Issuu

NUPAIKINI TOWARDS A NEW HAWAIIAN DESIGN

This ediTion firsT published in 3520 Waialae avenue, honolulu, haWai'i, 'oahu.

TransmiTTed in any form or by any means.

NUPAIKINI - TOWARDS A NEW HAWAIIAN DESIGN -

J. MALU STANICH

capsTone commiTTee: andreW Kaufman, chairperson roxanne adams phoebe WhiTe may 2021 a capsTone design research projecT submiTTed in parTial fulfillmenT of The plan b requiremenTs for The degree of

MASTER OF LANDSCAPE ARCHITECTURE KeyWords : haWaiian design, haWaiian landscape, haWaiian renaissance, KamaKaKuoKalani cenTer for haWaiian sTudies, meThodology, aina, KonohiKi, Kilo

He ali'i ka 'aina, he kaua ke kanaka - 'Olelo No'eau

Contents Introduction Acknowledgments Context Methodology Design Process Project Scope Design Future I Kanewai Parking Structure Design Future II KCHS Courtyard Conclusion

2 6 10 20 32 42 58 76 92

IntroduCtIon

Introduction

his project proposes an alternative approach to "maintenance" of the University Landscape utilizing 'Āina-Based values and perspectives. To communicate this new approach, this project uses a graphic style based on traditional Hawaiian aesthetics and references 18th century Hawaiian nupepa in a kind of "graphic mo‘okū‘auhau" (graphic genealogy).

This project outlines a new Hawaiian Design Process and provides modern konohiki 21st century tools to kilo (observe), specifically the creation of a new spatial plant placement algorithm, which uses 3d modeling software to simulate environmental factors in order to map specific micro-climates within the site. This algorithm then generates a list of plants that are able to grow best within those projected micro-climates. This tool, coupled with onsite observations done by students and faculty, and coordinated requests for plant material and events, will help reveal the right plant for the right place. 3

If we break Nupaikini into its constituent parts, we can get a sense of what this project intends to do as a whole; Nu- To think; to reflect upon; to ruminate. Pai - To urge, encourage, rouse, stir up, excite. Kini - Multitude, many; forty thousand. One of the main reasons I chose Nupaikini as the title of this project is because taken together it is defined as "new-fashioned", and it is important to stress that although this process in inspired by many traditional Hawaiian values and perspectives, this project is a synthesis of how I, as a modern Hawaiian, believe we should design the world around us in a contemporary way. The specific case study used in this project originated through the No’eau Program, in collaboration with UHM Building and Grounds, UHM Campus Arboretum, and the Kamakakūokalani Center for Hawaiian Studies, at the time lead by former Dean Dr. Konia Freitas. It originally started as a pilot 4

Introduction

project to redesign the interior courtyard of the KCHS building and integrate native folia for teaching research and functional use, but has since expanded to include the entire KCHS grounds and parts of Kānewai Parking Structure to the Palolo side of the property.

ACknowledgments

Acknowledgments

y deepest thanks goes out to all the kanaka who have helped shape these ideas and my journey along the way. Without you, this projcet wouldn't have been possible so mahalo nui, I am forever indebted.

To my chair, Dr. K, thank you for having the courage to tell me what I needed to hear, when I needed to hear it. Your positive attitude and unwaivering support allowed me the freedom to take risks and truly explore what was needed to be said about this space. To the wāhine in charge of the University Campus Landscape. Mahalo nui. Your dedication to the ‘āina is inspiring, and your words have shaped me in more ways than you know. To the many kumu I have had the pleasure of spending time with, each of your classes has culminated in the way I perceive problems and find hope in the future. Specifically I would like to thank the faculty members at School of Archi7

tecture, Simon M. Bussiere, Mackenzie Greene-Powell, Judith Stilgenbauer, Phoebe White, Hyoung-June Park, Hongtao Zhou, and Steve Hill. To Sir. Gerald B. Sylvester, I felt you with me every step of the way. To miss Rochell Willis, mahalo for the years you spent dealing with me and watching me slowly gain a hold on my responcibilities and for providing me a space on campus where I could be myself and immerse myself in the landscape. Lastly I would like to take this space to mahalo Wai‘ehu, and Waihe‘e for raising me and revealing to me the awe and wonder it takes to gain understanding and insight as a kanaka. I feel blessed to have such a wonderful group of people around me that I can draw ‘ike from whenever I begin to run dry. I wouldnt have made it without the hard work of friends and family alike, who have urged me to continue to take risks, work hard, and perservere. 8

Acknowledgments

Context

e are in the midst of a Rennaisance. Just as kanaka of the 18th century Rennaisance embraced the influx of new technologies around them, so too can we, as modern kanaka, embrace the revolutionary technologies at our disposal, and do so in a Hawaiian way.

Most scholars put the 18th century Hawaiian Rennaisance during Kamehameha V's reign, and more generally cite its hey day as during the reign of Kalākaua. I propose that this rennaisance actually began much earlier, with the appearance of Halleys Comet and the rise of Kamehameha I. The unificaiton of the islands marked a transition into an era of relative peace, a vast influx of new technology and ideas, as well as a momentous increase in the literacy rate within Hawai'i. Stories told of this era often paint Hawaiians as an idle group, subject to the more powerful wims of white colonial aggressors. This is as far from the truth as can be. 11

1822

1839

Hawaiian Renaissance I

1819 ad - 1893 ad

Kamehameha I unites the islands and ushers in a new era of peace (Lono)

1822 - Keeaumoku (Gov. of Maui) prints the first primer in ‘Olelo Hawai’i

1864 - Kamehameha V celebrates traditional hawaiian practices, creates Hawaiian Renaissance Architecture

1825 - Kamehameha III “O Ko’u Aupuni, he Aupuni Palapala Ko’u [My Kingdom shall be a Kingdom of Literacy]

1864 - Kamehameha V repeals laws restricting Lau lapa’au practices

1834 - Ka Lama Hawai’i (The Hawaiian Luminary) Prints at Lahhainaluna

1882 - Kalakaua becomes first Head of State to circumnavigate the world.

1883 Coronation last hula, chants, and

Context

1877

1883

1886

awaiian Renaissance II 1960 ad - Current

1836 - 96% Literacy Rate Achieved within the Kingdom of Hawaii

Kalakaua’s ts 2 weeks with d songs.

1839 - Kamehameha III adopts a new constitiution with a Hawaiian Bill of Rights

1883 - One of the first telephones is installed within Iolani Palace

1843 First nonEuropean country recognized internationally within “Family of Nations”

1886 - Iolani Palace electrified by Kings Jubilee

1848 - Privatization of land begins with The Great Mahele

1888 - Princess Kaiulani throws the switch for first electric street lights in Honolulu

NUPAIKINI NUPAIKINI NUPAIKINI NUPAIKINI NUPAIKINI NUPAIKINI 14

Context

*figure by Konstantin Kirilov

Our ancestors fingerprints are embedded in everything we do, yet there are ways in which we pay homage and may honor them properly. This book takes typographic insperation from the nupepa of the early rennaisance era, as they represent one of the ways Hawaiians took to using new technology, and did so in a uniquly Hawaiian way.

font 01 : TypeKa KA LAHUI HAWAII

font 04 : Broadsheet E Ka Lahui Hawaii, Ka makamaka hou, Akahi no kou hoea I lama no makou.

font 05 : CAlder E MOOLELO KAAO

Context

Font 01

Font 02 Font 03 Font 04

Font 05

Font 06

1964 197

1819 ad - 1893 ad 1960’s - Kilauea begins era of continuous volcanic activity that lasts until modern times

1964 - Merry Monarch Festival established in Hilo

1984 - first Punana Leo Hawaiian Immersion School opens on Kaua’i

1971 - Kalama Valley Protests signify turning point in desposition of native tennants

1986 - Haunani Kay Trask becomes first tenured professor in Hawaiian Studies

1975 - Polynesian Voyaging Society builds Hokule’a

1986 - Ka’u Report provides strategic direction for Hawaiian Studies at Univeristy of Hawaii

1996 - Ku rediscovers Ku’ Library of Congr

Context

76 1978

1993

1996

1960 ad - Current 1976 - Protect Kaho’olawe ‘Ohana (PKO) files suit to stop bombing of Kaho’olawe.

umu Noenoe Silva ’e Petitions at ressd

1977 - George Helm & Kimo Mitchell go missing during an attemt to occupy Kaho’olawe

1996 - Kamakakuokalani Center for Hawaiian Studies Building Complex completed

1978 New State Constitution drafted returns control of Kaho’olawe and creates OHA

2007 - UH Board of Regents creates Hawaiinuiakea School of Hawaiian Knowledge

1980 - Native Hawaiian students begin restoration of Kanewai Lo’i under Harry Mitchelll

2018 - KCHS Pilot Project launched to integrate Hawaiian Landscape Design into UHM

methodology

Methodology

hat does it mean to design "in a Hawaiian way"? This section explores the perspectives of the traditional Hawaiian experience, looking to the language, the stories, and the behaviors of nā kanaka i ka wā kahiko to inform and imply what it might mean to designers today. The methodology looks at the way Hawaiians perceive space, time, and their relationship to the environment. From these three vantage points we can gain enough insight to begin to outline more complex processes that retain logical consistency and build upon the elements observed.

The concentric circles correspond to the nested layers of the Moku System. The outermost ring referring to the cardinal directions, used often in wayfaring and navigation. Further in we find the Moku scale, in this case, of Kona, with large landmarks noted for reference. Lastly we reach the Ahupua‘a scale, in this case, of Waikīkī, with the main directionals being mauka (towards the moun22

Methodology

tain), makai (towards the sea) and adjacent valleys, those being Makīkī and Palolo. By orienting oneself in such a fashion, it allows you to distill specific geographical and environmental information of the place you are at.

Ha‘ilima

Iwilei

Anana

Another glimpse into how a Hawaiian perceives space is in the way he measures that space. Traditionally, Hawaiians would use Nā Anakahi Hawai‘i, or Hawaiian measurements. These were based upon the specific proportions of the human body and roughly correspond more accurately to the Metric System in contemporary times.

Ha‘ilima

Iwilei

Anana

By reincorporating the use of these terms, if not the actual measurements themselves, one can begin to approach a design that is proportionally cohesive and connected directly to the human 24

Methodology

ANANA IWILEI HA’ILIMA PI’A

KIKO’O

*Figure adapted from art originally by Sam Gon III 25

I ka wa ma mua, i ka wa ma hope. lit. in the time in front, in the time behind. Look to the past to inform the future.

‘Ōlelo Hawai‘i was an oral language only until around 200 years ago. Therefore if we are to find perspective on Hawaiian culture, then the language is where we will find the most insight. The locatives used in ‘ōlelo hawai‘i imply a shift in how one perceives time and is codified in the ‘ōlelo no‘eau above. This perspective stands in sharp contrast to the western conception of time and has multiple implications as to behavior of people. 26

Methodology

A’E NEI

HOPE (FUTURE)

IHO NEI

AKU NEI

AKU

MUA (PAST)

IHO

A’E

*locatives used in ‘olelo hawai’i 27

S & SPIRITS GOD NATURE FAMILY

PERSON

‘OH

PIK

A NA

AI A NI ‘A I NA W

A AKU A & AU MAKU

In this Hawaiian Perspective, ones relationship to time also implies ones relationship to the akua. In Hawaiian culture, there are three Piko that correspond to your connection points, or "centers" in regard to the past, the present, and the akua.

PIK

Methodology

KO PO’O

PIKO PO’O

KO WAENA

PIKO WAENA

KO MA’I

PIKO MA’I

*locatives used in ‘olelo hawai’i 29

Wākea

Hawai‘i

Papahānaumoku

Maui

Lana‘ikaula

Ho‘ohokukalani

Kaua‘i

O‘ahu

Ni‘ihau

Kaho‘olawe

Moloka‘i Hāloanakalaukapalili

Hāloa

Mele a Paku‘i There are many creation stories in Hawaiian culture , often referred to as mele ko‘ihonua, or genealogy chants. Featured here are two of the more famous, Mele a Paku‘i and the Kumulipo.

Methodology O ke au i kahuli wela ka honua O ke au i kahuli lole ka lani O ke au i kuka‘iaka ka la E ho‘omalamalama i ka malama

At the time when the earth became hot At the time when the heavens turned about At the time when the sun was darkened To cause the moon to shine Artwork Source : Imaikalani Kanahele Inaspace 4 (2004)

The crucial difference here is to not see humanity as separate from nature, but instead as a part of a larger evolutionary tree extending all the way back to the land itself and imbuing our elders with the love and reverence they deserve. 31

Design Process

he design process is crucial to the profession of Landscape Architecture of and serves as the main tool we use to organize and produce projects. As we look the landscape around us and the many problems "development" seems unable to avoid, we have no choice but to reevaluate our own methods we use to develop.

This section will build upon the perspectives and values outlined in the Nupaikini methodology and begin to describe what a "Hawaiian Design Process" might look like in a contemporary design practice.

The typical design process that majority of firms within Hawai'i use in order to run their business starts goes generally as follows. It begins with a Conceptual Design phase where programming and Site Analysis is conducted, then graduates to a Schematic Design Phase, Design Development Phase and eventually Construction Documentation. ��

��

This process is extremely efficient at getting ideas from a design board, into built physical space. What it doesn't take into account the majority of time is arguably the most important phase, once the project gets handed over to the client. Responsibility over the maintenance of the design is transfered over to the client, often times leaving the landscape to slowly erode and degrade from lack of knowledge, or resources during this period. This conventional design process is the one used in most, if not all of the projects taken on and built on the University of Hawai‘i and may indicate one of the reasons the campus has an eclectic cosmopolitan mishmash of buildings with 34

ADAPTATION M

(FACULTY, ARB, B CURRICULUM CH

MEETINGS

BGM) HANGES

Design Process

INITIAL CONCEPT

PROJECT LAUNCH MEETING (DEAN, ARB, BGM) PROJECT GOALS & OBJECTIVES PROCESS & SCHEDULE INITIAL RESEARCH

Idea Space

PROGRAMMING

POST PROCESS

PROGRAMING MEETING

(DEAN, FACULTY, ARB, BGM) INITIAL PLANT PALLET EXISTING CONDITIONS OPPORTUNITIES ASSESSMENT SPATIAL PROGRAMMING

SCHEMATIC DESIGN

SD MEETING

DESIGN DEVELOPMENT

DD MEETING

CONSTRUCTION

(DEAN, FACULTY, ARB, BGM) MAPPING MICROCLIMATES SCHEMATIC DESIGN PLAN

(DEAN, FACULTY, ARB, BGM) CURRICULUM INTEGRATION (FACULTY, ARB, BGM)

CONSTRUCTION INSTALLATION

(FACULTY, STUDENTS, ARB, BGM)

Physical Space

MAINTENANCE *Conventional Design Process 35

no cohesive sense of place. This project aims to outline how this conventional "waterfall" design process is actually more effective as a sub-component of a larger, more holistic and adaptive design process. One can imagine this cycle most easily through the process of planting kalo. Ho‘omau (reorganization), is the planting of the kalo, Ho‘oulu (rapid growth), is the vegetative phase, Ho‘opa‘a (conservation), is when the kalo reaches maturity and begins corm growth, and lastly ho‘ohuli (release), is when you harvest, and use the huli to be planted and start the cycle again. This process applies to larger systems such as plant populations, or even entire ecosystems, but also applies to the adaptation and resilience of more intangible systems such as social systems or even institutions. By organizing a design process in a cyclical fashion, it integrates the aspect of the landscape that is often ephemeral, and begins to outline a more holistic way to view the world.

Design Process

INITIAL CONCEPT

PROGRAMMING

SCHEMATIC DESIGN

BA CK P OO -L

OP LO

K FO RE

r Adaptation Cycle

DESIGN DEVELOPMENT

CONSTRUCTION

Moments of Kaona “Meaning layering”

Ω

- Ho‘omau : Reorganization

Greatest potential for initation of either destructive or creative change within system. i.e. Design interventions, New Planting..

- Ho‘oulu : Rapid Growth

Relatively predictable dynamic increase in potential within the system. i.e. Vegitative phase, biomass buildup..

- Ho‘opa‘a : Conservation

Ω

- Ho‘ohuli : Release

General trends towards stability and connectedness. i.e. Energy Storage, Equilibrium Reached..

Beginning of Back-Loop where system trends towards uncertainty, novelty and experimentation. i.e. Harvest, Disturbance..

Design Process

INITIAL CONCEPT

PROGRAMMING

Ω

SCHEMATIC DESIGN

BA CK P OO -L

PIKO CONSTRUCTION

OP LO

DESIGN DEVELOPMENT

FO RE

r *Source : Resilience Thinking (2006)- Walker, Salt

Kilo is continual, ongoing and involving everyone who uses and inhabits the space. It is a way to observe environmental patterns and strengthen relationships with resources and the land. This process is also a tool for mapping seasonal changes, special events, and plant placement for optimal landscape performance. As natural cycles fluctuate from release to reorganization, Kilo can reveal moments to intervene and leverage work to ones benefit. This new process refers to these moments as Piko points, as they often represent a re-alignment, or centering intention upon a certain idea or thing. This process of measured observation can be, and should be conducted by each and every user of the space throughout the entirety of the project lifespan. Although conventionally, kilo is often relegated to the "Site Analysis" phase of design, by continually conducting this behavior, it allows designers and users of the landscape to identify changes and respond accordingly.

Design Process

Project scoPe

Project Scope

ince the creation of the University of Hawaii in 1902, the campus landscape has been integral to the mission of the university. Historically built on agricultural lands, Joseph Rock curates an extensive exotic and native plant collection, which will eventually become the Joseph Rock Arboretum. Recent budgetary hardships have spurred inquiry into the mechanisms and processes the university uses to maintain its landscape. This paper will address how the maintenance issues of UHM are a symptom of a larger community value disorder, and begin to outline a process that reconnects the students to the place, and the land to the people Using the Kamakakuokalani Center for Hawaiian Studies as a test bed, this project aims to produce a place-based, productive educational landscape through a uniquely Hawaiian design perspective. The scope of this project includes the Kamakakuokalani Center for Hawaiian Studies Complex south of Dole Street, with the intent to 43

The scope of this project includes the Kamakakuokalani Center for Hawaiian Studies Complex south of Dole Street, with the intent to formulate a framework in which to connect department curriculum and goals to physical plantings within the landscape. This process will involve meeting with current KCHS faculty, staff and students, KCHS Director, KCHS Building Coordinator, UHM Facilities and the Campus Arboretum to establish the appropriate plant collection. This project will serve to lay foundation to a new ‘Hawaiian’ design regime that incorporates values and perspectives of Aina-Based Curriculum as well as providing modern konohiki 21st century tools to kilo (observe), specifically the creation of a new spatial plant placement algorithm, which uses 3d modeling software to simulate environmental factors in order to map specific micro-climates within the site. This algorithm then generates a list of plants that are able to grow best within those projected micro-climates. This tool, coupled with onsite observations done by students and faculty, and 44

Project Scope

coordinated requests for plant material and events, will help reveal the right plant for the right place.

Project Scope

Hawaiian Studies Timeline 1970

Hawaiian Studies under Liberal Studies

established

1977

Initial proposal for a Hawaiian Studies Program submitted to establish an Academic Support Unit

1979

Provisional Hawaiian Studies Program approved by the Board of Regent

1985

Hawaiian Studies Program granted continuing status as a permanent program by the Board of Regents

1986

Ka’u Report: University of Hawai’i Hawaiian Studies Task Force Report

1987

Establishment of the School of Hawaiian, Asian and Pacific Studies by the Board of Regents & Center for Hawaiian Studies

1991

Hawaiian Studies 107: Hawai’i: Center of the Pacific, in the Mānoa core as one of the options in Group II (History and Culture)

1991

Legislature appropriated construction funding for the Center for Hawaiian Studies building

1996

KCHS Building completed. The 5-acre complex includes offices, classrooms, open air auditorium, resource center and student services wing

1997 Official opening of the Center for Hawaiian Studies building.

2001

The BOR approved renaming the building to Kamakakūokalani – The Gladys K. ’Ainoa Brandt Center for Hawaiian Studies.

2002

Dedication of Kamakakūokalani Center for Hawaiian Studies building in the name of Gladys Kamakakūokalani ‘Ainoa Brandt

April 21, 2005

Board of Regents approved an MA in Hawaiian Studies and an MA in Hawaiian Language.

2007

Board of Regents approved the new school of Hawai’inuiākea: School of Hawaiian Knowledge

2018

KCHS Pilot Project initiated by KCHS Dean, Dr. Konia Freitas, Roxanne Adams, Manu Kaiama.

Kamaka Hawaiian

akuokalani Center for Studies (KCHS)

Project Scope

University of Hawaii at Manoa Campus Map 49

Ka’u Report : 1986 DESIGN 1.

Traditional Hawaiian kauhale concept and motifs adapted for modern functional use. Dwight Kauahikaua, architect, is a consultant. Dean Elmer Botsai of the School of Architecture is advising the Task Force. Self-Suufficient solar energy (photovoltaic) devices and optimal uses of natural ventilation, lighting, shading, watering, ect. Richard Neill of the Hawai’i Natural Energy Institute is consultant.

Participation by knowledgable and skillful Hawaiians in design and construction.

Mr. Walter Muraoka of Facilities Planning is already giving full support.

GROUNDS 1.

Ka Papa Lo’i (Hawaiian Cultural Garden) will be preserved, expanded with native folia for teaching, research and functional use.

Landscaping wil express traditional Hawaiian concept of Lokahi (Unity) of man with self, others and all of nature, including spiritual forces.

Ka Pa (Outdoor Theatre), to seat 200+. Seating and kahua (stage) to take advantage of contour of land, stream, Ka Papa Lo’i, ventilation, lightinig of sun. Proximity of performing arts halau, and dressing and bathing facilities for use of performers as well as for lo’i workers and other halau participants.

Heiau. For instruction, research and special ceremonies.

Parking, 50 stalls.

Project Scope

N 51

R± 23'

A KE ’A A P KA

ET RE T S

T.) ES OL (D

R± 10'

R± 10' OPEN TO ROOF

Project Scope

R± 45'

R± 23'

R± 45'

R± 51.5'

OPEN TO BELOW

R± 7'

R± 43'

R± 10' R± 23' R± 35'

R± 10'

1996 - Original Planting

(Stamped by Alan Kutsunai of belt Collins)

1996 - Original Planting List (Stamped by Alan Kutsunai of belt Collins) Ti 'Ilima Nehe Kolomona Kalo 'Aka'aka Laua'e Hilo Grass Ulei Kukui Ulu Hala Niu Palapalai 'Akia Naupaka Ma'o Kului Hibiscus Milo

Cordyline fruticosa Sida fallax ET RE Lipochaeta connata ST EA Senna gaudichaudii PA’AK Colocasia esculentaKA Hillebrandia sandwicensis Phymatosorus grossus Paspalum conjugatum Osteomeles anthylidifolia Aleruites molucana Artocarpus altilis Pandanus tectorius Cocos nucifera Microlepia strigosa T EE Wikstroemia uva-ursi A STR E Scaevola coriacea PA’AK KA Gossypium tomentosum Nototrichium sandwicense Hibiscus arnottianus Thespesia populnea 54

T.) ES OL (D

Project Scope

HILO GRASS Paspalum conjugatum MA’O Gossypium tomentosum

NAUPAKA Scaevola coriacea

AKIA Wikstroemia uva-ursi

KULUI Nototrichium sandwicense NAUPAKA Scaevola coriacea

HALA Pandanus tectorius

‘ILIMA Sida fallax

KOLOMONA Senna gaudichaudii NEHE Lipochaeta connata

KALO Colocasia esculenta

R± 10'

TI Cordyline fruticosa

OPEN TO ROOF

LAUA’E Phymatosorus grossus HIBISCUS Hibiscus arnottianus

HILO GRASS Paspalum conjugatum

R± 23'

PALAPALAI Microlepia strigosa

R± 45'

‘AKA’AKA Hillebrandia sandwicensis

R± 23'

R± 10'

R± 45'

HIBISCUS Hibiscus arnottianus

NAUPAKA Scaevola coriacea NIU Cocos nucifera

HILO GRASS Paspalum conjugatum

MILO Thespesia populnea

ULEI Osteomeles anthylidifolia

MILO Thespesia populnea

R± 51.5'

OPEN TO BELOW

TI Cordyline fruticosa

LAUA’E Phymatosorus grossus

LAUA’E Phymatosorus grossus TI Cordyline fruticosa

R± 7'

R± 10'

R± 43'

ULU Artocarpus altilis R± 23'

R± 35'

HALA Pandanus tectorius

KUKUI Aleurites moluccana

NIU Cocos nucifera

R± 10'

HILO GRASS Paspalum conjugatum

1996 - Original Planting

TI Cordyline fruticosa HALA Pandanus tectorius

KUKUI Aleurites moluccana

AKIA Wikstroemia uva-ursi

NAUPAKA Scaevola coriacea

PUAKEN Fagraea b

‘A’ALI’I Dodonaea viscosa ‘OLENA Curcuma domestica

R± 45'

R± 23'

R± 45'

R± 23'

R± 10'

TI Cordyline fruticosa

WAUKE Broussonetia papyrifera

R± 10' OPEN TO ROOF

MILO Thespesia populnea

‘OHI’A LEHUA Metrosideros polymorpha

ZOYSIA GRASS Zoysia sp.

ULEI Osteomeles anthylidifolia

NAUPAKA

Scaevola coriacea NIU Cocos nucifera

HIBISC Hibiscus

‘OHI’A LEHUA Metrosideros polymorpha

MILO Thespesia populnea

R± 51.5'

TI Cordyline fruticosa

OPEN TO BELOW

LOULU Pritchardia sp.

MILO Thespesia populnea

TI Cordyline fruticosa R± 7'

R± 43'

R± 10'

ULU Artocarpus altilis R± 23'

R± 35'

HALA Pandanus tectorius

R± 10'

NIU Cocos nucifera

2020 - Existing Planting 55

MONKEYPOD Albizia saman

Collaborators (Users) Students of KCHS of UHM

Student Groups

Native Hawaiian Student Services Konohiki Collective

Faculty

of KCHS Building & Facilities Manager

Halau

Ka Pā Hula O Ka Lei Lehua Hālau o ke ‘A‘ali‘i Kū Makani

Larger Community Cultural Practitioners Nā Po’e ‘o Mānoa a pau

Project Scope

Design Future i

Design Future I

he first case study will play out alongside the Kanewai Parking Structure adjacent to the KCHS complex. This space is currently under the jurisdiction of Commuter Services maintenance and therefore poses new problems involving coordination and cross departmental cooperation

The reason this site was chosen for a case study is the amount of underutilized land along either side of the parking structure. This allows for larger agro-forestry style plantings that will not affect the overall look and function of KCHS landscape while in the midst of harvesting and replanting, which are typically disruptive activities in regards to maintaining a "nice-looking" landscape. The design process will play out describing the Kilo process using a collage of photos and graphics to display the current conditions of the site. Then a programmatic map will be generated through faculty meetings and community requests which will inform an eventual planting scheme based upon KCHS fiber-arts Curriculum. 59

Design Future I

LO KI

Specific environmental factors surrounding the parking structure are mapped in order to generate a list of suitable plants from which the final plant list will be selected from. This computation is done using 3D modeling and simulation software that approximates 1)Wind (Intensity and Direction), 2) Water (Surface Flow and Drainage), 3) Soil (Topographic Steepness and Composition), 4) Sun (Hours of Exposure). Significant observations here come in that the majority of the site is exposed to sun most of the day, qualifying it as "full-sun" and slope steepness alongside the Manoa stream bounds a small plateau which plants can be put. There are also areas along the broadside of the structure which cause higher winds to be generated, and a subsequent wind shadow to the south of the building. Lastly, what is implied by the drainage is a small swale to the Palolo side of the building, which has no connection to the opposite side of Dole street, yet sees intermittent flooding every 100 year storm. 62

Design Future I

LO KI

AREA UNDER COMMUTER SERVICES JURISDICTION HOUSELESS COMMUNITY ALONG STREAM EDGE

UNSAFE ACCESS 70+ FERAL CATS

“VOLUNTEER” S DISTRIBUTED B

Design Future I R± 45'

R± 23'

R± 45'

R± 23'

R± 10'

R± 10' OPEN TO ROOF UP

LO KI

R± 51.5'

OPEN TO BELOW

R± 7'

R± 43'

R± 10' R± 23' R± 35'

LO KI

R± 10'

SPECIES BY AIR

TRASH

RUBBISH

PLASTIC

BLOW-OVER FROM KANEWAI PARK

0 YR G (1 0 OODIN

INTERMITTENT FL

FLOOD)

Design Future I

COL CAT

HS CURRICUL KC UM

(FI BE R

GE N

S) RT -A

ULA & UH LA EI PLANTING HA AL L ER

Design Future I

LONY MAN AGE ME NT

TRASH

PLASTIC

RUBBISH CLEAN UP

UNITS HARVESTED WD, FL , S

Noni

Kukui

‘Ohe

Bamboo Schizostachyam glaucifolium

Lauhala

Morinda Tree Morinda Citrifolia

Candlenut Tree Aleruites molucana

Wauke

Paper Mullberry Broussonetia papyrifera

‘Ōlena

Red Tumeric Curcuma domestica

Skrewpine Pandanus tectorius

Palapalai Lace Fern Microlepia strigosa

‘uki ‘uki

Hawaiian Lily Dianella sandwicensis

Design Future I

Curriculum integration meetings with KCHS Faculty resulted in a list of plant requests, as well as a rough timeline as to when plant material would be needed. The Hawaiian Fiber-Arts courses (COURSES: HWST 222,225,322,325,421), instructed by Professor Maile Andrade, typically require larger scale plantings and harvesting of plant resources, therefore the area around Kanewai Parking Structure was chosen for this purpose. Of the list of plants used in fiber-arts courses, four plants were specifically requested to be more abundant in the KCHS landscape, those being Wauke (Broussonetia papyrifera), ‘Ōlena (Curcuma domestica), Palapalai (Microlepia strigosa), and ‘Uki ‘uki (Dianella sandwicensis). The following graphics illustrate how these plants would be planted and then plays out how the landscape would change through the proposed Hawaiian Design Process. 71

NA m)

ANANA (6ft, 2m)

Wauke

Paper Mullberry Broussonetia papyrifera

Design Future I

HA’ILIMA (2ft, 60cm)

IWILEI (3ft, 1m)

HA’ILIMA (2ft, 60cm)

IWILEI (3ft, 1m)

‘uki ‘uki

Palapalai

Hawaiian Lily Dianella sandwicensis

Lace Fern Microlepia strigosa

ANANA (6ft, 2m)

HA’ILIMA (2ft, 60cm)

IWILEI (3ft, 1m)

Design Future I

desIgn Future II

Design Future II

he second case study will play out within the core courtyard of the KCHS complex. This space is significant for many reasons, foremost being that it contains a rock formation which contains the iwi (bones) that were disturbed while first constructing the KCHS building. This courtyard also acts as the main formal greeting space for anyone who enters the building complex.

The reason this site was chosen for a case study is because of its significance in the KCHS conciousness. There are many contrasts that it holds with the previous Kanewai Parking Structure site, the first being that it may not be most suited for larger scale agricultural production. The design process will play out in a similar fashion to the first study, describing the Kilo process using a collage of photos and graphics to display the current conditions of the site. Then a programmatic map will be generated through faculty meetings and community requests which will inform an eventual planting scheme. 77

Design Future II

LO KI

Specific environmental factors surrounding the parking structure are mapped in order to generate a list of suitable plants from which the final plant list will be selected from. This computation is done using 3D modeling and simulation software that approximates 1)Wind (Intensity and Direction), 2) Water (Surface Flow and Drainage), 3) Soil (Topographic Steepness and Composition), 4) Sun (Hours of Exposure). Significant observations are that although the courtyard is relatively sheltered, there is a wind tunnel affecting the mauka entry to the space. There also is a significant slope along the staircase which many plants will not be able to handle. The entirety of the site is drained through culverts and perforated pipes, leaving little to no standing water, unless clogged. In terms of sun exposure, we find that most of the site is part-sun, yet specific spaces, such as on the lower floor by the ahu, are more accurately noted as part-shade, implying a very precise micro-climate in that area. 80

Design Future II

LO KI

INDISTINCT BOARDER SEPARATING ‘IWI

DISEA SE & WIND DAMAGE

Design Future II LO KI

R± 45'

R± 23'

R± 45'

R± 23'

R± 10'

R± 10' OPEN TO ROOF UP

R± 51.5'

LO KI

OPEN TO BELOW

OVERHA RV F LA’I NG O TI ES

HIGH PEDESTRIAN TRAFFIC

R± 7'

R± 43'

R± 10' R± 23' R± 35'

R± 10'

E IN KU AH UA KA

KA HA L

A UN P AO

I AN UK HA KA

LIGHT HAR OF L

PROTOCOL SPACE CURRICULUM CONNECTION

NA KUPUNA

Design Future II

RVESTING LA’I

Lauhala

Skrewpine Pandanus tectorius

Kō

‘A‘ali‘i

Sugar Cane Saccharum officinarum

Hopseed Bush Dodonaea viscosa

‘Awa

Kava Kava Piper methysticum

‘Uala

‘Ilima

Sweet Potato Ipomoea batatas

n/a Sida fallax

‘Uhaloa

Ka ‘U‘i Palaualelo

Welina Mānoa

Kū Ha‘aheo

The public nature of this courtyard implies certain things in regards to theappropriate curriculum that should be programmed here. Instead of specific class curriculum, more general mo'olelo could be told here for example, Welina Manoa, the story of Kane and Kanaloa, represented in planting by their kinolau, and 'awa together. Or perhaps more appropriatly, more contemporary stories can be told through the landscape, such as the now well known mele, Ku Haaheo, represented by the plants described in that mele. 86

Design Future II

Loulu

Hawaiian palm Pritchardia sp.

Mai‘a

Bannana Musa acuminata

‘Ohe

Hapu‘u

Hawaiian Tree Fern Cibotium glaucum

Bamboo Schizostachyam glaucifolium

‘Ōhi‘a Lehua

n/a Metrosideros polymorpha

Kupukupu

Hawaiian Sword Fern Nephrolepis cordifolia

‘Uala

‘Uhaloa

Kinolau ‘o Kū Kinolau ‘o Kanaloa

Sweet Potato Ipomoea batatas

Kinolau ‘o Lono

Kalo

Taro Colocasia esculenta

Kinolau ‘o Kāne

There is aslo much to be said about integrating more intangable ideas into this central space. By choosing to plant specific kinolau of akua, one makes a concious effort to manifest these beings, even if only symbolically, into the landscape. Manoa is rich with both place names that infer a history, but also names of environmental factors, such as specific winds (Kahaukani), rains (Ka Ua Kuahine), or even the rainbow (Kahalaopuna), which is the namesake of the University of Hawaii itself.

Design Future II

ConClusIon

Conclusion

n a time of unprecedented change, we need to design the systems around us to be more adaptive, resilient and sustainable. The knowledge described in this book, and more generally embedded within the value systems perspectives of Hawaiian culture is integral for us to truly survive in the 21st century. ��

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We cannot allow our institutions to be stagnant. To become stagnant is to die. We must challenge ourselves to build systems that recognize and adapt to the changing world around us. We must be careful not to reinvent for inventions sake, but instead to invent for purpose. We must look to the knowledge of old and apply it in new and novel ways. Ultimately, we must expand on these methods to reconnect people to place if we are to share in the abundant resources Hawaii has the potential to offer, and together strive to reach ‘āina momona.