The History of Hawai‘i From Our Files: Midcentury Mod Island Style

Honolulu's design influences are as diverse and rich as those found in major mainland cities, with its most notable architecture emerging during the postwar era. This period saw designers striving to integrate the island's natural beauty into their creations, resulting in a blend of Hawaiian-born Tropical Modernism, Beaux-Arts structures, and even Islamic and Moorish inspirations. The city also features works by legendary pioneer Vladimir Ossipoff and rare American Florentine architecture. This guide highlights 18 design-centric attractions in Honolulu, arranged from west to east. Key architectural sites include the Pearl Harbor National Memorial, designed by Alfred Preis, which opened in 1962 and symbolizes initial defeat and ultimate victory through its unique sagging-yet-strong form. The Iolani Palace, completed in 1882, is the sole example of American Florentine architecture globally and the only true royal residence in the U.S., featuring Italian Renaissance elements alongside Hawaiian lanais. The Hawaii State Capitol, finished in 1969, showcases the International style, with an open-air design inspired by the Pacific Ocean and island volcanoes, and palm tree-like columns. The Kaka’ako district is home to the Pow!Wow! Murals, an annual festival that transforms industrial walls into large-scale artworks, originating in 2011 and now a global phenomenon. The 1958 Board of Water Supply building, designed by Hart Wood, is an early example of Tropical Modernism, characterized by rectilinear forms and indoor-outdoor spaces, featuring an ocean-colored bas-relief solar screen. Vladimir Ossipoff’s IBM Building, a 1958 midcentury landmark, was saved from demolition by citizen efforts and is known for its distinctive honeycomb-shaped concrete solar screen, which is both functional and symbolic of computer logic. The Honolulu Museum of Art, established in 1926, combines a modest exterior with tranquil Chinese-inspired garden courtyards, showcasing a collection ranging from historical Hawaiian artifacts to modern art. The Hilton Hawaiian Village Waikiki features the Rainbow Mural, a vibrant 2015 restoration of Millard Sheets’s 1968 mosaic, comprising over 31,000 tiles and serving as a welcoming sight for visitors. The Liljestrand House, a 1952 Vladimir Ossipoff design on Mount Tantalus, epitomizes Tropical Modernism with its emphasis on indoor-outdoor living and expansive island views. The Trousdale Memorial Chapel at Valley of the Temples Memorial Park, built in 1958, blends Hawaiian heiau-inspired lava stone walls with a modern A-frame glass and concrete sanctuary. The Waikiki Galleria Tower, formerly the Bank of Hawaii, is noted for its concrete exoskeleton that mimics Polynesian motifs and functions as a sun screen. The Royal Hawaiian, known as the “Pink Palace of the Pacific,” is a 1920s Moorish-style hotel embodying regal elegance and Hawaiian heritage. The Surfjack Hotel + Swim Club, opened in 2016, offers a midcentury tropical aesthetic with local art installations, including a notable pool mural. The Moana Surfrider, Waikiki’s first hotel built in 1901, is a Beaux-Arts landmark recognized for its grand entrance and historic banyan tree. The Laylow, Autograph Collection, a retro-inspired hotel, incorporates local artistic motifs and a unique sand pit in its lounge area. I.M. Pei’s East-West Center at the University of Hawaii at Manoa, built in 1963, comprises six concrete buildings blending East Asian temple aesthetics with Brutalist influences like the Hale Manoa dormitory. The private George and Janet Wimberly Residence showcases midcentury design with a checkerboard facade and a post-and-pier foundation adapting to its sloped site. Lastly, Shangri-La, Doris Duke’s former home, is now a museum dedicated to Islamic art and culture, featuring intricate tile mosaics, luxurious textiles, and precious stones. #HonoluluDesign #HawaiianArchitecture #TropicalModernism #ArchitecturalGems #CulturalLandmarks #MidcenturyModern #UrbanArt #HistoricHotels #IslandViews

Meleana Estes, a jewelry designer and author of 'Lei Aloha,' along with her family of three, downsized from a large, renovation-needing home to a 1,000-square-foot turnkey beach bungalow on Honolulu’s south shore. The move necessitated a strategic approach to organization to accommodate Estes' extensive vintage collection. Key elements of her collection, such as an antique Indonesian dresser and original artworks by Allen Akina, were successfully integrated into the smaller space. A significant aspect of the transition was converting a small back cottage into a "muumuu sanctuary," ensuring her fashion collection was preserved. Heirloom furniture, large casegoods, and a collection of surfboards also made the move. Estes' design philosophy is heavily influenced by her Hawaiian heritage, which she describes as an inclination towards adornment, layering, and embracing the "extra." This is evident in the vibrant color palette throughout her home, particularly her fondness for pink, which she integrates in various areas, allowing different elements to complement each other. Her approach suggests that if something brings joy and feels right, it is meant to work together. The 1926 bungalow, already tastefully updated with a light touch, provided an ideal backdrop without requiring additional renovations. The white walls and black double-hung windows establish an elegant foundation, with matching shades offering both light control and architectural definition. Incorporating sufficient storage was a priority for Estes. She implemented open shelving in the kitchen and freestanding cabinetry, including a large glass-front piece in the living room acquired from a friend's shop. Her son's bedroom features a green hutch, offering an organized solution for his monster trucks, books, and trinkets. Estes also collaborated with local design studio Woven to create a blue bar cart for the kitchen, which serves a dual purpose for drinks and storage of books and seashells. Woven also fabricated the coffee table in the living room's sitting area. The home seamlessly blends vintage finds with modern furniture. Inherited pieces form the core of the design, reflecting Hawaii's historical practice of crafting furniture from local materials and passing them through generations. The rattan sofa and chair set in the living room, belonging to Estes’ grandmother, were updated with new upholstery. A pedestal dining table made from Koa wood, indigenous to Hawaii, is another cherished family heirloom. Estes encourages mixing styles and eras, emphasizing trust in one's personal taste, stating that if you love something, there's a reason it belongs. Although the bungalow is not intended as a permanent residence, it currently perfectly suits their lifestyle. The home has become a central hub for social activity, often resembling a "surf club." Estes' husband keeps his boat in the garage, and friends frequently visit to rinse off after surfing. Her son's friends also pass through between beach volleyball games. Their expanding collection of colorful surfboards doubles as decorative elements when not in use. This communal atmosphere, combined with the beautiful water and frequent gatherings with food and drinks, encapsulates what Estes describes as the "best of Honolulu life." #HomeTours #DesignInspiration #HawaiianDesign #SmallSpaceLiving #VintageDecor #MaximalistStyle #InteriorDesign #HonoluluHome

Makani’ Eka, a family compound located on The Big Island, Hawaii, is situated on a hardened lava flow and offers expansive views of the sky, sun, and water. Designed by Walker Warner Architects, the property balances modern aesthetics with traditional Hawaiian influences. The compound comprises four independent structures, including a cedar-clad main living pod, strategically arranged to provide both communal gathering spaces and private retreats. The architectural design and interiors integrate modern elements with traditional materials and concepts, aiming for enduring quality and livability across generations. Greg Warner, the principal architect, describes the arrangement as a “village,” drawing inspiration from the loose clusters characteristic of traditional Hawaiian villages. The 1.5-acre site plan and architectural style reflect this inspiration. Features such as canted steel columns, steep-pitched roofs, and rhomboidal window and door openings are contemporary interpretations of early Hawaiian hale shelters. The property is nestled within a landscape of lava and native grasses. The main living pod is positioned closest to the sea, maximizing ocean views, while supporting structures, housing two guest suites and communal relaxation areas, are set further back. Guest bedrooms open to private, concrete-walled courtyards, ensuring seclusion. Despite approximately 4,800 square feet of interior space, the layout creates a sense of spaciousness within the three-bedroom residence. The design incorporates heavily mortared lava rock, reminiscent of the historic Mokuaikaua Church in nearby Kailua. Windows are framed with stained sapele mahogany, and Western red cedar is used extensively for cladding and roof shingles due to its resistance to heat, moisture, and insects. Inside, stained and lightly polished concrete flooring contributes to a cool interior climate. Interior spaces seamlessly connect with the outdoors through sapele-framed sliders and operable windows that promote cross-ventilation. The living room, for example, can transform into a porch-like area, with consistent floor and ceiling materials bridging indoor and outdoor zones. Marion Philpotts-Miller of Philpotts Interiors curated the interiors, opting for durable, solution-dyed acrylic upholstery for casual furniture to accommodate the open-air design. The living room features Christian Liaigre furnishings, including an oak lamp, sofa, and wenge lounge chairs, complemented by a Lee Kelly oil painting and bleached Douglas fir ceiling slats. The kitchen boasts an island and table topped with honed Carrara marble. The rec room displays custom surfboards, one hand-painted and another crafted from paulownia, mounted above an Eero Saarinen table. Philpotts-Miller aimed to capture the clients' adventurous spirit through playful and dynamic color usage. A koi pond serves as a central feature in the courtyard between the main living and master suite pods. The interior design exhibits a simple, airy, no-frills aesthetic with a midcentury vibe, influenced by Hawaiian modernist Vladimir Ossipoff. The thoughtful architecture and natural textures meant minimal need for excessive interior embellishment. The master bedroom features whitewashed wood paneling, a walnut bench, and accents of sky-blue in the rug and throw pillows. A custom cast-concrete tub in the master bathroom courtyard is enclosed by concrete walls and cedar slats. Throughout the residence, polished, stained concrete is used for flooring. The master suite's study includes a sitting area with a Charles and Ray Eames lounger, offering views of Maui. #HawaiiArchitecture #LuxuryHome #WalkerWarnerArchitects #TropicalDesign #ModernTraditional #SustainableMaterials #InteriorDesign #IslandLiving #ResidentialArchitecture

This article revisits the McCoy + Heine Architects-designed Flexman house located on Hahei Beach in the Coromandel Peninsula, New Zealand. The house, first published in 2013, stands on one of the few beachfront sites, continuing a long-held family tradition with the Coromandel coast. The original bach (holiday home) on the site was no longer suitable for the expanding family, which included six adults and nine children, necessitating a new design that could accommodate large groups while preserving a legacy for future generations. The primary challenge for architect Tim McCoy was to create a flexible living space that could cater to a large, extended family or a single family, all while maximizing the magnificent ocean views. The design also had to balance communal living with private retreats, minimize the visual impact on the public and neighbors, and ensure privacy despite the house's exposed beachfront location. The site is bordered by neighbors on three sides and faces the public domain of the ocean. McCoy addressed these challenges by designing the building as three distinct volumes of varying heights. This architectural strategy helps to balance the need for communal areas with private spaces, and reduces the house's visual footprint from the beach. The design incorporates a visual rhythm of depths and recesses around decks, creating a proscenium or stoa-like effect. This design element frames views of the landscape, minimizes any potential 'fishbowl effect' (where occupants might feel exposed), softens the building's facades, and provides shade. Given the Coromandel coast's warm summer weather, the house features a natural progression of indoor and outdoor spaces. These spaces are strategically designed to follow the sun and views throughout the day, while also offering shelter from the afternoon sea breeze. The house employs passive climate control to maintain optimal comfort. A central ventilation core allows breezes to circulate from the center of the house to the upper levels. This system works in conjunction with restricted opening floor-level windows in the bedrooms, providing 24-hour temperature control. The material palette for the house is characterized by neutral, natural, and low-maintenance materials, which contribute to a light and airy environment suitable for a coastal holiday home. The architectural style blends High Modernist aesthetic sensibilities with what is described as "fey PoMo trappings," resulting in a Mid-Century Modern feel adapted for 21st-century Pacific living. The design is intended to be an "effortless classic" that will retain its style and appeal for many generations. #HaheiBeachHouse #CoastalArchitecture #FamilyHome #ArchitecturalDesign #NewZealand #FlexibleLiving #PassiveClimateControl #ModernistDesign #Coromandel

The article details the story of Jean Charlot, a French American muralist who, despite initially intending to complete a commission and leave, made Hawaii his permanent home after arriving in 1949. His artistic journey evolved in Hawaii, shifting from interpretations of Catholicism and Mexican Indigenous traditions to a profound focus on nature, influenced by the native Hawaiian worldview where the spiritual and material worlds are interconnected through elements and daily life. This appreciation for the islands profoundly influenced his art and subsequently, his home design. Charlot's home, built in 1958 near Kahala Beach in Honolulu, was a collaboration with local architect George “Pete” Wimberly. This 2,856-square-foot, two-story dwelling, primarily constructed from redwood and concrete bricks, reflects Charlot's artistic sensibilities and his deep connection to Hawaii. The design intentionally integrates the outdoors, featuring elements like a cantilevered wood table extending from the dining room to a lanai, blurring the lines between indoor and outdoor living spaces. Walls covered in dried _hāpuʻu_, an endemic fern, and a large fresco depicting tropical foliage further enhance the home's natural aesthetic. Despite being in a neighborhood now dominated by larger residences, the Charlot House is noted for its modest yet elegant tropical Modernist design. Wimberly, an accomplished architect in this style, shared Charlot’s commitment to organic building materials and passive cooling strategies, orienting the house to utilize cross breezes. The home's design incorporates local Hawaiian concepts, with spaces divided into _mauka_ (mountain-facing) and _makai_ (sea-facing) areas, creating a dynamic sense of movement and connection to the landscape. A dramatic reveal upon entry, through a long driveway to a stately front door with Charlot's tile mural, leads into a deceptively cavernous interior. The house served as a vibrant cultural hub where Charlot and his wife, Zohmah, entertained a wide circle of artists. Their home was adorned with art from friends like Max Ernst and José Clemente Orozco, alongside Charlot’s own works, including sketches for the numerous Hawaiian murals he would complete for local institutions. A wraparound cork wall in his upstairs studio showcased his creative process. In 2001, the family gifted the house to the University of Hawaii at Manoa, ensuring its preservation and preventing demolition or significant alteration. In June 2022, the house was returned to the family, who remain dedicated to safeguarding its cultural significance. The home is further enriched by Charlot's hand-painted ceramic tile petroglyph friezes, featuring 167 tiles of Hawaiian-inspired figures and dogs, strung across both interior and exterior spaces. These friezes, along with other multicultural elements like Mexican-inspired brick floors and Papua New Guinean masks, underscore the artist’s profound kinship with his adopted home. The house, through its design and artistic elements, not only enshrines a bygone era of Hawaiian architecture but also consistently reinforces its primary purpose: to be a home that celebrates the spirit of Hawaii and its people. #JeanCharlot #HawaiiArchitecture #TropicalModernism #HonoluluHome #ArtistHome #MidCenturyDesign #CulturalPreservation #Muralist