck. And a TV news reporter was there and interviewed me about trees because I happened to be standing there looking at the tree that had fallen. And they called me a tree enthusiast. Yeah, and we were just saying, you increasingly look like one. I am growing things out of my face like Spanish moss, like a tree in the south dripping with Spanish moss. And there's a tradition on this island. But we say that for next... We'll trade that for... Yeah, we're talking about Dole later. But again, these were some suggestions for Howard Hughes to maybe rethink because instead of doing their exclusive luxury development or just doing, as you always say, basically decorative green, they might want to do performative green that's also inhabitable. These are some ideas that we throw out. Correct. They might be wanting to break out of the box a little bit themselves. And maybe Howard Hughes can then have a meaningful contribution to the real issues on the island here. And along the same lines, but a little different, we want to look at my employer, Hugh Ayesh. And that's been... We've been in preparation for that for quite a while, did a couple of field trips and it's probably going to end up being more than one show. I think so. And that is called Referencing to a Book by Kobayashi from the 80s, I think. Yes. It's called Building the Rainbow. Right. We're going to add to that and saying pretty much superficiality and substance of UH architecture. Correct. And trees play a role there, too. We've got nature and buildings and we've got a lot of the same things to talk about when we examine the UH Manawa campus. We will do. And next week falls on 9-11. So in reference and tribute to the Twin Towers that came down in New York City, we will look at a building by the same architect, Yamazaki, here in town and talk to someone who knows this from inside out. So let yourself be surprised. And until then, keep staying easy breezy. Bye-bye.