 to have you all back for another episode, which happens to be the 214th one of think-a-wise human humane architecture. And while we very effectively used to broadcast from three different parts of the world in the recent past that we spoiled you with, where these were down to two with our Ron Lindgren in Long Beach, California, who has to miss out because of several system failures, unfortunately. So Ron, good luck with these and we insist and hope to have you back next week. And so basically it's just the two of us, De Soto, hi De Soto, in his Bishop Museum and me in my Grand Hotel bathroom that also has a systems failure, one of the same that Ron has, which is water systems failure. And I'm happy to not having to show you my neighbor's filthy water overflowing my bathtub, but almost, but the plumbers went away as they're always, as Ron makes them do, when they fix his water damage. So far about that one, but we have other system failures that we want to get to and we're continuously in bigger problems, because these are little ones in all honesty, because we got the COVID crisis lingering around and climate and social inequity and they're all intertwined. And right now, being an island here, it almost feels like my inaugural buddy, Dan, back then told me about sort of relationships that are based on dependency, you can't shoot them, you can't live without them. And that seems to be the case we read about some islands, other tropical islands, they're in this really bad situation of suffering from what they not alone, but the world, all of us have cost and then drowning and being gone by sea water level rise eaten away. And the time that until then, they can't even sort of try to prevent that because they have been solely consumed by tourism as the only income. So they think they have to just go continuing to go right with the devil. And that's really, really kind of sad and really desperate. And we're not to this extreme on this island, but we're kind of getting there. So what potential alternatives do we have? That's the underlying sort of investigation we have going on. And we don't accept to be stuck here. And we reach and reach out. So we look at another island here next slide. And you've been paying a lot of attention. You actually said you're watching this every evening. What's going on? And where is that? And what is that? Okay, well, what we're going to be talking about today is the island of Madera. But this is a different island in a similar part of the world. This is part of the Canary Islands. Now Madera, the island is part of Portugal, politically part of Portugal. The Canary Islands are politically part of Spain. Both of these sets of islands are in the Atlantic Ocean. They are far to the south of those home countries. They're off the coast of the top part of Africa. And the Canary Islands are particularly significant to us because they are volcanic, just like the Hawaiian Islands are. And one of those Canary Islands, La Palma, is undergoing a surprise volcano eruption, which just started about not too much more, about a week and a half ago. It's already caused a great deal of damage. It's going to continue to cause damage. And it's not unlike what we went through here on Hawaii Island in 2018 with the Kilauea eruption. So in looking at the Canary Islands, I've really noticed that, first of all, their primary industry is tourism, just as ours is. It's a warm weather getaway for people from Europe. But also the Canary Islands are very volcanic. They look similar to the Hawaiian Islands. They are situated in a similar sort of environment in which they've got prevailing winds that create a windward side that is more wet and a leeward side which is more dry. And certainly they're not as developed as the Hawaiian Islands are. Certainly they have nowhere near the same amount of tourism as we do. But here's a picture. You can see that cluster of islands. And you can also see Madera, which we're going to be talking about, which is above the Canary Islands. And they're in a similar area to us in terms of they're about 30 degrees latitude. We're about 20 degrees latitude. But that means they're a little cooler than we are. But not tremendously dissimilar. So these similarities are what are making us examine the island of Madera for how they handle tourism. And we're going to be looking today at a particularly noteworthy hotel, which Martin and his bride were able to visit on their honeymoon not so very long ago. In fact, just months ago. Absolutely. If we could make it quickly go to the very top right, this map that you mentioned. So when we talk about we go back here, yeah, we compare our Polynesian Hawaii to what they call the Macaronnesian Hawaii. And these islands are comprised of Cup Verde at the bottom Canary Islands that we have the volcano. You got Madera and you've got the Azores up there, right. And the the show quotes up there really quick at the top row is from another island that is the smallest because I had the chance to have been on two of them. Basically, Lanza Rote and basically Grand Canaria, which is the capital of Grand Canaria because that confused you in the news is called Las Palmas, while this island is called La Palma. And another island, actually the smallest island, excites us the most, which is El Hierro, because they have been, as we pointed out in many shows, been able to basically put it off the grid and get off sort of dependency as far as energy, which is really remarkable. So let's go, yeah, jump right in. You made us curious to this total. Let's go to the next slide. And that one is just, again, underscoring that we have our exotic escapism expert, Suzanne, having told us a lot and taught us a lot about another culture of that governs politically Madera, as you said, which is Portugal. And that Portugal culture is very apparent here on our Polynesian Hawaii islands. And you see us here in front of a food truck in Kailua that also makes us greet our first culinary intercultural connoisseurs, Joanne Clara, who are returning from their Barcelona trip that we have to report a lot about on, especially as far as dwelling in dignity a lot. And so, again, here you can once again, Portugal, the Portuguese culture is very known to us. So we might want to familiarize ourselves now with architecture that they have, that we maybe can learn as much from as we can do from Malasadas and sweet bread and get excited about, right? Equally excited about. So let's do some peer review. So next slide, look at this architectural volcano. That's right. So we saw a real volcano in the Canary Islands. Now we're seeing a replica or suggested volcano on the island of Madera. And this is part of the resort that you were able to visit. You didn't get to stay there because, of course, when you were there, they were still in shutdown from COVID. But this is the casino of Madera. And it's part of the hotel complex. And it has a look of sort of Las Vegas to it. But that's understandable, because they're putting on a show for you to get you to want to come to gamble your money away. Exactly. And as you already revealed the prime occasion for that trip, the bedroom I am and the Always and Forever reporter, guess what the first day we did, did we hike what she loves? Did we do some natural phenomenon feature? No, I dragged her along to see this here, which she kindly did. But next slide. Also, she has to accept that her professional background in having a master's degree in tourism and business, obviously, then Candy kept herself from saying no. So this is the project on a postcard. And the back of the postcard at the bottom right is what you usually see at the front of the postcard, which is this cute vernacular way they were living, the Paul Hero, the A-frame, the Holly, as we call it here. But in this case, the front of the postcard at the left, they're dedicated to this project. And going back to the top right is coaster that we bought with a sort of fictional assemblage of assembly of different things. It also has the project at the very bottom right of that middle picture there, which indicates it is a horizontal high rise, just like we were looking at the one on Monarchia, the Monarchia Beach Hotel in the last shows. And that's why we compare these projects. Go to the next slide. This is, at this point, it was COVID. We were able to sneak in, but there were still restrictions there, she had closed the casino as well as the hotel and making this kind of combination they make. Well, actually, I had a special event while they were closed, they were hosting the Paralympics there. And that was an amazing event, all these handicapped physical handicapped sports people, you know, being there for that, they reopened kudos to that. But otherwise, it was close to the public. So you can see here at daytime and not frequented being less looking like Las Vegas volcano, but almost like a plant as the one in front in the front of the picture. And next slide is giving us a clue about how to date the project, right? And we're ongoing and we will return to comparing cars and all and architecture for the sake of vehicles for thought. So what kind of an zeitgeist year of build and design does that old Mercedes in front of it give us this photo? Well, you just pointed out, you know, the Mercedes probably is it's from the 70s or 80s. And what you just pointed out, which I think is fascinating, this complex was actually designed in 1966, but it was not constructed and opened until 10 years later in 1976. And I don't know what the reasons for those for that for that delay was, although politically Portugal and Spain right at that time in the 1970s, both broke away from the totalitarian regimes governments that they had both had. So it's possible that the political situation had something to do with it. But there was a delay of considerable amount of time before this got built. And you were spot on the soda because the reason is because the architect, being Brazilian, had self decided to not put up with that totalitarian regime and leave it and go into a self assigned exile to France for several decades. And during that time, he was basically commissioned this project that and his phobia of not wanting to fly airplanes basically prevented him from going there physically. And so we see here shooting out of the building a catwalk if you want so that shoots right over to the adjacent hotel and next slide. And also when you're on the grounds, basically there is a sexy swooping a curvy curling up ramp that gets you to the hotel and gets you straight into the lobby, which we see in the next slide. And here you see our exotic escapism expert leaning over and finding out about the project. And you can also see in this sort of running letters and on the edge of this display, who the architect is right? Yeah, and his name is Oscar Niemeyer. And I find it interesting that they have created a graphic element out of his name by repeating it without putting any spaces between it so that you just sort of see it as a graphic. But what's on the panel above that is a bunch of sketches that are done by him. The ones that we're about to look at are specifically referencing the environment and how he created this building and how he wanted to situate this building in particular. And so we'll go to the next slide. Yeah, and stay a minute on that one because before we leave this one here, what do we take from this one? We take all the owners of equally vintage buildings in Hawaii, which we have a lot. Please be inspired by this. And just in the lobby of your hotels, talk about the architecture, talk about the architects, get books that are published to all the Killingsworth owners of Killingsworth buildings. Please do that. Maybe even the Halle Kalani few days before their opening and us increasingly optimistic that not much has changed. So thanks, Peter Shandland, the general manager. We're very proud of you. But maybe as a last minute addition, think about that by Ron's book that he had sort of funded, put it out there and let the guests to be informed what magnificent creators that the buildings they're staying at. How about that? And let me just say too, also as an archivist and historian, that is something that I really would urge people to be aware of because it's a fascinating part of your structure and it is a unique story that nobody else can tell. So acknowledge where you came from and who created you, who created your complex, who created your building, how and why. That is a selling point if you want it to be. And that being said, dear hotel owners, DeSoto has just extended his support. So you're not on your own. And by the way, you have done this in the past. You have just kind of, you know, even next door, Queen Kay, Queen Capulani, they didn't listen to you to the fullest extent, but you did. You did. Yeah. And also I did a great deal of work for the Moana Hotel and their historical space as well. Absolutely. We had to talk about them. It's the walls are filled with pictures from not only the place you work for, but your private collection. So thanks for doing that. Yeah. And next slide, which you already got as excited about. And now we can see why. So this is basically the philosophy of Oscar Niemeyer and his most sort of catchy, you know, sharing with us is, and I'm sort of quoting from memory, is that he said, I am not interested in the straight line created by a man felt with E. I'm interested in the curviness of the mountains and the rivers from my home country of Brazil and same we have here. And these same curves that are beautiful women have that Einstein's universe are comprised of. So that's basically the framework of thinking that he operates within. So keeping that in mind gets us to the next slide. Which shows us how he applied that principle to this project here. And this project we have to say at the bottom right, we threw in probably his most famous project from another typology. This is a multi-story apartment building in São Paulo in Brazil, designed in the same era in 66, even the same year, zeitgeist of the 60s. It has something that we dedicated a show to that we called Breathe So Late. And this has all these lures that keeps the building cool, and that way makes it look cool. And it's very much we credit that it's to be credited, not we had to, to Le Corbusier, that both Niemeyer looks up to as he says. And due to the conditions that he could not be executing the project, it basically took another decade until 76 to have the project completed, only with the support of a Portuguese architect, who did all the local work. And his name is as stated here, Alfredo Viana Dilema. And I know all this from a book that I was able to purchase in the lobby, that a great colleague of mine, a professor of architecture wrote. And yeah, he tells you and us about all these backgrounds here. And so here on the sketch to the left, what do we see having applied from his philosophy to the building and how he positions in places at the store? These are really clever little little drawings that if you look carefully, you can see there are human eyes that are looking at these different types of placements or configurations of the building. And emanating from each eye is sort of the span that the eye can look at. And he's crossing out on the left. The configurations are placements that he does not like. And on the right, he is saying, look, this is the way the eye should be looking at these things. The eye should be able to look over this on the slope, not be blocked by it. The eye should be able to look down on it in its placement and be not blocked as well. Absolutely. Yeah. So we don't want to give the wrong impression and praise architecture of architects who never go to the places they design and just think it fits everywhere. So that's not the case. The landscape, the topography, the characteristics are very close to what Niemeyer is known to from growing up there. So there's probably a little bit more legitimate and makes him with a sensitivity for this sort of paradissel you know, surroundings qualified him to be equally sensitive here. So yeah, as you perfectly said, the building didn't want to obstruct the landscape. It wanted to be almost, you know, blend in and be an integral part of that. And in order to do so, he placed the building not having, you know, what most people would do here, talking Mauna Kea Beach hotel. You want to look at the ocean. You want to look at the mountains. That means you make it parallel to both. He did not do it. He did it perpendicular to it. And so from the ocean, you just see that front split and same from the Malca. And the landscape was supposed to not be obstructed by it, but actually it hovering over it. We see how he achieved that. Right. And it's really the next slide, which is basically shows how he, we believe and we sensed how he designed it from basically inside out versus outside in. So not as an object that you show functions in, but as something that, you know, grows from the most nuclear cell of the guest room and then becomes that holistic, you know, preacher that, that, you know, what you see when you look at it. So here's basically our exotic escapism expert to the on the top left looking west. And at the bottom is as looking is where the casino is and where the airport is, by the way. And, you know, similar to here and pretty much, you know, out west that where it's more spars and more into the east here. Well, I know, I take this back. It's sort of flipped here on a while, obviously, although out west is also triggering down, but then it sprawls tremendously. So here it's probably the opposite. But that being said, dealing our environmental check. While, you know, here in Waikiki, we say what he also, the similarity is go with a flow with the airflow with a macro airflow or the trade winds. You don't block them by putting the building perpendicular parallel to the ocean by putting a perpendicular, you keep that airflow. But here in Waikiki, besides that little bit off, because the Dillingham grid is not a biochlamatic one, but a capitalized one, he forgot to turn it exactly parallel to the to the north arrow, which Waikiki grants earnest heart in here. But that little aside, you know, it's still the right direction. If you make the hotel buildings run in Malcomacai, you automatically get one elevation that is facing south, that if you we had a longer conversation about make the lanais deep enough to self shaded, you're good. And the north facade is good anyways, right? So this is more problematic here, principally, but Nimaia being a great sensitive and biochlamatic and caring for both the human and nature architect next slide. What did he do? And how does it building basically solve that problem? Well, we've got deep lanais. And this is something that I was not aware of until you just recently pointed out. Our older buildings in Waikiki have lanais that are similar to this, which is the exterior walls, particularly well, both the vertical and horizontal walls, shade the exterior of the building. And they also give you more privacy if that's what you want. These do have glass lanai frontages or railings or balustrades, whatever we want to call them, which we don't approve of here. But as you said, this is a slightly cooler climate. So the glass panes do give you more protection. So there is some function to them. But again, the deep lanais that we see here are not just for your enjoyment in the exterior, they're also serving the function of shading the building. And increasingly here in Honolulu, we see lanais, if they're even present at all, being made very skinny and very shallow. So they're no longer doing this function. And that is not really a sensible thing to do. But it is what's happening. Yeah, and here it's well done. Again, as you perfectly sort of portrayed it and speaking like architecture, one-on-one biochromatics to the east and the west, you shape the vertical louvers, while to the south you shape the horizontal ones. This is east or west and so all these partitioned walls between the units basically do the job. And yes, it gets a little cooler there, so the glass guardrails make more sense than here. We don't want that, but that's all we get. It's almost like cold requires it, but cold should actually abandon it here. So go to the next slide. You see then that this sort of conglomeration of little cells of hotel rooms are compacted into this extruded banana bar, which hovers over the landscape and lets the landscape flow through. And another similarity between the Mauna Kea and this one, the Mauna Kea does it differently with its forest of columns, cruciform columns, as we pointed out in the last five shows. This one does it here with these very few slab-like columns. And now imagine another similarity to Soto. Back in the 60s where, as you pointed out as a witness, in the 60s there was close to nothing on the big island. So how did they make this work? All the material there, all the scaffolding, all this pouring of concrete. Similar here, as you pointed out, this was a totalitarian regime to begin with, and then also a remote island. So this was a huge undertaking and the author of that great book credits, especially the engineers for this amazing work to have it all done. And luckily, just like in the Mauna Kea, another similarity, it is still all majorly original. And as you can see up there is the fenestration, which is a very nice sort of wood window front that you, which is so familiar to me that I didn't even think about it, but the window is always being more breezy on the other side. What did you notice about the fenestration being so different to what you brought with? Well, what's very different is that these hotel rooms don't have sliding doors. And we'll see that in the next two pictures we look at. There is fixed, there's fixed glass windows. And then there is a regular hinged door that you used to get to and from your lanai. In the USA by the 1950s, sliding doors were absolutely the norm. And in Florida, California, and here in Hawaii, particularly where there were warmer climates, every hotel had those, even motels, small buildings had them. And partly, I think that was because the United States had shifted to manufacturing those in quantity, so they were easy to obtain. Whereas, as Martin says, in Germany, they don't have sliding windows because the temperatures are not such that you want to open and close whole walls of your rooms. And again, in Madeira, it's not quite warm as warm all the time. So you don't necessarily want to open your entire wall of your room to the outside. So therefore, you've got doors and windows rather than sliding doors. Yeah. And what can we learn from this one here if you make the lanai deep enough for shading reasons, but also then rain protection wise, it's sufficient that maybe we could instead of importing invasive aluminum and steel and whatever frame, plastic frame windows, it's all invasive. Why don't we go and cut down? We talked about Kalia Keano even made building materials out of palm trees. So we may go on wooden window systems and Tropic here, Woodwood had his emerging generation about crystal weather and code do an amazing alternative screen system that we're very mad, which got thrown away and we would need it now because there's a Tropic hearing exhibition coming up that you will be dragged into in one way or the other as well. So we want to encourage you guys to rethink that, right? Think about the local, about the local material, about the local labor. We don't need the glass. This system actually had no glass. It was just getting along with the most cleverly Tropic here kind of wood. So anyways, with that, we save to get you into the hotel rooms, how they look today and how they guess what looked differently back then. We know this is a global sort of phenomenon that they seem to have to refresh themselves. So we save that for next week. So until then, please increasingly stay obviously healthy and tropically exotic, easy breezy, especially in this, as you point out, the total most comfortable climate in the world.