 Awesome to have you back for what happens to be our 216th show of think-taker-wise human humane architecture. And we try to broaden our horizon of our most remote islands of Hawaii by taking you out into the world. And that not just spiritually but also physically if possible, if any possible, and if we could get the first slide up. And when I'm saying we, it's basically our island's conscious treasure, the Soto Brown Bishop Museum historian, then Ron Lindgren, leisure legacy and hospitality heaven expert who has created one of the most memorable tropical exotic places on our island that we enter Soto treasures. And we have who we see here as the show quote at the top right, we have our exotic escapism expert, Zana, who on behalf of us went out into the place into the part of the world, which she calls her home away from home in Portugal, where she went just last week. So we're concluding today our comparison between the our Polynesian and our Macaronnesian Hawaii, because the Macaronnesian as you see at the very top left is comprised of these different islands here. And one of them is the island of Madeira, where we conclude today to compare some very sort of eruptive versus, you know, yeah, leave it with that, eruptive architecture versus disruptive, I was about to say. And so today I'm speaking on behalf of all of us. And this is why I was taking blanking a little bit because I'm just by myself, because everyone else happens to not be able to live with us for several reasons. And to Soto, as you can see down there, this is his up there at the event of should that Hawaii is this traditional weekly German lesson. And he did that well over the phone yesterday. But he can't be with us because he's under painkillers, who help him to overcome. And the middle word in the sentence as should that means shattered. And that's what happened to his wrist, unfortunately, when he was slipping on a with Howard wick with his cold green show and our state energy guy, rightly so says, white roofs are cool roofs. But green roofs are even cooler, literally and figuratively, and you might be about to be our 1000s viewer. But people need also to not just watch us but listen to us. And we've been keeping saying we need green roofs, green roofs, green roofs. And, you know, then people like the soda wouldn't break their wrists anymore. So that being said, we have been having this comparison going on and dialogue in a surreal way between these islands on the opposite ends of the world. That as we point out, share so many things. Also, they're a geological condition, which made them basically talk to each other. And both the volcano on the neighboring to Madera Island, Canary Island of La Palma was awakening and erupting talking erupting. And the disruptive part of it that I was blanking on is actually only how we people feel about it. The human mankind, because nature doesn't have a problem with steaming off and blowing off every once in a while, just the impact on us makes it seem and feel problematic for us. And so the week that week when that happened, Kilauea was basically sympathetic and did the same. And now also it basically did the same as being air should that because in both places, the volcanoes were shaking and we had earthquakes. And you see this being pulled from a media. It was both October 11, which is also by the way the birthday of my dear sisters. So happy birthday, Rick, respectively, Cynthia again. But it was also the day when the solo, unfortunately, a less nice happening also was again, a shuttering his wrist. So let's go to the next slide and have our other missing or only spiritually with us person, Ronald Lindgren. So he just the always alerted guy just got a complimentary issue of the architecture record, which featured this story here, which is basically saying that the Brazilian government as you can as you can read is selling off its architectural legacy, which is very sad. And so one of the buildings as you can see featured here is by the architect who did the project we're going to conclude to talk about, which is Oscar Niemeyer. So sad, sad, sad, it seems all to be about the money, right and the greediness. And there is the cover of the current October issue. And it gives two projects there, the Akemi Izim and LA, that Ron being residing in Long Beach as part of LA was very excited about it's a Renzo Piano project, a rather unusual one that seems to be inspired by his former fellows of future system, Jan Kopliki. And it's a project we've been also been talking about a lot, which is the National Gallery in Berlin by Mies van der Rohe that has been retrofitted, so you don't see it and doesn't show as it was his intention, his own fingerprints by David Schipperfield. And the top right is a preview of, that we will share the recent sort of in a weird where it's synchronized happenings to all of us. They're all in one way or another gravitating around that aspect of greediness and commodifying and commercializing things. This is showing and will be will sharing his Hali Kalani that has recently been remodeled. And part of his dilemma is what we used to call so many shows ago, the terrorization of territorialization. So you're excited about that, how that relates to not just us, because we think and we believe it unfortunately addresses and increasing the large amount of people who are struggling for shelter and dwelling. So until then, we go to the next slide and conclude looking at the project here was just the Pestena Park Hotel as that paradise on the islands of Madeira. I flew in that little picture show quote at the, well it's not a quote yet, because that will come up in the shows that we do, we probably next week switch things up and do another automotive architecture comparison, because we've been sort of getting deeply into our discipline. So we need to get out of it to keep you excited. But this is very top left, Ron will point out, as part of his dilemma came that he was put up in a project that he had built that had been unfortunately as many of the other ones that we talk about been altered to an unbearable level, but luckily not the pool scape. So this is a comparison between the two projects. The large picture there is actually a very kind of tropical, exotically sculptured pool scape outdoor scape. And behind that is where the indoor party goes on. Now let's go to the next slide, which is actually the one we concluded on last week that we wanted to look more into as we promised. So this is the bar. And DeSoto and I were, so this show is basically, you know, we all contributed to it and talked a lot about it. So I'm just delivering on behalf of all of us. And DeSoto and we're saying, you know, this isn't really like high end top notch, a super expensive material. This seems like plywood and local plywood, but in a very sort of a nice and clever way, comprised and combined. And so let's go to the next slide, which shows us another bar. This is sort of on the, on the other side of that sort of back room of the bar here. Again, we said we don't know exactly what's absolutely original in the hotel, not everything. Obviously the chairs that you can see there to the left might not be, they don't look nemirish, but that very sort of mirror counter there, this bar might actually be. And next slide, what truly is, is this amazing detail here where from the main elevated level of the lobby and that sort of mirrored bar, you basically go down in that a big dining hall. And this is what's aligning the ramp is this concrete edge with this sort of very, very interesting and, and sexy curvy, swoopy curvy bellestrade is, that we've been talking a lot about the nature of bellestrades. This is certainly would not be too cold here. It's too low, but it's for that reason, it's very loungy sort of furniture, as we will see in a couple of slides, it's right up next to it. And it's just a beautiful combination and collage of, as the solo likes to like it as of raw materials. And here the wood is basically softening the harshness of the concrete and vice versa. And the steel is adding that sort of third kind of tripartite touch to it. Our exotic escapism expert is there debating and it's changing ideas about the very kind front desk guy because the hotel, as we said, was closed. So we got that special permission to be there and he was kind enough to show us particularly this area here. That next slide is then how it opens up and unfolds to you with this sort of majestic ocean view here. These amazingly skinny, you know, wood window system there blurring the spaces between inside and out. And you're curious probably what's and you see some glimpsing through here what's under these cloths here to protect and we will get to that next, get to the next slide. Here they still are covered again, but you see the view in the other direction which happens to be in the east and you see that something that we have here too because as we call them horizontal high rises as we call the cruise ships are docking here right in downtown or around downtown and here they do around this hotel here. You got this pier and at this time, you know, because of COVID still lingering around, there were no cruises there, but usually you have the cruise ships docking there. You see the hotel on the top picture, you almost don't see it and that was the idea to keep it low profile, literally and figuratively speaking, it's this horizontal line in the middle of the picture and these rather sort of, you know, less sensitive chunky ones to the left of it came later. So that was Nimayar's sort of, you know, idea and the strategy to keep it low profile and to interfere the least to have his built environment to interfere the least possible with the equally to our so beautiful natural environment. So next slide. This is again, we try to pull obey to the copyright policy to pull as little as possible from the web and having to get authorization. So this is one of the few exceptions because again, we were there when it wasn't open. So this one here is basically from the web and showing how it is when it will reopen. And I believe it has reopened by now. I doubt again, we still have social distancing. So this is the pre pandemic condition where it's all packed for the max. But you see how, you know, lively it is and you see the bell straight up there on the top left. And you see the chairs and you can lounge there and then hover over this area here. They even bring, you know, real nature in as through these trees. And you see the furniture in action and in performance. And speaking of that gets us to the next slide where we see once again, one more from the web, how it will look like and most likely looks like now again, when it's reopened. And so speaking furniture and you also see how basically because it's elevated, the ground is elevated, you have this sort of infinity pool kind of impression that even though the pool is old school, it doesn't have an infinity technology or performance, but it feels like because again, the ground is elevated and you just see about the pier there and you certainly would see the cruise ships as being tall, kind of sticking out of that one. And the top middle is a picture from back then again showing how low profile the whole surroundings were just, you know, one or two story buildings and the building then basically again, although a bigger mask, you know, seems to want to float and hover over the ground and speaking furniture and, you know, affordability. These are at the top right and the top left. The top right is actually, Nimair had one daughter who designed this chair sort of for her dad. And you can see for what kind of steal of the price it goes for $31,000 and even a little bit more up to 50s at the very top left. This is furniture that Oscar and Nimair designed himself. So can you imagine all these furniture in there just through the math and imagine the value of, so this must be really a high price, high end hotel, right? And we, you know, it's sibling is the Monarchy Beach Resort that we've done a couple of shows about and we do the comparison. So certainly you would say this is five star as the Monarchy Beach Resort is. And what was the rate again of the Monarchy Beach Resort? It was $1,150 per night, which our utmost expert Ron said we'll add another $500 to that for eating and dining because it's so remote, which this one here isn't. You could go and dine out in the city. This is right in the city. This is an urban hotel. So what does it take to get there? How much do we need to pull out of our pocket? Let's go to the next slide and lift the blanket on that one. So yes, it is a five star hotel, but no, it's not $1,150. It is and this is actually pulled from the hotel website. The rates change daily, but they never go above 100. So this is a fraction. This is a, you know, a 10th of it or 12th of it. So this is a truly affordable. Can you imagine to reside in an Oscar and Emeier design hotel for the price that you want even in the cheapest hotel in our wine paradise here won't even get a room anymore. So that makes us think how is this possible right? And that's probably up not just for many more shows of investigation, but also more interdisciplinary investigation of the tourist industry and the building industry and all these things coming together. The things we throw in there from Google is, I mean, get a chuckle out of the bottom right one, which says understated hotel with dining, right? Isn't that a nice way to call an Oscar and Emeier project? And in the middle is his most favorite of all times project that he's mostly known for is that he had a chance to design an entire new city from scratch, the city of Brasilia. And these are pieces and some say the chapel in there, which is the center piece from Mark Daley, it has some sort of similarity to the casino we're talking about, right? So talking how is this possible? Certainly there has to be a sociotel, a, you know, social context. And so I'll get to the next slide. Many call or some call actually Emeier, a socialist, the least or word that I'm not even to say. And some few decades ago, I would have been arrested right away in the McCarthy era for even saying the term communist. And Emeier was indeed up in age and he turned 104. And up in his 90s, he was actually the leader of the Communist Party in Brazil for a couple of years. But, you know, early when he basically escaped the totalitarian regime in Brazil when they moved in and he moved to Paris in which years he designed this project here. He basically then months after that got the job to design what you see at the very top left, which is the Ministry of Defense. And critics were saying, how can you do this? How can you dance with a devil that you just fled from and escaped from? And, you know, when you look it up, the rumors say that he did a very clever way and he was a super clever guy. He convinced the main military guy to basically say, well, would we rather fight with old fashioned weapons or with new ones? And that's how he was able to convince him to design in his very sort of modern way. Ron Lindgren is currently in oral history with Anne Motonaga and we will make this public at some point. It's very fascinating to hear your stories, Ron, around the military. So we will keep keeping you picking your brain about that. Well, this is a preview of our ongoing automobile architecture shows there. Our cells, which you see at the very bottom left, have experienced with that same client type and with the same having, trying to sneak modernism and democracy in with that military diner we did. And also we, after a long debate with our monograph author, Crispin Uffel, and we named our monograph inclusive architecture. So again, that's how this quote from the press here, Oscar Niemeyer, man of the people, and it really depends on, you know, how you look at sort of his, for the people architecture depending on which kind of context you find yourself in yourself. As they say here, was he communist? The answer depends on where you are, literally and figuratively speaking. So next slide for many of us, including us, as you can see here and me, Niemeyer is a great hero that we look up to from its detailing of brass door handles through curvy, wavy facades to at the very bottom, beton bruit. We are with him. And so at the very bottom middle, I want to thank the director of the hotel that was so kind to let us in and to show us around, and who also at the very top middle, again, gave me these wonderful books written by this architectural professor that many of the information for this show comes from. So thank you all for doing that. And talking at the sort of bottom right, thinking about tropical brutalism, this reminded me of the kindergarten we've been, and that we've been looking into look for we say in both his sort of domino house and model house case studies he had going on. And that gets us to the next slide. And this is what another consultant to the show, Tropicure Rockwood, and Canista Con basically said, well, this is very much about like the Corbusier and Niemeyer, and indeed, basically, you know, credits look for Busier as one of his big heroes. And here you can see at the very left you can see at the very top the sketch is the model house that he described as the female architecture that's under the cloudy skies and who knows on what a trip he was when he was doing the gender comparisons, but we know he didn't have a problem with that from the previous show when he was saying why, you know, curves inspired him. And then there was the domino house at the very bottom that he described as the male architecture under the sunny sky and the Villa Savoy in France is the best example for that for the model houses there's weekend retreat houses that he built as well if you can see that this hotel here seems to be as we discussed almost a hybridization of the two. While, obviously, it is very sort of stratosphere and and sort of, you know, hovering above the ground so it's doing the Piloti thing and freeing the building from having to be load bearing that's one of the five points of architecture that was his philosophy. And so he was the hotel is doing that on its sort of plinth level on its ground floor level where it's hovered but above it, it's almost an elevated model house that very stereotypic, kind of heavy and bristle late by the way, shading itself structure so it seems a very interesting again combination of the two. So next slide is this situation we're under it here, Ms EE and it's hovering above us. And she basically said wow because at that time Primitiva three was going up and she said that almost seems like a rendering by Candelle Leonard and crew who let's go to the next slide were the team of Primitiva three, in which we go back again to the nature of nakedness as we call it and we keep discussing it. And the exhibit that bundle can this the calm is putting together the poster in progress that the very bottom right is basically talking about that to rewild architecture more and make us sensitive that we are in the tropics where we don't need to protect ourselves from frostbites are exotic escapism experts Suzanne reports temperatures now plunging below the freezing point and the first snow coming into her place. So we know what we're talking about we don't have this here. We don't also have the heat that I came from before I came here in the desert of Arizona. So we should dwell upon that and not just have the building to be more undressed but also then having the people to be more undressed within. And that gets us to the next slide. Which is showing us Primitiva three on the right then two in the middle and one on the left and it's this evolution can literally and figuratively see that the Primitiva's in their thinking process basically are unstripping themselves to the same degree gets us to the last and final final slide here. Which is what is this actually all have to do with why can you find traces of all of that. Yes, you can just got to open your eyes and actually all your senses. This is us when we were here about a month ago with our expert Suzanne. And we went out on a morning stroll that ended up to take the whole first half of the day and we were getting hungry and try to play and find a place to grab a bite to eat. And we were basically not let in because of our bare chestedness. And finally the place that welcomed us warmly welcomed us was Haya, which is on Cuyo Avenue, which is run yes by whom by people from Brazil. So there you go, the Brazilians are maybe the more tropical exotically erotic nature people. So we have them here on the island. Let's look into them and let's learn from each other. Also the very top right images are some that Bundet has been pulling up as to give the exhibit a more interdisciplinary touch. And he had these people from Portugal playing with music in front of diamond hands. And you have this artist here with this installation that he basically called Tropicalia. So there are traces of the more erotic tropical exotic even on this island. We just got to pay more attention to it and learn more from it. So with that we leave it with this next week again we might switch things up as I already said and throw in another automobile architecture, mobile and immobile show, just to get our minds outside of the tightness of our discipline that we seem to get stuck in so easily. And hopefully for that we will have our panel back. So Ron and this particular de Soto please get better. Till then again as we're wrapping up the comparison continue to adopt that sort of more tropical exotic, both Macaronnesian and Polynesian mindset. See you next week. Bye bye.