 Think Tech Away, civil engagement lives here. So thrilled to see you again, we seeing you again, and that's the Soto Brown and Martin Despeng. Yes, it is. Here on Human Human Architecture. Yes, we are. And we're broadcasting live here from our crime scene capital of Honolulu, Hawaii. That's exactly right. That's exactly right. Why is that? Well, don't get it. Why is it? It's because da, da, da, da, da, da, da, da, da, da, da. Let's go to the second slide. Next picture here. There it is. It's Hawaii 5-0. And even you in Germany thought this was crime capital because you saw 5-0, didn't you? Oh, yeah, big times, which we'll see later. But let's go and start slow. Next picture. Because the show is called Hawaii 5-0 Actor Architecture. The main human actor is this gentleman here. Yes, it is. Point it out, Jack Lord. Yes, it is. Who is playing McGarrett. And he's associated with architecture, as we've previously pointed out in these two shows, because he lived both in the Kahala Apartments up there, actually at one of these corner units, right, you told me. And he also lived in this upper corner, where he's actually standing there in the Ilikai Hotel. That's right. And I didn't realize until just recently that that opening shot in the opening credits of him zooming in from the helicopter was actually where he lived at the time. So he didn't even have to go outside of his apartment to be filmed. He filmed at home. That's right. How very convenient. So talking opening credits. Next picture. These are a couple that I took. So sorry for the quality of the images. That was me with my iPhone at night watching these. That's all right. Getting excited about it. And what it shows, it shows a volcano that's called Diamond Head. It shows some blue water. And I think we can see some palm trees somewhere there. But as you can clearly see, the main features in these opening scenes are iconic pieces of architecture. Yeah. And let's just tell people that the top row, that's the Waikiki Circle Apartments, I believe, unless that's that maybe that's that condo that's down by. That's down by Don Quixote. Yeah, exactly. That's the one. Aloha Tower. And of course, at the time that they shot this, 1967, 1968, there were not as many high rises. Exactly. But you can see the Royal Hawaiian Hotel. You can see the Ilikai Hotel. And you can also see the Pan-American building, which is on Kapilani Boulevard. And I think we showed pictures of that when we did our brutalism show. And we want to now go, next picture, we're going to go to a couple of other ones that the audience should all know because we have touched on these in shows. This one here actually dedicated an entire show that we called Buy High Shorebirds because it's about the restaurant that used to be, and luckily, kudos to the people that must have listened. They sort of kept it in that lower part. And this is the Outrigger Reef. And it's pretty much still there. So it was cool back then. And it's still cool. And as we advise the owner, please, whatever you do, do it within the integrity of the project. And there's been discussion about the demolition of that, as I remember. We've talked about that. And same thing with the next project here. This is one of our very first, next picture, please, one of our very first projects. Which we called Cool Commercial Classic by architect John Graham at the bottom right, who did the Space Needle in Seattle at the World's Fair a year after here. And he tested the La Ronde Restaurant, which is a rotating flying saucer. And here it is, lit up with neon wrapped around it. And that is one of the major images so iconic to basically get the message across. This isn't some kind of hula skirt grass hut place. This is a metropolis. That's right. And this is a really dramatic shot in the opening sequence in which it's silhouetted against the nighttime sky of a sunset. And the camera zooms right in on that blue neon to show you, as you said. Here's this modern flying saucer building. And there were other buildings equally showcased as iconic next picture. So this is the bottom right, as we pointed out, in a show that in the Elvis Blue Hawaii movie here with this girlfriend, they do this picnic up on Tantalus. And they do it next to showcasing the first tall building, which is the Alamoana building. And then there's, which is the other one that you see in large. Well, and then that's Jack Lord as McGarrett at Kuala Basin. And in the background is the 1350 Alamoana condo. Oh, that, really. And that was a very, very big building at the time, because it had no high-rises around it. So that's one of my other favorites. Let's do a show about that one. And this is a Yamazaki building. Just to remind the audience, this is the guy who built the World Trade Center towers tragically, the ones who came down. He's a very great architect. He did Queen Emma Garden. Oh, correct. So he's a guy we should do shows about. Oh, we will. We will. We will. So let's move on here, because there's more to see. This little goofy map here we showed in previous shows, which is from the 60s, where they basically were pointing out in these little iconographic little doodles there, the architecture of the time that they thought were outstanding. Correct. And it's almost like that the script players there were basically using this map as to craft shows around them. There's the dome, the Kaiser Dome, Bucky Fuller's Dome. With the Mercedes in front of it. Exactly. These are the bad guys, right? They are the bad guys. I remember that one. Yes. And which is the one on the left? And then on the left there is Jackalord pointing. He's pointing at the Ilikai Hotel, but in the background is the Waikikiyan Hotel, which used to be a separate building and it had these two very cool buildings as part of the complex, which both have been demolished. And they have been replaced by something rather unerotic, exotic, something rather invasive. And it is, if we can use the words of former governor Neil Abercombe, a giant cereal box. Absolutely. So next picture, we guess we have more. So the next one. Well, the next one. There is the Ilikai, as we talked about. And the bottom one is that show we did about the Ilikai, a couple of shows ago. And they were theming the entire episode around. They were filming outside with these fountains, inside with these sort of Asian-inspired hotel rooms. So the point of our show is the Ilikai was a main actor in that episode. Yeah, it was. And so in this particular one in the background, you can see the Alawai Yacht Harbor or Boat Harbor. And McGarrett is ready to climb up the exterior of the Ilikai hotel, because that's the kind of a guy he is. Exactly. So next one is another building. He's unstoppable. Yeah, and so according to our previous guest, Will Bruder here, this is one of his favorite buildings on the island, if not his favorite. And he said, this is the best capital in the United States. That means something. And so no surprise, it became another actor in movies. In Vivo, in the black and white picture, you can see Jack Lord with Richard Denning, who was the character actor who played the governor of the state of Hawaii throughout most of the series. And so of course, the governor theoretically has his office in the capital building. All right, let's go to the next picture, because there's more to talk about that one. Right. So in the next one? In the next one? In the next picture. In the next picture, that is. Well, in the next picture, when we get there, it is going to be. We see two actors. One is basically the palace. That's right. That's right. And the other one is a car. That's exactly right. And that's the famous mercury. If we can still try to get that picture that goes with all words. Right. There we go. There we are. OK, so the Vivo offices were supposedly located on the second floor of the Elani Palace. And Jack Lord always drove his mercury up to park right in front of the palace, because of course he had it. A reserve space there. And interestingly in the set that they built for the interior of Jack Lord's office, the Vivo office, they did in fact incorporate a replica of the actual railing of the second floor of the palace. So when you looked out through the Venetian blinds, you thought that you were really there. And one thing I recognize in the early episode, and the very opening scene in the very first one, I made Peter Shee very happy, which we did a show with him, the exotic entrepreneur at the bottom right picture. That's a show with him, because he can see McGarrett's car, mercury, driving by his building in Chinatown. And you also see, basically, Jack Lord, McGarrett running up the stair in his office in the Ilikai, and there is a huge architectural model off the capital. Yeah, not in the Ilikai in the palace. In the palace, yeah. Yes, that's right. And so in the capital, which we just saw, they were acknowledging that the capital was under construction at that time in the Elani Palace. And I also can say that when the palace was under renovation, they showed it in the show that it was being renovated. And they moved the 50 fictional offices to another building to acknowledge that renovation. Absolutely. So let's go to the next picture here. So this is a previous show about the Makaha Resort. And again, the thing is the main place. And even they point out the planning part of that. And if you want to know more guys, watch the show. So we can move on to the next one. Because this is sort of about culture in the 60s, sort of the sort of twist on culture. And so we were asking, are they interested in the sense of place, how they call it here? And you provided these two pictures and said, well, sort of. But I respectfully sort of disagreed, because I found this one episode, which is sort of shedding a light on the sprawl, very early beginning of sprawl heading out west. And basically pointing out the conflict between the locals being on the lower end of the paycheck side and basically having to go out there and be pushed out. And so it's interesting, because you don't find that in address in the new ones we will get to. The island is pretty wallpaper background. And they don't engage in issues, especially not in critical issues. So the degree they have done that. Yeah, and that was also at the time in the real world. But there was a lot of environmental discussion. That for the first time, we were addressing those types of things. Exactly. And we, when I came to the island, that's top right. The picture there is when I was approached with rethinking how we build for locals, the Hawaiian homeland. So I'm sort of, I mean, I was exposed to that issue, which is more than ever out there as an issue. And isn't it great when you basically edutain yourself and you watch and at the same time you learn and you get critically engaged as being passively just basically seeing people getting shot. So this was about crime, but behind that there were sort of pretty substantial, pretty solid stories around local issues. Because the crime occurred because of the environmental damage. Exactly. Because somebody was protesting against it in the plot of that particular episode. So it was, yeah. So next picture. So talking culture here. So you basically being the curator. Let's call you the curator of culture here on the island. So they also went to you and visited you. Well, yes, they actually did. Because they filmed at Bishop Museum where I worked. They filmed there several times. There's a picture of the Bishop Museum Planetarium dome behind Jack Lord and his guest star Samantha Eggers. And in the bottom, you can see the picture of the Planetarium building when it was first constructed. And I will say that when I first worked at Bishop Museum as a volunteer in 1969, I got to watch the filming of one of the 50 episodes right in Hawaiian Hall. And that was really exciting. Here's to so to the eyewitness again. Yes. And so as we go to the next picture, we can also see they also go to where most visitors basically arrive on the island. So obviously the airport as another sort of icon of modern Hawaii. Because previously you could only come here by ship for a long way. So basically the era of mass transport through the air is also highly capitalized on it. Yeah, the jet age. I mean, this is tourism boom. Because then also the shows were promoting the island, of course, and were sort of getting people interested in potentially coming here. So it went both ways. So it was a win-win situation for everyone. So next picture is pointing out to our activist journalist, Kurt Sandburn. And you can read here, which his favorite season episode is a season five and episode 23, which he was thrilled to say, this is basically the quintessence of mid-century modern actors and lots of them in one show. So if you guys want to watch that, you should, according to an I have. And it is thrilling. Yeah. And he says it's 1973. Yeah, exactly. And we've got a photograph. It's called The Diamonds That No Body Stole. That's what the episode is called. Right. And they did a lot of location filming in the picture on the left shows shot in a street in downtown Honolulu with one of the character actors who was part of that particular series. And I wanted to just say, too, that nowadays when you watch five-oh, these old episodes, you're probably going to be more interested in the settings, and the buildings, and the cars, and all the other stuff than you are in the plot. Yeah, yeah, yeah. So with Kurt, I always respectfully argue the topic of a lower shirt. So we go to the next picture. Because I took this here. Most importantly is the picture at top left, because they really dwell on almost in an obsessive way on construction sites, because construction sites are the symbol of the boom. And they're basically almost fetishized construction sites. You see construction sites in almost every episode. And they were all over the place. And this one here, you see this little boy running, and he comes by, and you see in the second picture on the top, you see it's in a lower shirt. And then once you're sorry for being so blurred, because it was me taking the picture off the screen. But you see this is not a coconut. This is not some kind of tiki thing. This is a VW bug. So the theme, it's not sort of Hawaiian, right? It's not dwelling upon some sentimentality. It's very interestingly going on the edge of an exotic place. But that is very, very modern at the time. Exactly. That's exactly what they're doing. And so let's move on. You see more guest stars here, more settings. Very iconic architecture here too, which we don't see, but it's on the left. Correct. They filmed a lot of this particular episode at the Waikiki Shell. The guest star was Nancy Wilson, who was an actual singer in real life. The plot was that she was heroin addict, which you find out at the end. But they shot a lot of it on the stage in the grounds of the Shell, which is a scenic place. And the Shell is a famous actor, because that's a Pete Wimbley building, by the way. And it's pretty cool. It is, indeed. Next picture. And this is still in Waikiki as well. This is the Makoi Pavilion at Alamwana Park. And that is Rich Little, who was a guest star in an episode. And he's performing as a comedian. And he's standing next to the reflecting pool. One of the iconic band entrances in the background with the Art Deco cement structures around it. Yeah. And so next picture. I have to thank my best friend, Stefan, who you see at the bottom right. And doesn't he look like the next generation actor for Stephen Garrett? So Stefan, hi. Thank you very much, because Stefan gave me what you see on the left. And if the camera can get to the studio as well, you will see the actual thing here. Or we see it in the top right. Oh, no. Take it. Put it back. It's OK. I'll put it back here. So it's called Hawaii 5-0. And 5 means 5. So people watch that. People buy that here and now. And they buy the old stuff primarily. And I find it very amusing that it has a German title. Yeah. And go to the next page here. Picture. The Stefan also donated something that he had on his coffee table that's at the very top left. And this is his TV program. And in the center of it and on one channel at prime time, Saturday evening 8 PM, they're showing Hawaii 5-0 the new series. Yes, the current one. So we were interested what kind of architecture plays a role in that one. And so you Google. And you don't find a single piece of architecture. And I asked Stefan. He said, you're right. Basically, architecture is just a background and so generic that it could be in Miami. They're not dwelling. They're not crafting. They're not interested in the architecture. So the architecture is not an actor anymore. It's just a background. Pretty much. And that's also the case because they stopped doing the original series in 1970. Is that right? 1980. Sorry, yeah. It went through the 70s. So in the 80s next picture, another series took over. And that's what I remember because that's how most of us looked. We looked like at the top left. That's right. And we both had big hair. We had big hair. It was big. And way back, at the bottom, you can see in a couple of the pictures, you can see Don Johnson and his colleague. And they were the stars. They were the star actors. And just like a Wi-Fi of all, they're now doing a redux version of it, a new version with new characters. But in both cases, and I just happened to watch one the other day. And the crime scene was in a high rise. It was all glazed. It was all air conditioned. I mean, it had to be because you could see. There were pretty much a suit and tie in there. And it didn't matter which building it was. It wasn't about in the old days. It was that this is 1315 Alamoana. This is a Yamazaki building. It's put it in there. And by the way, there's another show we're planning to do, which is called Henry's Hawaii Home. And that's Henry Kaiser that we have pointed out quite a bit in a couple of shows. And he built his own house here. There's an episode called Summer Ride. And it plays majorly, not to say entirely, in his cool mid-century modern house. So we'll be seeing the Henry J. Kaiser House, too. And what's the relation back to architecture? Next picture here and also to Miami, because both are pretty much coastal urban metropolises. And at the top left picture, this was in the opening scene of Miami Vice. And that was one main actor that was this building. And this is called The Atlantis. The architect is architect Tonica. And they're known to some of us who had paid attention. And this was something that Kurt got really excited about. And we had some interesting discussions about it, because I wasn't quite as excited as he was. And that was supposed to be called The Vida. And it's a McNaughton Kabayashi development that's on hold currently. And it was supposed to be on Alamona Boulevard, sort of on the edge of Kakaako on the ever edge. Right next to Ward Plaza. Exactly. That tragic one, that jewel that they tear down as well. And so this building was pretty much the international style box that's pretty invasive and got imported to a tropical climate, of course, was overheating. So quoting Governor Amber Kromney with a cereal box, you could say this is a microwave cereal box. It's microwaving cereal. And so they were exoticizing it by throwing these little details on it, like these yellow balconies. And you pointed out that the whole talking crime scenes, they were shooting this hole through the building, a bullet, a square bullet, leaving a square hole, but at least had the performative function that the pool was in there and there were the spiral staircase. Whereas at the right, this is off the internet, rendering off the current bottom left under construction, how it used affordable. And I was thinking, hmm, you know, doesn't it look like almost the same? They look rather similar. Yes, they do. But then again, one was from the 80s, quite dated. Yes. And this is here and now. And again, shouldn't we do better? And we keep dreaming bottom left that they don't do the bottom stuff. They keep the top stuff, which is the easy breezy inhabiting of the ruins and dress for less, as we pointed out yesterday. That's right. That's right. Where you don't have to wear a lot of clothes. You don't have to put on a lot of glazing. And listen, these are great analogies. Let's keep doing that. Let's go to the next picture, because we've been using automobiles, cars as vehicles for thought. There we are. So let's be some little more philosophical here. So just like in the car industry, there was we started the top row on the left. We had the Mini Cooper. We had the Cinquecento, the Fiat 500. We had the Bug. And all three car companies. And you could include Ford with their Mustangs or Chrysler with their Challengers. They basically thought, OK, these cars were so good sellers, so just make a remake of it. And they just were tweaking the style in a retro way. But they basically kept it. And so there's no danger here of being nationalist, because I was already accusing VW to do the same, which we did with a beetle. But then the fourth from the left is that little thing, and that's how you guys called it in America, the thing. No, that's not the thing. That's not the thing. That's the ugly duck. That's the ugly duck. The thing we talked about as well. That's a different thing. But the ugly duck, which is the original name, is the Citroen des chevaux. Without that one, I wouldn't sit here, because my dad picked up my mom in Austria, and he was a poor architectural student and picked up that cute Austrian girl. So this is family tradition. But why is this important? Because at the bottom, when Citroen, just like the other car makers, recognized how good of a seller that was, it didn't make the same mistakes as the other ones. They basically said, well, what was the essence? What was the soul? What was the idea? What was the motivation of that car? So let's get this idea back and make it something of our time. Specific model is called the Pluriel, and they market it. And this is what this picture shows, five cars in one. So in certain stages, you can take off more parts. So you have from a closed car to a semi-convertible to a full convertible to a pickup truck. And the originals had, originally, when they were all built, they had a back canvas section. Exactly. They could roll down, exactly, can roll down. There are two left on the island. Have you seen them? Why not? One is a really old one with a corrugated model still. And someone imported one from the Netherlands recently, a red one that's in your neighborhood. Oh, I know that one. I know that one. Yes. You just got that one. Yes. Yes. And the last car there is when you were talking 60s, when you were an architect, you had to drive that car. That's a Citroen BS. Well, in Europe, you did. You did. This was the car to drive. And so the bottom picture is here. Bottom picture on the right. This is a picture that my young son, Lenny, took. And he drives a DS, but the one on the right. And they did the same thing that they were saying, hey, let's just get the quintessence of the car and let's rethink it substantially. And then, automatically, it won't look like the old one, but hopefully it's as innovative at its time as it is. And it does not have to be an imitation that looks exactly like or is trying to imitate the other ones. And you also pointed, and I like how you incorporated the crime fighters. We've got the two crime fighters at the top from the original series. And then we've got the two remake people with the same character names beneath them. And we also want to dedicate the show you agreed to my oldest son, Joey, who, on May Day today, turned a quarter of a century old or young. And both of them have now sold the white one, and they're now owning a cool black one. So then the picture is complete with a white and black. Well, there we go. I hope everybody's happy. Congratulations, Joey, again. All the best health and happiness first and foremost. And so next picture, let's go back to architecture. We have talked about our office in Munich a couple of times, which is also the evolution of tradition. And so the top writing there is interesting, because it's obviously German, because it has the umlaute, the dots above the U. And what happened next picture in this here, that we also have a Hawaii 5.0 phenomenon, sort of, because there was a production, TV production, coming to us and basically saying, we want to film in your building. And the series is called Rosenheim Cops, and you can see on that yellow sign, this is how city signs look in Germany. And so it's named after a city, and cops is obviously cops. And just like in Hawaii 5.0, they dwell upon the local culture. So you've got the Dirndl's there, which in the show with Suzanne, a tropical tourism, she was sharing her traditional attire, the Dirndl. And you've got the onion towers, and you've got that. So they really dwell, they make it local. But again, it's a really rich and saturated cultural background to be the scene for the crimes. So the top one is, and this is the office of my sister and her business partner, Isabel, and they run it. And so they've got quite some mileage out of the project. There's publications. And that's how the production company heard of it and basically said, well, this must sort of be cool. So why don't we use it for? For hours. So we're familiar with the phenomenon. Exactly. And they put the fake sign on your paper. Yeah, that's right. So we can go back exactly. We have to explain that because I've witnessed on my, the wall on Queens Beach in Waikiki when they were filming. And the crew came basically and basically took off all the signs, like no diving and no litter, to purify, to make it more clean. And look, in our case, we can get back one picture here. They did the opposite because we like to have the building to be more pure and without a sign. So they basically put the sign on. Right. So we're phasing out here. So the second to last picture, the next picture, please, is we're saying get, please use that. And if we can get the camera at a studio here, please get this here. Please get this here. Yes. This is a box. And it contains these three here. And these three contain 76 DVDs with 278 episodes from all 12 seasons. And I spot myself in getting these. And I will go through them. And they're going to be, if we can get back to the second to last picture, use them as inspiration for projects we do that try to be in the tradition of innovative evolution here on the island. As for example, this scene was shot in a parking garage. And these double Ts were investigating and using it for, at the bottom right, Primitiva II, which is currently under production. In your class. Exactly. And it shed another light on that in the last picture, which is about what, the solo? Well, this is Primitiva II. Oh, not that one. This one. This is the top. It's Primitiva II. Is it not? It is. It's another shot, hot of the press, basically showing off its lifestyle. Right. Its attributes. And in the lower left, there's the treehouse apartments, which used to be located in Waikiki. And you were pointing out that it has this tree-like structure of the trunk coming up and branches coming out. We've got that cantilevered building as well with the central structure and the two levels sticking out of it. And you saying that this is kind of inspirational to you? It is. But again, we're also saying it's not literally, so it's not returing it. We're not making the same building and tweaking it a little bit. We're thinking about the anatomy of the building and the idea of structure being expressive and logic. Yes. And obviously doing single-loader corridor and all these things. And then we're looking into technologies of today as the double T's. And we're going from there. So we're like, every culture should. It shouldn't stand still. No, it can't. Instead of be sentimental about itself and saying, how cute were we in the past? And then we're starting to fake it because that's what Alani does, right? Everything that looks like wood and you knock on this fiberglass. So this is the opposite. This is saying, well, we're as innovative, but we're differently because we have moved on. We should be more innovative because that was then and now is now, right? That's absolutely right. That's what we do. That's absolutely right. So we're going to show a similar building. We're going to theme a show. The next show about a similar building. And we're going to call the show the Paradissel Presidents, Presidential Paradises. That sounds rather suspicious, right? That sounds pretty interesting. I wonder what's going to be on it. We're not going to tell because you guys got to watch it. That's right. That's next week. So until then, stay healthy and happy and especially stay criminally cool. We look forward to see you next week. Bye-bye.