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Friday, November 30, 2012

Section 106 Essentials & Advanced Courses offered by ACHP in Honolulu this July

The Advisory Council on Historic Preservation will offer its Section 106 Essentials course in Honolulu July 16-17, followed by the Advanced Section 106 Seminar on July 18.  These training courses are taught by the federal agency responsible for administering the National Historic Preservation Act’s Section 106 review process. The seminars offer the opportunity to learn the requirements of Section 106, which applies any time a federal, federally-assisted, or federally-approved activity might affect a property listed in or eligible for the National Register of Historic Places.

The Section 106 Essentials covers the regulatory fundamentals needed to carry out or participate in a federal historic preservation review, while the Advanced Seminar will help experienced practitioners improve consultation and agreement development skills.

Register by December 14 and take advantage of the $450 early bird rate for Essentials.

See the details below or visit for registration and pricing. 


        The Section 106 Essentials

The only Section 106 course taught by the federal agency responsible for administering the National Historic Preservation Act’s Section 106 review process, this two‑day course is designed for those who are new to federal historic preservation compliance or those who want a refresher on the regulations and review process. Learn the requirements of Section 106 of the National Historic Preservation Act, which applies any time a federal, federally-assisted, or federally-approved activity might affect a property listed in or eligible for the National Register of Historic Places.

February 26-27
Washington, DC – Old Post Office Building
April 23-24
Scottsdale, AZ – Chaparral Suites
June 11-12
Pittsburgh, PA – Marriott City Center
July 16-17
Honolulu, HI – Hilton Waikiki Beach
August 6-7
Washington, DC – Old Post Office Building
August 28-29
Denver, CO – Hotel Monaco Denver
October 29-30
Indianapolis, IN - NTHP Annual Conference

Advance Section 106 Seminar 

The Advanced Section 106 Seminar focuses on the effective management of complex or controversial undertakings that require compliance with Section 106 of the National Historic Preservation Act. Taught in a smaller, interactive setting, this course encourages group discussion and problem solving. Designed for experienced Section 106 users who are familiar with the regulations, the curriculum focuses on the challenges of seeking consensus, resolving adverse effects to historic properties, and preparing agreement documents. Class is limited to 25 participants.

March 12
Washington, DC – Old Post Office Building
April 2
Charlotte, NC – Dunhill Hotel
May 23
Seattle, WA – Fairmont Olympic Hotel
June 25
St. Louis, MO – Embassy Suites Downtown
July 18
Honolulu, HI – Hyatt Regency
August 27
Washington, DC – Old Post Office Building
September 17
Palm Springs, CA – Courtyard Marriott

The ACHP is pleased to be a Certification Maintenance (CM) Provider for the American Planning Association/American Institute of Certified Planners (AICP) for the Section 106 Essentials (12 CM credits) and the Advanced Section 106 Seminar (6 CM credits). We are also registered with the American Institute of Architects Continuing Education System (AIA/CES) for The Section 106 Essentials (12 learning units). 
Complete information as well as registration procedures can be found at Questions? Contact Cindy Bienvenue, Meeting and Event Manager, at or 202-606-8521

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Wednesday, November 28, 2012

Wade Davis, National Geographic Society Explorer-in-residence, to Speak at UH Mānoa on 12/7

Why Ancient Wisdom Matters In the Modern World
A Free Public Talk By
Wade Davis
explorer-in-residence at the National Geographic Society and distinguished environmental scientist, author, filmmaker, and speaker


A celebration of the wonder of the human imagination as expressed in culture.

In Polynesia, the art of navigation allowed the Wayfinders to infuse the entire Pacific Ocean with their imagination and genius. In the Amazon are the descendants of a true Lost Civilization, the People of the Anaconda, a complex of cultures inspired by mythological ancestors who even today dictate how humans must live in the forest. In the Andean Cordillera and the mountains of the Sierra Nevada de Santa Marta of Colombia, you discover that the Earth really is alive, pulsing, responsive in a thousand ways to the spiritual readiness of humankind. 

Dreamtime and the Songlines will lead to the melaleuca forests of Arnhem Land.

We seek to understand the subtle philosophy of the first humans to walk out of Africa, the Aboriginal peoples of Australia. In Nepal a stone path takes us to a door opening to reveal the radiant face of a wisdom hero, a Bodhisattva, Tsetsam Ani, a Buddhist nun who forty-five years ago entered lifelong retreat. The flight of a hornbill, like a cursive script of nature, lets us know that we have arrived at last amongst the nomadic Penan in the upland forests of Borneo. 

What ultimately we will discover on this journey will be our mission for the next century.

There is a fire burning over the Earth, taking with it plants and animals, ancient skills and visionary wisdom. At risk is a vast archive of knowledge and expertise, a catalogue of the imagination, an oral and written language composed of the memories of countless elders and healers, warriors, farmers, fishermen, midwives, poets, and saints. In short, the artistic, intellectual, and spiritual expression of the full complexity and diversity of the human experience. Quelling this flame, and rediscovering a new appreciation for the diversity of the human spirit as expressed by culture, is among the central challenges of our times. 

Author signing will follow. UH Bookstore will have books available for purchase at the event. 

Wade Davis was named by the National Geographic Society as one of the Explorers for the Millennium. He has been described as “a rare combination of scientist, scholar, poet and passionate defender of all of life’s diversity.” He has also traveled and done extensive re- search in the preservation of indigenous cultures and languages, particularly in Polynesia.

An extraordinary and inspiring storyteller, Davis has appeared on and as host in documentaries on the National Geographic Channel and the Smithsonian Network. He is dedicated to preserving not only the biosphere, but also the “ethnosphere,” which he describes as “the sum total of all thoughts and dreams, myths, ideas, inspirations, and intuitions.”

This event is made possible by the late Dr. Dai Ho Chun through his estate gift, which established the Dai Ho Chun Endowment for Distinguished Lecturers at the UH-Mānoa Colleges of Arts and Sciences. Dr. Chun was a distinguished and visionary educator.

This lecture is also sponsored by the UH-Mānoa College of Languages, Linguistics, and Literature. Additional support is provided by Mānoa: A Pacific Journal of International Writing.

Information: 956-5790 or 

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Monday, November 26, 2012

Architecture matters now!

Modernist Honolulu confronts its future (and its past)
by Curt Sanburn | Nov 14, 2012        HONOLULU WEEKLY

Image courtesy Don Hibbard

“I want to see a conversation about how architecture affects everybody on a daily basis,” says architect Pip White, president of the Honolulu chapter of the American Institute of Architects (AIA). “I want people to begin to understand how urban planning and design impacts their lives. Until we get to that conversation, it’s kind of hopeless.”

Asked how he would rate Oahu’s built environment, “Well, it’s mixed,” White says. “We’ve got some great downtown spaces and Chinatown is full of interest. If we’re talking about the urban environment, I think we’re doing quite well, but in terms of sprawl, we’ve got some serious problems that we’ve got to get a grip on. If we don’t, we’re just going to be paved. We’ll be paved with houses.”
The 800-member AIA-Honolulu chapter has been notably visible and vocal in its opposition to the city’s elevated heavy rail plan. Does that mean it’s in any way a political organization? “By nature, no,” White answers, “but we are an organization that tries to put the community first. We want the community to do things well.”
On Friday, Nov. 2, AIA Honolulu held a grand opening for its new Center for Architecture, situated in an 1,800-sq.-ft. storefront space at the corner of Queen Street and Fort Street Mall. Designed by hotshot architect Geoff Lewis, the sleek, multipurpose Center will serve as chapter office, as a convenient drop-in spot for impromptu meetings of building-industry professionals, as a public exhibit space for architecture-related shows and, perhaps most importantly, as the setting for various public conversations on timely civic topics.
White confesses he was skeptical of the Center at first but says he’s a “passionate” supporter now.
“I’ve been doing a lot of thinking,” he says, “and, you know, the things we do as architects impact the community for a long, long time–but sometimes we’re out of touch with the community. I’m hoping we can broaden the reach of architects into the community, and listen more.”
There is a remarkable convergence going on: In October, the Waikiki Improvement Association hosted a planning conference called “Waikiki 2020” while controversy swirled around plans for Kyo-ya’s beach tower and an L.A. developer’s proposed, view-blocking, 34-story condo that conflict with well-established Waikiki Special Design District rules.Also in October, the Howard Hughes Corporation announced Phase I of its grandiose redevelopment plans for the 60 Kakaako acres it now owns surrounding and including the Ward Warehouse and Ward Center retail complexes. The same month, Kamehameha Schools (KS) floated cutting-edge conceptual plans for mixed-density, mixed-use development of its 29 acres along the mauka side of Ala Moana Boulevard between South Street almost to Ward Avenue, also in Kakaako. The Office of Hawaiian Affairs has said its master planning effort for the 30 makai acres it owns, mostly bordering the ‘Ewa side of Kewalo Basin, will take another two years.
Of course, there’s Governor Neil Abercrombie, who’s been cheerleading his own Kakaako project for over a year now. His proposed tallest tower in the Pacific, at 650 feet, is 200 feet taller than downtown’s 430-foot First Hawaiian Bank tower, and would be built under the auspices of the Hawaii Community Development Authority on state-owned land edging historic Mother Waldron Park. Somewhat inexplicably, Abercrombie has called the district, whose resident population is expected to triple to 30,000 in the next 20 years, Oahu’s new “third city.”
Meanwhile, the city’s Department of Planning and Permitting, trying to convince skeptical residents about the advantages of elevated rail, has been cranking out dreamy, colorful conceptual drawings of “transit oriented development” (TOD) to show how TOD will forever transform neighborhoods like Kalihi, Downtown and Ala Moana into tree-shaded, café-lined, vibrant, family-friendly, walkable and bikeable neighborhoods.
Perhaps in anticipation of all this convergence, late last year the Historic Hawaii Foundation hosted a well-attended conference looking at the state of Modernist (i.e., post-World War II) architecture in Hawaii, which comprises the lion’s share of Hawaii’s built environment. In pop culture terms, the style is often called “mid-century Modern.” Simultaneously with the symposium, HHF released a 200-page illustrated list of several hundred of the state’s significant, largely post-war, “Modern” buildings of all types, set within a well-written gloss on the international history of Modernist architecture. The “Hawaii Modernism Context Study” is a landmark in Hawaii’s architectural canon, an affectionate yet rigorous first look at the dominant building typologies of modern Hawaii, buildings that have heretofore comprised most of the urban fabric of Honolulu.
To peruse the Context Study is to gain a new appreciation for those Kapahulu and King Street storefronts with rounded corners, or the breezy concrete “lanai stacks” of Makiki, or the two-story walk-up apartment buildings with lava-rock and decorative cement-block detailing, or all those expressive temples and churches that enliven Oahu with their swooping and soaring roofs. To peruse it is to reflect on what’s happening now in Honolulu, with its hermetic glass towers, with all the aggressively cheap-looking Walgreens drugstores popping up around town; with all those blank-faced Public Storage buildings that now dominate and degrade some of Honolulu’s most important intersections.
One local boy who’s stoked about the impending transformation of Kakaako and the codification of Honolulu’s Modernist legacy is architect and scholar Dean Sakamoto, a graduate of Moanalua High School.
“Kakaako is the place,” he says. “It’s coming into its time.” He cites the new UH Medical School, the landmark IBM Building, KS designs for a liveable Kakaako. He marvels at the raw warehouse spaces opening up that will incubate new businesses, new arts.
“But I’m not sure how it’s all coming together,” he says, worryied about Hughes’ plans for 22 towers on its properties, OHA’s unknown plans for Kewalo Basin and Abercrombie’s tower. “We need a venue somewhere in Kakaako to make it all more transparent, to let people know what’s happening. We need a place where ideas about Kakaako’s future can be expressed and hashed out.” Specifically, he’s talking about setting up his own space in Kakaako, his own incubator and architectural clearing house.
Suddenly Honolulu might have two spaces devoted to public conversations about its built environment. Sakamoto’s story so far makes it all sound plausible: After graduating from the University of Oregon he studied European urbanism in Rome, Italy, going on to the prestigious Cranbrook Academy of Art in Michigan for a graduate degree in architecture, then to the Yale School of Architecture in New Haven, Connecticut, for a second master’s in environmental design. He spent the next 13 years in New Haven, setting up his own practice, teaching and running the Yale architecture school’s exhibition program and starting a family. A few years ago, he made a big splash in Honolulu when he guest curated the blockbuster exhibition, “Hawaiian Modern: The Architecture of Vladimir Ossipoff” at the former Honolulu Academy of Arts. In 2011, he brought his family back to Honolulu when the Department of Urban and Regional Planning at UH Manoa invited him to run a new venture called the Urban Resilience Laboratory. Among planners and architects, the concept of “resilience” is rapidly replacing the exhausted and almost meaningless term, “sustainability,” Sakamoto explains.
“Resilience has to do with society’s ability to adapt to sudden or long-term catastrophic changes caused by human and natural acts,” he says by phone from Biloxi, Mississippi, a town nearly destroyed by Hurricane Katrina, where he was consulting with local design professionals about ways to integrate resilient design strategies in hurricane-prone areas.
While at Yale, Sakamoto says, he was steeped in Modernism. The campus boasts a veritable museum of American Modernist landmarks, and their repair and preservation became a preoccupation. When the Connecticut General Life Insurance headquarters–a prime example of corporate Modernist architecture, circa 1957, by Skidmore Owings and Merrill (architects of the Mauna Kea Beach Hotel)–was threatened with demolition, an exhibit Sakamoto mounted at the Yale architecture school gave the preservationists the academic imprimatur they needed to convince the owners to save the building.
Likewise, Sakamoto’s Ossipoff exhibit in Honolulu five years ago surely had a hand in guaranteeing the survival of Ossipoff’s iconic IBM Building (1962) on Ala Moana Boulevard. Hughes Corporation’s plans now include a complete restoration of the compact and cubic office tower to serve as a centerpiece for their massive redevelopment plans.
Last year’s HHF symposium on Hawaii Modernism energized the close-knit members of Honolulu’s architectural preservation community. In addition to Sakamoto, they included Don Hibbard, Hawaii’s foremost architectural historian; architect Louis Fung, lead author of the HHF Context Study; architect Tonia Moy, formerly with the State Historic Preservation Division; Anna Maria Grune, architect with Glenn Mason Architects and an HHF trustee; Michael Grushard of the State Historic Preservation Division; and Alison Chiu, fresh out of Columbia University’s graduate program in architectural preservation, who had done a study of Oahu’s collection of post-war shopping centers. Her mentor at Columbia was Professor Theo Prudon, who authored the burgeoning field’s primary text, The Preservation of Modern Architecture.
Prudon was well-known in academic circles as founder of an organization called “Docomomo US,” a national volunteer network dedicated to the DOcumentation and COnservation of the MOdern MOvement’s cultural production.
Prudon, keenly aware of Honolulu’s mid-century Modernist legacy, and Sakamoto agreed that there should be a Hawaii chapter of docomomo, so Sakamoto tapped into Honolulu’s gang of preservationists and launched the chapter.
A better city
“It was the obvious thing to do,” Sakamoto says. “We’ve got a great team together, now armed with an inventory of our best buildings.
“So now what do we do?” he asks rhetorically.
“Well, there’s Waikiki and its 20-year planning initiative,” he says, answering himself. What do we want Waikiki to be? A bunch of chevron appliqués and fake stucco? Is that what we want?
“If we’re going to pull a building down to put the rail line through or build a new tower, at least now we can weigh its historical and cultural importance, so everyone understands what we have and what we may lose. We can give ourselves the time to knowledgeably answer questions–to ask, What’s the identity, the proper representation of the city?”
He talks about the disaster that is the bowdlerized Honolulu International Airport and how no one ever knows what’s going on there until it’s too late. “We need a public venue that lets everyone know what’s going on.
That’s what Docomomo Hawaii can do.”
I ask Sakamoto if he’s happy to be home.
“Oh yeah,” he says. “I’m having a great time. You know, after a decade away, a lot has changed. Honolulu has become a busier place. More people. I think . . . there’s a lot of potential for [the city] to become a better place. It’s a great environment. The architecture is always the question. Could we do it better? Can we improve it? How do we help define it? How do we find find the next architecture?
“I don’t think it takes heroic effort,” Sakamoto says modestly. “I think everyone contributes to it, and every project is a new opportunity to make a new discovery.”
The convergence is real. The clock strikes.
It’s Honolulu’s time to look back and move forward, to lovingly defend itself, embrace itself, and build itself as a blessedly unique city of the world. Whether it’s the architects at the AIA or the scholars at Docomomo, their passions and their conversations will help to forge a new Honolulu.
The “Hawaii Modernism Context Study” can be downloaded at []. The AIA Center, at 828 Fort St. Mall, will host a discussion on  “Honolulu’s Best Buildings” on Wed., Dec. 5.

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Wednesday, November 21, 2012

Hale 'Iole Blessing at the Historic Bond Homestead in Kapa'au this Saturday, 11/24

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Monday, November 19, 2012

Makahiki, a season for rejuvenation

By Sarah Pacheco
Ka Wai Ola, November 2012 issue  

Today many view makahiki as a time for games and sport such as ‘ulu maika, mokomoko and könane – whose western counterparts are bowling, boxing and checkers, respectively. But once, long ago, this season signified much more than what is celebrated today.

“(Makahiki) was a reawakening of a time period in the year marked for rejuvenation,” says Umi Kai, a lua master, or ‘ölohe lua, with Pä Ku‘i A Lua, a nonprofit organization devoted to the perpetuation of the Hawaiian culture through the Hawaiian martial art of lua. Traditionally makahihi was a time of peace and revelry, when war and major projects would cease and elite competitors participated in sport.

Kai and fellow ‘ölohe lua Kamilo Lara and Kaha Toledo hosted a lecture on makahiki at Bishop Museum in September as part of the museum’s ongoing Traditions of the Pacific program, with hopes to share with other modern-day Hawaiians the ancient protocols associated with this sacred time of year. “Within Hawaiian culture, (makahiki) is a tribute to Lono, the god of the rain and fertility, asking for help with next year’s crops and for healing,” Kai said at the lecture. “For the ali‘i, it also was a time for recognizing their resources – to recognize how many physical resources they had available” as well as how many top warriors, weapon makers and canoe builders they had.

Makahiki would begin in October or November and last about four months. Ancient Hawaiians followed a lunar calendar, not the Gregorian calendar we follow today, and so their months and ours do not perfectly match up. However, Kai explains makahiki officially starts with the first new moon after makali‘i, the constellation Pleiades, appears in the Eastern sky at sunset. “And because you see things in the sky at different times depending where you are standing on Earth, the beginning of makahiki varied from island to island as well,” Kai noted.

When makahiki did arrive, Hawaiians would welcome Lono through protocol that began early in the morning, with kapu placed on haumana (students) partaking in the rituals – käne would partake in the ‘awa ceremony and blessing of the spiritual images, while wähine would gather ritual foods. Those who would be in attendance at the protocol ceremony also were cleansed by pï kai, or sprinkling of water. “The idea was to come to this protocol ceremony with pure intentions,” Kai explained.

A ceremonial procession then traveled clockwise around the island led by the pü kani (trumpet blower). The procession is flanked by two kähili kï (kähili made of the kï plant) – one in the front and one in the back – and followed, in order, by kahuna, ali‘i and the akua loa, also called akua Lono, flanked by two älia. The älia are poles that mark areas of kapu. “As akua loa traveled, anything makai was kapu, so you wanted to make sure you were mauka, or else you would face a penalty,” Kai said.

The akua loa is a long notched pole, from 10 feet to 16 feet long, with a representation of Lono carved at the top. A crossbeam was draped with white kapa and dressed across the top with lei made from the hearty pala fern, or any other edible fern. Also hanging from the kea, the crossbar, are lei hulu and two ka‘upu, or large seabirds, on each side. Some believe seabirds helped guide Lono during his journeys from Kahiki.

After the akua loa came the akua pä‘ani, in the form of a spear, or ihe, whose tip is covered with ‘ie‘ie basketry and two kapa streamers, one yellow and one white. Akua pä‘ani is the god of games. Others in the procession followed, and a second set of kähili kï designated the end of the procession.

Also important to the protocol was the akua poko, a small image that served as each ahupua‘a’s akua that would greet the akua loa upon its entry into the district at an altar, or ahu, where ho‘okupu was presented. “Once a pule was called and the kapu was lifted, then the games could begin,” Kai said, concluding the lecture.

A Makahiki Nui, sponsored by ‘Aha Käne, Hale Mua o Kuali‘i and G. Umi Kai, will be held Nov. 24 at   Kualoa Regional Park.                                                                                                                              
Procession of akua loa/lono is at 8 a.m., with games commencing at 9 a.m. for men and boys 16 and older, and a dinner/awards ceremony at 6 p.m.                                                                                                     
Gates open at 7 a.m. & close at 8 p.m.                                                                                                      
Contact ulupono1@gmail.Com or (808) 840-5510 for information.                                                           

Sarah Pacheco, an O‘ahu- based freelance writer, is a former assistant regional editor for Midweek.

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Friday, November 16, 2012

Celebrate Peace & Abundance at the Chinatown Makahiki Day-Long Celebration, November 17th

Herb Kane's - Makahiki

Chinatown is known for drawing crowds on First Friday, for parades and lion dances of the multiethnic winter Chinese New Year celebrations, mamo Arts in May, and concerts in the street pretty much anytime. The calendar of events entices visitors and local folks to visit downtown Honolulu. But, why no Hawaiian celebrations in what was once the ancient village of Kou?
Sandy Pohl, force behind many of the Chinatown events and owner of the Louis Pohl Gallery on Bethel Street, often looks up at her late husband’s painting of the procession of Lono, the god of abundance and prosperity. Renowned Hawai‘i artist Louis Pohl taught art at Kamehameha Schools. Every afternoon, after his students left, he would go to study with Hawaiian scholar Mary Kawena Pukui. His paintings often reflected Pukui’s teaching. Calling it “an ‘aha’ moment,” Sandy Pohl was talking with Barbara Hao, who gathered Hawaiian artisans to be represented in the gallery. The two women agreed on the need for a cultural event. Pohl says, “Our eyes went to Louis’ painting of Lono, and the Chinatown Makahiki plan was instantly clear.”
In a refreshing change from months of election mania, the festival will recall the ancient times when war and politics were kapu, not allowed. Peace and abundance will be celebrated.
On Nov. 17 The Chinatown Arts District will be filled with the energy of the makahiki. Honoring Lono, the daylong events, free and open to the public, will fill Pauahi and Smith streets and the adjacent Smith-Beretania Urban Park.
Lunch will be affordable and accessible all along Pauahi Street. Food trucks, organized by Street Grindzs, include Local Stop, Five-O Ribs, Hawai‘i’s Fried Musubi, Hula Shrimp and Kona Ice.
Some 30 quality crafters will also line Pauahi Street, organized by Art & Flea. Cultural experiences, coordinated by Ke‘eaumoku Kapu, include the making of pa‘i ‘ai, lauhala weaving, feather work, kapa, ‘öpae trap and warrior helmet weaving.
The Hawaiian skill games and demonstrations, rarely presented in public, include lua, pähoa (clubs), pa‘a uma (arm wrestling), häkökö (upper body wrestling) and häpai pöhaku (stone lift). At 7 a.m. an altar to Lono will be built in the park. Protocol begins at 10 a.m.
Civic leaders will speak and at noon, a performance by the Royal Hawaiian Band will be followed by the command to “let the games begin.”
Lynn Cook  - Kai Wai Ola, November, 2012

WHEN:   Saturday, November 17                                                                    
TIME:      10am to 8pm                                                                     
WHERE:  Pauahi & Smith Streets and Smith-Beretania Urban Park    
COST:     FREE                                                                                    
INFO:      Sandy Pohl - 521-1812                                                        
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