A Cultural and Recreational Center for the West Hawaii Region of Kona by Berry Yamashita P378 .Y14 ' ! J 1 1 1 ] ] 1 1 1 1 1 ] 1 ] 1 M»rANA sur*-** BCzZT!mS'T> A Cultural and Recreational Center • j for the West Hawaii Region of Kona: a study involving the relationship between the aspect of culture and the design of public oriented spaces by Berry Yamashita A thesis submitted in partial fulfillment of the requirements for the degree of Thesis Advisor ChairmanThesis Committee Director, Sch5 ff&'my *• «. rift in g C Kr • Caroline .Gilb Phoe n ^(j\iiinea Mar quests .lhce S a m Da Society^ .... Ju^mot Cook/. ew Ca ledon i i Austral t e sX er /$iat wt"7»3T^i^4 ?ig. 11 Boundaries of Polynesia. the Hawaiians evolved individual styles and aesthetic values which resulted in the creation of sculptures that were boldest and most vi­ gorous of all the Polynesian race.14 In 1778 Captain James Cook arrived on the Island of Hawaii and was mistaken, by the people, for the god Lono (the humane god which cared for crops, health, nutrition and other life sustaining ele­ ments). Cook was treated royally by the people until his ship's crew started destroying large sculptural figures of dieties called tikis, and started using them for necessary ship repairs. Cook was later killed furing a scuffle with the islanders and this was all attributed to lack of cultural knowledge by Cook and his crew. Later during this 1800 period Kamehameha I created an army and conquered all other rulers of the other islands, making him supreme ruler of the Hawaiian Islands. Kamehameha I was well known for his successful efforts at uniting the islands and making it possible for Hawaii to be as it is today. Also during this period was the start of the monarchy. Various family members held the throne until there was a take over of the government system by the white minority, which later totally abolished the monarchy system of government. As the state became a market for people seeking jobs, immigrants from all over the world started drifting in toward the new job market Immigrants from the Far East, the United States, and even from Europe Everyone came looking for work and eventually stayed, becoming the ne population of the Hawaiian Islands, a population which motivated many F±g. 13 cook anchored m Keaiakekua BayT cultural changes. Many compromises had to be developed so the immi­ grants could communicate with one another. These were the island's work force, the total economic structure of this paradise. The incoming foreigners enriched Hawaii's economy by introducing such items as iron, cattle, horses, geese, and mangoes. But coming in caontact with the rest of the world had its mixed effects, as the immigrants brought more than just a labor force and new items. They had brought with them such diseases as smallpox, measles, and leprosy, to which the people had to immunity. The net result amounted to a decrease in the native population from about 300,000 in 1778 to about 135,000 in 1819. Fig. 12 The Alii Kaneena as seen by Capt. Cook and his crew. Pig. 14 Party of natives going to mee Unti l the death of Kamehameha I I I in 1854, the is lands were do­ minated by the American missionaries . These chr is t ian missionaries not iced the chance for them to convert many of the local nat ives into chris t ian fol lowers because of the demoral iz ing s ta te of being af ter Kamehameha I I abol ished the "kapu" system. By 1850 the nat ive popula­ t ion had dwindled to a mere 85,000. In 1900 President McKinley recognized Hawaii as a terr i tory because of i t s perceived s t ra tegic importance as a mid-Pacif ic s t rong­ hold, a s teppingstone which l inked North America and Asia . This per­ ceived idea became a t ruth on December 7 , 1941, as the Japanese a t tacked the U.S. naval base a t Pearl Harbor , creat ing a drast ic change affect ing the Hawaiian cul ture . After the war , Hawaii once again prospered and re l ied on sugar and pineapple as their main crops to sustain i t s economy. Later the Hawaiian economy boomed as a third industry entered the economic market . Tourism, now the major industry, had constant ly f lourished and expanded the income coming into the is lands unt i l in 1960 income from tourism had surpassed both incomes from sugar and pineapple . Statehood was f inal ly achieved on August 21, 1959, as President Eisenhower off ic ia l ly announced that Hawaii was to be the Fif t ie th State . Today, Hawaii i s considered as the "melt ing pot" of the Pacif ic , as people from pract ical ly a l l cul tures in the work now res ide in this t ropical paradise . Cul ture in Hawaii has changed drast ical ly and today i t seems to be the most unique cul ture in the world. The present Hawaiian cul ture is dis t inguishable by the var ious aci t ivi tes involved, act ivi t ies which come from a l l other cul tures , and shared by everyone. Today 's Hawaiian cul ture consis ts of values , l i fes tyles , and act ivi t ies shared by everyone through inter-racial marr iages . Trying to design, on the basis of my thesis s ta tement , for such a cul ture would be ra ther diff icul t . Therefore , I wi l l concentrate on invest igat ing the re la t ionship of bui l t form and the ancient Hawaiian cul ture; the act ivi t ies of the ancient people and their l i fe­ styles which led them to a cer ta in bui l t environment . i'ig. 15 Aesidences of the immigrants on tr.e islands. The activity of fishin-r witn nets is still practiced today, nut it is an activity done -y ail races todv;. evident in many homes as cultures changed. Ancient Hawaiian Culture The f i rs t se t t lers responsible for coloniz ing the Hawai ian Is lands brought wi th them thei r inher i ted cul ture , a cul ture formu­ la ted on re l ig ious bel iefs and t radi t ional values . Pinpoint ing the or ig ins of the f i rs t se t t lers i s very d i f f icul t , but archeologis ts bel ieve that the f i rs t se t t lers were f rom Polynesia . Al though evi ­ dence seem to re inforce th is hypothes is , i so la t ion played a major ro le in deciding what pr imi t ive cul ture inf luenced the development of the ancient Hawai ian cul ture . Most of the ancient Hawai ian values and t radi t ions were the resul t of in tervent ions by Tahi t i on i sola ted is lands , resul t ing in the adopt ion of the Tahi t i an language, re l ig ious pract ices , such as temple ceremonies and the Kahuna (Pr ies t ) sys tem, and the es tabl ishment of pol i t ica l and economic con­ t ro l by sanct ioned chiefs . Much of the i r l i fes ty le was kept to a minimum because of the s imi lar i t ies in physical environment . As d id thei r ances tors , the Hawai ian cul ture regula ted i t se l f by adher ing to ru les se t down by re l ig ious connota t ions . Their l i fe­ s ty les were organized around the concept of the cosmos and every as­ pect of l i fe was the resul t of ac t ions taken by the gods . Rel ig ion was the formulat ing component of government , the organiz ing e lement of the household, and the development of form, which in this case eludes built form, spatial form, and symbolic form. m- The ancient Hawaiians had a traditional belief in a mysterious power called "mana", which can be roughly translated as "a mystical power".15 It was with this mystical power that the alii or ruling class possessed in order to be an effective ruler, a power transmitted through heredity and believed to be the descendant power of their de- vine ancestor. The concept of mana was protected by a system of for­ bidden acts called taboos or kapu, a religious law. Anyone ignoring or violating taboos or kapus were either severely punished, banished from the village, or put to death, depending on the kapu broken. The kapu system maintains an order which keeps a ruling chief's do­ main well defined by formulating a lifestyle for its people. "The concept of rank and mana reinforced the class divisions by creating a kind of avoidance between persons of extreme rank difference."16 This order is a major factor in a culture's form generating techni­ ques, as mana, religion, and tradition dictate the decisions made by an ali i. Primitive cultures, as existed in Polynesia, tended to relate to a hierarchial system of government generated by religion and tradi­ tion. The government of the ancient Hawaiian culture adopted a type of government which divided its people into three major hereditary classes: 1) Aliis - nobility class 2) Maka' Ainana - commoners 3) Kauwa - outcasts These three classes of people were all under the rule of a supreme monarchy system originated by Kamehameha I. The concept of imagery played a major role in the Hawaiian cul­ ture as it dictated the lifestyles of the three classes of people. For example, imagery and symbolism were the primary weapons for the all is, (nobility) as they presented themselves to their enemies as a descendant of a more powerful diety. Clothing worn by the alii was one symbol of authority and rank. Capes and cloaks were symbols of /ig. 18 Kukailimoku, the war god, had the major effect of expressing "mana." Pig. 19 Xona, City of Refuge National Park shows how the temple building and heiau symbolizing an image of the particular domicile. anu'u tower lele altar drum house j image Layoux of temple.area. nobility color and length noted ranks in class, as did necklaces and helmets. For example, red and black were colors symbolic of nobility rank having more mana or systical powers. These apparels were usually made from feathers of native birds because of its symbolic quality in the Polynesian culture. "The proper kind of feather used in the right way was believed to hold the very essence of sacredness."17 Imagery through form was usually done by carving statues and idols of certain dieties. Sculpture also had a symbolic connotation relating to the dieties' existence in physical form. For instance, wood was a primary element of these sculptures and represents man in a solid, physical entity, while feathers represents sacredness and fiber cordage represents the spiritual lifeline of man, the umbilical cord connecting man and the gods.18 It was believed that the source of "mana" was in the head, therefore careful attention was given to the head of the wooden sculptures. "Interpreted symbolically in the sculpture, the helmet, hair, facial features, especially the eyes, conveyed the special meaning appropriate to the gods."19 Their sculptures tend to overwhelm the viewer with manifestations of mana, as the images are reflective of attitudes and meanings. "The com­ bination of realism, through the expressions and gestures, and the distortion, increases the vitality of the sculpture and enriches its sense of life."20 These transmitted images are the result of atti­ tudes and meanings which exemplify tradition. Imagery was also utilized in the built environment of a culture. The residence for a noble usually expressed mana through scale, expression, and ornamentation. The heiau or idol house was the most significant physical evidence of the alii1 s power. Size and shape were significant traits that distinguish the spiritual, economic, and political control the alii had. For example, the alii1 s residence was much larger, taller, and consisted of more buildings than the common man's domain. The houses of nobles were also surrounded by verandas, and had its entrance situated on the east wall, signifying the home of Kane, the supreme god. The average domain consisted of the following units: 1) Heiau - idol house (housed idols of worship) 2) Mau - eating house for males 3) Hale Noa - house of the woman Fig. 21 Bracelet of bones and boar's tusk presented an image of power and domination. Fig. 22 A musical instrument similar to the Mexican morracas. Fi:i. 23 Terraced heiau or temole platform. 4) Hale Aina - eating house for the wife 5) Kua - wife's working house 6) Hale Pea - wife's nursery The organizational pattern of these elements are symbols of rank and class, power and authority. The heiaus or idol house were usually wall-d enclosures which surrounded a platform made of stone. These platforms were terraced and accommodated with compartments and usually a house, each of which attributed to a certain ritual. The heiaus were usually erected by perogative of the alii because of their strong ideals toward honoring the descendants of their ancestors. "The tem­ ple worship was a form of ancestral worship, since the gods were looked upon as also being direct ancestors of the aliis and progeni­ tors of all Hawaiians".21 The "common" class of people constituted the majority of the ancient Hawaiian population. This class of people were subjects of the nobles and catered to the needs of the upper class. In return the nobles served as a link between man and his dieties. Believed to be a descendent of a diety, the noble performed rituals which were necessary for good fortune and protection from any harm. "The ceremonies were accomplished with theatrical precision, for perfect execution of the sacred chants and dances was as necessary as were the rites themselves."22 Decisions by the nobles were carried out, for they were the decisions obtained from the primary god of that certain cult. Because of this strong hierarchial system, commoners accepted any restrictions on built form that was the decision of the god. Hierarchial system also affects the culture's restrictions and freedom between the masculine and feminine environments. For exam­ ple, a man and woman cannot eat in the same house because "women were considered in some aspects unclean, hence men and women prepare and ate their food separately."23 Also male households had a shrine de­ dicated to the god Lono and was kapu to women; women had their own shrine dedicated to the god Hina, a female diety which had associa­ tions with the moon. In a sense, the male race was always represent­ ed by primary symbols such as the sun and the women were represented with secondary symbols such as the moon. The Kauwas or outcasts were a small group of settlers believed 18 to be the f i rs t descendents on the is land and looked upon as para­ s i tes that l ived with and served commoners , of ten becoming pr ime subjects for sacr i f ices . The Kauwas were unaccepted because of thei differences in language, physical appearance, and character is t ic mannerisms. These people would l ive wherever possible and would s t r ive for their mere survival . This hierarchial system of the Hawaiian cul ture implies that values shared by that par t icular cul­ ture resul ted in organizat ional pat terns of that bui l t environment . Although pr imit ive cul tures re ly on re l igion and t radi t ional values , the organizat ion of space and the development of form are affected also by a secondary element , mainly c l imat ic condi t ions of a par t icular region. The region in which the Hawaiian Is lands i s s i tuated, i s known as the t ropical bel t and i t exhibi ts a hot-humid c l imat ic condi t ion. The is land of Hawaii , the largest is land in the Hawaiian chain, covers an area of 4035 sq. mi . and within these boundaries are major c l imate differences which break the is land into dis t inct regions. The region consis t ing of Puna, South Hilo, and North Hilo are covered with a dense vegetat ion and t ropical ra in forests . On the other hand, a dryer c l imate may be experienced in the region consis t ing of the Kau, North and South Kona, Kohala , and Hamakua d is t r ic ts . These areas are wel l known for their annual drought seasons and water in these areas become an important commo­ di ty . The character is t ics of th is region is a dryer area a t lower e levat ions and a more t ropical condi t ion a t higher e levat ions. The unique s ignif icance of the re la t ionship between c l imate and form is the s imilar i ty of the bui ldings found in both regions previously discussed. The bui lding environment of the ancient Hawaiians were the typical s tereotyped grass shack. These s t ructures were the pr imary form of the bui l t environment whether i t s purpose was for a dwell ing, a canoe shel ter , an idol house, or the eat ing house for the wife . "The bui ldings were bui l t of a wood f rame con­ s is t ing of four main corner posts , twelve intermediate uprights , four horizontal p la tes , raf ters as required, and a r idge pole , a l l lashed together with vines and a layer of sheathing consis t ing of grass ."24 There were no openings in the bui lding other than the small Fig. 24 Windward side of tne island with tropical forests. ?ig. 25 Dryer -ore desolate landscape on the leeward side of the island. entry which-, through tradition, always faced east. In the case of the ancient Hawaiians, climatic conditions attributed to form genera­ tion with minimum result because their built environment of grass shacks was the outcome of transmitted traditional values from their ancestors. These grass shacks were hot and stuffy most of the time, but it kept the rains out efficiently. The choice of such a built environment is due to the traditional values which form a context to which the ancient Hawaiians were used to. Their lifestyles also reinforced the choice of structure because the majority of time one spent in the house was fractional as compared to the time spent outside doing various activities. According to Victor Olgay, a building for this particular climate should be open, flexible, and well ventilated. Olgay also expresses the practice of raising the building up on stilts to create more draft, enabling the building to stay cooler. Olgay discusses the use of these practices as being the primary reasoning in creating form. On the other hand I am doing my study on the premise that culture is the primary factor in creating form and climate becomes a secondary element of culture. The selection of a site by the ancient Hawaiian culture was based on traditional and religious values. Many of the first settlers picked sights which were prime canoe landing sights, as these were people which were great seamen as well as explorers. The Hawaiian culture is very dependent on the sea and settlements were close to the coastline for easy fishing access. The size of the Hawaiian communities depended largely upon the amount of arable land available, the quality of fishing areas, the size of the land division, and the dominance of the ruling alii. Many sites were usually chosen by the commoner and later approved and blessed by priests or the chief of the Ahupuaa (land division). A commoner could not build a residence unless the grounds had been blessed. In 1890 the ruling monarchy of the Kamehameha family had devised a system of dividing land called "the Great Mahele". Their system of dividing the land consisted of appointing strips of land which stretched from the ocean, up into the forested area of the mountain. Each land division is managed by an appointed chief of alii and aliis are devoted to the ruling monarch. The great majority of the aliis were very loyal to the monarchy because they were either relatives of the monarch or close allies who helped gain rule over the entire island chain. The Hawaiian culture, being primitive, had a simple system of trading articles and services for work done. The only evident economic base of this culture dealt with class hierarchies and ser­ vice to the nobles by special craftsmen. An image of wealth and power was symbolized by a person's dwelling, clothing, and as with many primitive cultures, the amount of animals in one's possession. The Hawaiian monarchy is very similar to the many feudal systems around the world, where once born into a class, a person cannot pro­ gress into the next class unless there are extreme reasons. The culture is very critical about intermarriages between classes and if extremes of kapus or taboos are reached both parties or the lower classed person is put to death due to religious law. Form generation of the Hawaiian culture was barely affected by building for defensive measures. Many of the skirmishes were usually between neighboring settlements and were usually the result of some taboo broken. The only extensive battle were those which involved Kamehameha in his efforts to unite the Hawaiian islands. Therefore defensive strategies have not influenced settlements or built forms. Also because the settlements were close to the sea any intruder could be easily sited as they tried to land their canoes. Due to the cul­ tural ideals and religious precedence, most battles were very cere­ monious and the opponent usually lets the defender know his presence. Indigenous materials and traditional building techniques are factors which affect the building form. Many of the primitive struc­ tures were built of a stone foundation or floor, usually collected from adjacent sites, and a wood framed grass shack. Materials for framing were obtained from the forested hills and the grass from surrounding meadows. The new settler had also used traditional con­ struction techniques for creating different forms of buildings. The traditional and religious restrictions placed in erecting a building varied with the building's purpose and owner. New technology and tools were introduced by explorers and missionaries, but previous Pig. 26 Warriors in full dress going to battle; leader carrying the family diety, a symbolic gesture of nower. Fig. 27 Some primitive tools used by the Rawaiims. to this all new innovations were accidental in nature. The ancient Hawaiian culture very highly talented and educated about things which dealt with travelling roads and engineering amenities. Most of their tools, weapons, and luxuries were very much primitive until the in­ troduction of influences by the explorers. Although missionaries and new settlers brought in new technological innovations, the Hawaiian culture has kept its values based under the monarchy until the Western government started intervening into the monarchy struc­ ture. Site Analysis The Ahupuaa or land divis ion Kealakehe consis ts of a to ta l pro­ per ty area of 1 ,664 acres which includes 1 .1 miles of coas t l ine and s lope changes ranging f rom sea level to approximately 750 fee t . The s i te i s located on the west coas t of the big i s land, three (3) mi les nor th of Kai lua , and exhibi ts some unique qual i t ies in regional c l i ­ mat ic character is t ics . Because of the regions uneven topography, local ized c l imat ic condi t ions vary f rom place to place . For example , the annual average precipi ta t ion var ies wi th the changes in e levat ion, f rom 20" a t sea level , to 100" a t higher e levat ions , and 15" a t the "saddle" and mountain areas . The temperature ranges f rom an annual h igh of 85 degrees F to an annual low of 67 degrees F , wi th winter c l imate ac tual ly being dryer , cooler , and general ly more p leasant than summer.25 Natura l land masses protect the area f rom s t rong nor theas ter ly winds which accounts for i t s dependable mi ld c l imate , br ight sunshine , and s teady gent le breezes . The Kona coas t has an a l ternat ing convec­ t ion system which occurs because of the d i f ferent ia l heat ing and cool ing of the land and water masses . These thermal ly induced breezes -~- Ki W/CTURAU VIEW& C Gc*i1F&l,U£JO M NATURAU ACTIVITY ® ACTIVE (!) PA«&€>!Vfe. At3<5&S<5»A&|UTY • PRIVATE • PUBUlc; <5Wlefc. zone: WW4ECT BACK. To -me ufwsitus OP A w*t RKmciKiO StSE ti 1900 i© ;• C4lBCUUi(TW «M* ,0 ° l0! Al-tk U#C H «ccu«rrf * ai*T\9* AUprr^MUAA hcae**nb*-nr *£*&*£, 4UAUTT wawwrr ^T|« twe i0i CtfLCULAT(*M ^<5 A: ^rwwuTT Vy ITF . /imtf (Mmi Mt OHPT u u ft] c. 5|c $ misc. 6fli9f tcaef** aftb* pewwwAUce fc^Mowms n*. uokth. 4 NA*e hvm ure ARWVAUfc. area: TotUST Tjx>w** sq. footage : (*oo CmbU 4 womeM) adjacecy : uoeesY, cue/TocHAH/«fc>RA&e Ainnnnnnnnnrf) area: AUDITORIUM sq. footage : 20.000 m.ft. fee^nn*') adjacecy : U?6B>Y, fTA « Z3t -# 9' 11 1 I :: i J £ ri - A li .LLA IL_-i ,i ]L?iSj. \[y^/ misc.-«s»TA<9e i'u' woftdo*,*1 PRoeWWIUM , *£>' DWTH , HZIOHT misc. a misc. RfttfiuTY fssk. tf^sruwe AWP p*Jrrr I*JTWITY -*iD "CP w4i M kerwnis^. V ' / * / ^ O A _ 7*0 PAR.tat4& -*--5~> —- -Muifiajm*»c miQ'6>"g-WnVi i»oOQ # WT«SW»4 & C VOC, O to O _#.# JjotuCT po <*a. FT. adjacecy ; COMMUNITY 4 SOCP CUMULATION MAY &E 1>&EP Fi£>R <7VBW=U?W FARKlNe area TOILET FA«5IUTIE<» sq. footage : 400 «Tot?iAN /<*. FT. adjacecy : TOILCT^, KITCHEN,&ALUERY i,.Z\ /Of v> 11 .A-V f. misc NATURAL MR. 4 LI&HT, £M,U>iM&Y,«eR\/ice n MODULATEP £LA<&-&Kc*W^ <>HELVE«=>, CLP&ET<5. , <<JK. €>IMFLE EQUIPMENT FOR REFRESHMENT & 4 "ST^A&E area ; L<5>&BY sq. footage = 800 <5*9. FT. adjacecy : SALLERT ,E*TERt<3R , M.PR misc.: INFORMATION , <=>EATIN&,PACe WITH <&OOP LI&HTIN& (NORTH LIGHT) zone: WeaUTY space: MAWUA F U N C T I O N : T < 9 KC£C>AVOWCTB WTWRTIW. T»»JE«A.-REO RW»A. "WE BKWIMS. UAR-BRTI. MAD 1HE. WBBT HAWAII UP&OT1VB. NU«MJINAL TM /vmatr. M JGVET M ' I** M req. area : "»»•» comments: ARH*. TO MB»-T E-©»* area: KITCHEN sq. footage = 9so p*er.,««o(ice,-&i<3HA®e. misc Raop MANAseR'^ tfpptce.c^ixj «s*Aae. «&WW«B, MTR.3X. 7 -M.FT- KTTCHK4 n* WEAL. area; U?B>&Y sq. footage •• &se> adjacecy EKTBRUSR , ACTIVITY AREA^ misc. IVTERMATUJKL PG&K. .TWUAY AREA PUIM.IC «5>EAHKJ®, PUBUC FFMM area: R»p PREI*RA-TI<*I sq. footage : zoo «a.Fr. adjacecy DIMIM® AREA ,WTCH»J, WSHWWM misc.: LAKSB CCUKTTW ,«nucT «KUU*TI<»M FKTTWJ, area: LfUN&e/BAK sq. footags \zoo adjacecy : ecTBRj^.Lowsr, rawiwa rcwa area: piNiue Room sq. footage ; kxw adjacecy = EvrreRU*.u*JM&e ,r»p n&. ! [, I. misC f€ATlM& ft* 'io WrrH U»y. dRCULA- il misc. RAR .PASTE ,4«WICB , ^PFCSE AT TT <&*.RR. PER. PERSON -N 4«.PT. adjacecy : UJ»R, ACTWITIM, IRRNSRK*. VMW misc cueAsNiwa , wouatb. 4cujd HH»A CTMltJG AREA , MlU. *0 FT. B7T 4 PAU VTPvZt. misc. BECEPTTTFM CW** ,P»E*-,PU*»JNU**. fc«3RM*TIE*l 4 KY , FUbU<= "srAce area : locker asm 4 6H^wer<» sq. footage = kxx5««s.pt we»l ,5<»« , / > $ misc. ciaeuucrioiJ of ca»» 4 fb(3®«twan«5. PHUWUO ft* fcetftl TTlAlLgd^ area: specialty sq. footage ; 6«?e> adjacecy = **te*fr,<:wajLATW*J,u>»»Y area: ofc*w.vA-nohl dock. sq. footage • or&vi adjacecy ; uw»y,u>uki&e .diuim® »wfA misc.: eettvice rsk. ^ptub^, BArr «sHor, -ifAALU PMCT* V>WS. ogtfSW" (t" * A. *V„' »** "*41*% misc.: «uppi>" 4 6envusB to all are** area fuel. pump hfcxwe sq. footage = «****• adjacecy :cwck aj»£a or -safety J 1 J CZJ i__J 1 1 CP ENVIRONMENTAL HAZARD 1 :zjl;.-][ 11__: 1 <*FETY H\ZAKD f i . :j£ :; Has a» wpripi mm m misc. MUST CeUFOfUA To FWE FWe»TBen«>»J "»TAUt5*KE»» ,<&AFE AREA AWAY l"R)« PUBUC Design Process The historic evolution of mankind has developed many distin­ guishable idiosyncrasies which can be incorporated into a single concept referred to as culture. The term culture is one of the most difficult to define because of its various contexts in which it can be interpreted. Culture is one of the most important aspects of our lives, being that without it, our existence in the world would be limited to a specified period, a period of time which is dependent upon knowledge attained during that lifetime. The importance of a culture is infinite in reason, for without a specific cultural back­ ground one would be void of values, ideals, and goals, all three things which are essential to life. The design process of the Kealakehe Cultural and Recreational Complex was based on the research findings presented in this thesis report. Conclusions from this study were used as reinforcing ele­ ments in making design decisions. The main concern of this project involves the duality between culture and the built form. The pro­ ject takes on a historical precedence and generates problems of re­ establishing past lifestyles and reconstructing an atmosphere of a specific time period. The Hawaiian culture has gone through many A LOKO KUAPA SLUICE GRATE I SHELTER - SLUICE GRATE SHELTER S E A SLUICE GRATE LOKO Group\. •o, A S. 80/ Fig. 45 ?is: "ona types. A)the loko kuapa, or tv;o ditches and a seawall isolati; a coastal body of water; and ^)t;~e loko wai a natural lake artificially . connected to a stream by a ditch. The Kaloko fishroni ana t:.e settle­ ments organized around it. (loico Kuar»a t.yrse) FISHPOND KALOKO ' ,' f TempleCj * ••!>- 34^ * " • i-V *33 J • /Group •:// °39 • site, solitary structure © site, complex of structures — ahupua'o boundary Group Cemetery 14 <00 Ft t too M E T I S HAWAII Kurr jkafi KALOKO Group C a i r n * 1 Keoho! changes in a short period of time and designing for the present cul­ ture presents a problem of making the right decision for that parti­ cular mixture of people. Therefore the subject matter of this thesis project has been limited to the ancient Hawaiian culture mainly be­ cause the heritage and cultural values of the Hawaiian people must be preserved. Designing a built environment with respect to the ancient Hawaiian culture presents various problems with making decisions when reconstructing ruins, siting elements within the environment, the use of appropriate materials, and the effects of the new built form on religious traditions. Most of these problems are evident on the site and solutions to these problems will become special considerations which will reinforce the design decisions made. The site selection and planning procedure of the project was the result of conforming to religious and historical elements found on the site and general climatic conditions in the area. For example, fishponds and sources of water were very important in the ancient culture. Wittfogel and Sahlins both have borne to the conclusion that "the bureaucracy in the Hawaiian Islands resulted in part from the control of water resources".29 The fishponds in the area are also associated with activity and lifestyles of the people because it fur­ nishes its people with food and serves as a generator of growth as canoe sheds, net drying areas, home sites, and burial platforms were organized around the pond. Yet, the growth of settlements around the pond was controlled to insure against poaching, noise, and sewage pollution.30 Therefore according to Kikuchi, settlements were dis­ couraged and we as designers must be considerate and sympathetic when introducing a modern facility on a delicate site. Other reasons for choosing the site was due to its favorable climate, its topographical adequacy, and the use of the existing small boat harbor as a poten­ tial recreational ammenity. The harbor area was also considered be­ cause of its importance to the people of West Hawaii and because of its historical significance toward defining the ancient lifestyle. The relationship between man and the sea is till the most important factor which unifies the ancient and the present culture of West Hawaii and becomes a primary element in organizing the facilities for this complex. LOKO I KALO DITCH C D LOKO PUUONE D I T C H S L U I C E G R A T E 47 Pis: pond types. C)the loko i'a kalo, located in an inland area: md D) the lokc Du'uone v'Onds created by coastal harrie-" ^eacriea, artificially connected to each other, and drained by i ditch. <1 O : o : O i O : O : O O O O p O V ?ig;. 4y Path-space relationships. A)pass by spaces; j)pass through spaces; G) terminating in a snace. f Another element which will be considered in the design process is the use of objects and materials which expresses the idea of en­ trance. The ancient Hawaiian culture strongly expresses entry by placement of idols and openings with respect to religious values. Restricted and accessible areas are designated by special materials, symbols, and color; all of which relays the image of mana or mystical power to the viewer. A strong organizational element found in many primitive cultures was the use of circulation patterns and its reflected associations toward the lifestyle of the people. The Hawaiian culture was govern­ ed by a strong hierarchical system of government and some of these values of ordering should be used when designing spaces that occur along a circulation line. The main circulation elements that will be dealt with in this project include; entrance, 3) configuration of path, of these elements must be carefully ment of the set goals. -UL y / !i \ Fig. An oblique approach enhances the effect of perspective on a building's front facade and form. 1) building approach, 2) building 4) path-space relationship. All looked upon to insure the achieve- Building form and materials are key elements which reflect the cultural imagery necessary in creating a preferred setting. In the case of this project, the size and scale of the facilities being de­ signed cannot be done with natural materials that were used for "grasshuts" because of structual and code limitations. The basic building form may be duplicated, but special care must be taken to insure against the loss of character due to scale. One way of accom­ plishing this task is to utilize an open, free flowing plan which is flexible, conforms to cultural values, and utilizes climatic condi­ tions. Platforms will also be used to express authority and the importance of certain areas. Materials may be used to enhance the feeling perceived from the building, but like building form, special care must be taken against problems of scale and material availability. For this project, natural rock will be used as a texture giving ele­ ment representing the foundation wall of the old structures and metal roofing with wide corrigations will represent the thatched roof. The wide corrigated metal roofing will also reinforce the vertical lines of the building. X'lg. .Building approaches oath snace sequence Fi>r. Conf irur.-' i on of experiencing the Landscaping will be used extensively to create the desired spaces [ r [ r r r r arid help control activity areas. It may be used as barriers, wind breaks, shaded picnic areas, and visual control elements. Careful choices of planting and maintenance procedures should be considered because of the harsh coastal environment. Mature plant material may be used to help speed up the creation of areas necessary for imme­ diate occupation. The main goal for this project is to organize and develop a cultural center and marina facility for the people of the West Hawaii region. The complex will promote community interaction and interest in the arts and to accommodate the prople of the area with public facilities which were never before made available to them. Still the facility should correspond to the past culture and help people visual­ ize and experience the environment of the past. If this can be achieved without going back into time, then I feel that the designer has met his goal and was very compassionate to the dying culture and its dwindling values. In conclusion, public oriented buildings as well as residences must be designed with respect to cultural values and ideals. In actu­ ality there is no correct answer for this problem because the word culture has more than one meaning. Using culture as the basis of de­ sign for the project seemed to be appropriate, but in other cases it might be quite inferior. Todays values have again changed culture and environmental considerations may be the main element for a design. In any case one should not be treated without the other, everything must be treated as a whole. The concept of duality is explained by Laotse, which translates; "We put thirty spokes together and call it a wheel; But it is on the space where there is nothing that the utility of the wheel depends. We turn clay to make a vessel; , But it is on the space where there is nothing that the utility of the vessel depends. We pierce doors and windows to make a house; and it is on these spaces where there is nothing that the utility of the house depends. Therefore, just as we take advantage of what is, we should re­ cognize the utility of what is not."31 Fig. 52 The concept of Yin and Yang. site/study model cultural center marina amphitheater Design SCAL r IN MILLS SCALE IN THOUSAND rEFT 45 Sports Facility Proposed National Historic Park Harbor Honokohau Proposed Facility Contextual Private Property 46 Marina Honokohau Harbor Amphitheater Historical House Site Cultural Center Existing Temple 48 r l\ II , N.E. Elevation # V .r? N,W. Elevation r r r r r Section A-A t 49 tiding I Prop k'tchen re$tauran{ LiU—1 •••HI : » Section North Elevation South Elevation East Elevation West Elevation Section B-B 50 />;> \ Plan LIU 1 1 ? i ^-concyssionj • Section A-A North Elevation South Elevation East Elevation West Elevation gallery Section B-B 51 Appendix Bibliography Baumgart, Fritz. A History of Architectural Styles. Trans. Edith Kustner and J. A. Underwood, New York: Praeger Publishers, 1970. Beaglehole, J. C. (Ed.). The Journals of Captain James Cook on His Voyages of Discovery. Vol. 3, Great Britain: University Press, 1967. Belt, Lemmon, Lo Architects and Engineers. A Capitol For the State of Hawaii. Honolulu: Belt, Lemmon, Lo, 1961. Buck, Peter H. Vikings of the Pacific. Chicago: University of Chicago Press, 1959. Catanese, Anthony J. Introduction to Urban Planning. New York: McGraw-Hill Book Company, 1979. Cook, James. Voyages of Discovery. London: Ward, Look, Bowden, and Co., 1728-1779. (Captain's Journal With Assistance by Dr. Hawkesley) Cox, J. Hal ley and Davenport, William H. Hawaiian Sculptures. Honolulu The Univesity Press of Hawaii, 1974. Guidoni, Enrico. Primitive Architecture. Trans. Robert Erich Wolf, New York: Harry N. Abrams, Inc., Publishers, 1978. Forman, Werner and Syme, Ronald. The Travels of Captain Cook. New York: McGraw-Hill Book Company, 1971. Fraser, Douglas. Village Planning in the Primitive World. New York: George Braziller, 1968. Greene, Herb. Mind and Image: An essay on art and architecture. Kentucky: University Press of Kentucky, 1976. Hall, Edward T. The Hidden Dimension. New York: Anchor Books, 1969. Honigman, John J. Understanding Culture. New York: Harper and Row Publishers, 19 Kikuchi, William K. "Prehistoric Hawaiian Fishponds" Science. Vol. 193 Issue 4250, July 23, 1976. Krell, Dorothy (ed.) Beautiful Hawaii. California: Lane Magazine and Book Company, 1972. Kroeber, A. L. Style and Civilizations. New York: Cornell University Press, 1957. Kukreja, C. P. Tropical Architecture. India: McGraw-Hill Publishing Company Ltd., 1978. Lynch, Kevin. Site Planning. Mass.: MIT Press, 1962. Martienssen, Heather. The Shapes of Structure. Oxford: Oxford University Press, 1976. Moore, Charles. "Creating fo Place" Image 4. John McRae ed., vol. 4 Texas: University of Texas School of Architecture, 1966. Moore, Charles, Allen, Gerald, and Lyndon, Donlyn. The Place of Houses. New York: Holt Rinehart, and Winston, 1974. Olgyay, Victor. Design With Climate. New Jersey: Princton University Press, 1963. Oliver, Paul. Shelter, Sign and Symbol. New York: The Overlook Press, 1977. Preiser, Wolfgang F. E. Facility Programming: methods and application. Pennsylvania: Dowden, Hutchinson, and Ross Inc., 1978. Rapoport, Amos. House Form and Culture. New Jersey: Prentice Hall, Inc. 1969. Rapoport, Amos. The Mutual Interaction of People and Their Built En- vironment: a cross-cultural perspective. Paris: Mouton Publishers, Iwe. Raskin, Eugene. Architecture and People. New Jersey: Prentice Hall, Inc., 1974 Summers, Catherine C. Molokai: a site survey. Honolulu: Bishop Museum, 1971. Tainter, Joseph A. and Cordy, Ross H. "An Archaeological Analysis of Social Ranking and Residence Groups in Prehistoric Hawaii". World Archaeology, Vol. 9 No. 1 (1977). Terazaki, T. David. Architectural Climatology and Environmental Design in Hawaii. Honolulu: University of Hawaii Press, 1973. Towill, R. N. Corporation. Kealakehe Regional Sports Complex. Honolulu: R. N. Towill Corp., 1976. Wolbrink, Donald and Assoc. Kona Community Development Plan. Honolulu: Donald Wolbrink and Assoc., 1975. Yoon, Charles and Associates. Kealakehe Development Plan. Honolulu: Charles Yoon and Assoc., 1968. Footnotes 1. Willi am Morris, ed. The American Heritage Dictionary of the English Language (Boston: American Heritage Publishing Co., Inc and Houghton Mifflin Co., 1973), p. 321. 2. John J. Honigmann, Understanding Culture (New York: Harper & Row Publishing), p. 3. 3. Amos Rapoport, ed. The Mutual Interaction of People and Their Built Environment (Paris: Mouton Publishers, 1976), p. 25. 4. Ibid. 5. William Morris, ed. The American Heritage Dictionary of the English Language (Boston: American Heritage Publishing Co., Inc and Houghton Mifflin Co., 1973), p. 1056. 6. Belt, Lemmon, and Lo, Arch, and Engineers, A Capitol For the State of Hawaii (Honolulu: Belt, Lemmon, and Lo) p. 7. Anthony J. Catanese, Introduction to Urban Planning (New York: McGraw-Hill Book Co., 197 ), p.4-5. 8. Paul Oliver, Shelter, Sign, and Symbol (New York: The Overlook Press, 1977), p. 116. 9. Amos Rapoport, ed. The Mutual Interaction of People and Their Built Environment (Paris: Mouton Publishers, 1976) p. 24. 10. Paul Oliver, Shelter, Sign, and Symbol (New York: The Overlook Press, 1977), p. 23. 11. Ibid., p. 116. 12. Amos Rapoport, ed. The Mutual Interaction of People and Their Built Environment (Paris: Mouton Publishers, 1976), p. 31. 13. Ibid. 14. J. Hal ley Cox and William H. Davenport, Hawaiian Sculpture (Honolulu: University Press of Hawaii, 1974), p. 104. 15. Ibid., p. 9. 16. Ibid., p. 36. 17. Ibid., p. 83. 18. Ibid., p. 36. 19. Ibid., p. 95 20. Ibid., p. 17. 21. Ibid., p. 19. 22. Ibid., p. 12. 23. Dorothy Krell, ed. Beautiful Hawaii (California: Lane Magazine and Book Co., 1972), p. 8. 24. R. M. Towi11 Corporation, Kealakehe Regional Sports Complex (Honolulu: R. N. Towill Corp., 1976), p. 21. 25. Charles Yoon and Assoc. Inc., Kealakehe Development Plan (Honolulu: Charles Yoon and Assoc., Inc., 1968), pp. 11-40 pre­ pared for the State of Hawaii Department of Land and Natural Resources. 26. R. M. Towill Corporation, Kealakehe Regional Sports Complex (Honolulu: R. M. Towill Corp., 1976), p. 33. 27. An Archaeological Survey of the Seaward Portion of Honokohau #1 and #2 North Kona, Hawaii (Honolulu: 28. Charles Yoon and Assoc., Inc., Kealakehe Development Plan (Honolulu: Charles Yoon and Assoc., Inc., 1968), p. 65. 29. William K. Kikuchi, Prehistoric Hawaiian Fishponds, Science Magazine, Vol. 193, p. 295. 30. Ibid., 0. 298. 31. Francis D. K. Ching, Architecture: Form, Space and Order (New York: Van Nostrand Reinhold Co., 1979), p. 106. f 11 lustrations Fig. 1 Francis D. K. Ching. Architecture: Form, Space« and Order. Van Nostrand Reinhold, 1979. Fig. 2 Fritz Baumgart. A History of Architectural Styles. Praeger Publishers, 1970. Fig. 3 Ibid. Fig. 4 Enrico Guidoni. Primitive Architecture. Harry N. Abrams, Inc., 1975. Fig. 5 Ibid. Fig. 6 Amos Rapoport. House Form and Culture. Prentice Hall, Inc., 1969. Fig. 7 Enrico Guidoni. Primitive Architecture. Harry N. Abrams, Inc., 1975. 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Amos Rapoport. House Form and Culture, Prentice Hall, Inc., 1969. Ibid. Fritz Baumgart. A History of Architectural Styles. Praeger Publishers, 1970. Peter H. Buck. Vikings of the Pacific. Univ. of Chicago Press, 1959. James Cook. Voyages of Discovery. Ward, Look, Bowden and Co., 1728-1779. J. C. Beaglehole. The Journals of Captain James Cook on his Voyages of Discovery. University Press, 1967. Ibid. Historic Buildings Task Force. Old Honolulu. Hist­ oric Buildings Task Force, 1970. Ibid. Dorothy Krell. Beautiful Hawaii. Lane Magazine and Book Co., 1972. J. Hal ley Cox and William H. Davenport. Hawai ian Sculptures. The University Press of Hawaii, 1974. Dorothy Krell. Beautiful Hawaii. Lane Magazine and Book Co., 1972. J. Hal ley Cox and William H. Davenport. Hawaiian Sculptures. The University Press of Hawaii, 1974. Ibid. Fig. 22 Fig. 23 Fig. 24 Fig. 25 Fig. 26 Fig. 27 Fig. 28 Fig. 29 Fig. 31 Fig. 32 Fig. 33 Fig. 34 Fig. 35 Fig. 37 Fig. 38 Fig. 39 1971. Dorothy Krell. Beautiful Hawaii. Lane Magazine and Book Co., 1972. Charles Yoon and Assoc. Kealakehe Development Plan. Charles Yoon and Assoc., 1968. James Cook. Voyages of Discovery. Ward, Look, Bowden, and Co., 1728-1779. J. Halley Cox and William H. Davenport. Hawaiian Sculptures. The University Press of Hawaii, 1974 R. N. Towill Corp. Kealakehe Regional Sports Com pi ex. Rn. N. Towill Corp., 1976. Ibid. Charles Yoon and Assoc. Kealakehe Development Plan. Charles Yoon and Assoc., 1968. and Book Co., 1972. Catherine C. Summers. Molokai. Bishop Museum, 1971. Fig. 40 Dorothy Krell. Beautiful Hawaii. Lane Magazine and Book Co., 1972. Fig. 42 Charles Yoon and Assoc. Kealakehe Development Plan. Charles Yoon and Assoc., 1968. Fig. 43 Catherine C. Summers. Molokai. Bishop Museum, 1971. Fig. 45 William K. Kikuchi. "Prehistoric Hawaiian Fish­ ponds". Science, Vol. 193 Issue 4250, July, 1976. Fig. 46 Joseph A. Tainter and Ross H. Cordy. "An Archa­ eological Analysis of Social Ranking and Resi­ dence Groups in Prehistoric Hawaii". World Archaeology, Vol. 9, No. 1, 1977. Fig. 47 William K. Kikuchi. "Prehistoric Hawaiian Fish­ ponds." Science, Vol. 193, Issue 4250, July, 1976 Fig. 48 Francis D. K. Ching. Architecture: Form, Space and Order. Van Nostrand Reinhold, 1979. Fig. 49 Ibid. Fig. 50 Ibid. Fig. 51 Ibid. Fig. 52 Ibid. f