As a part of our commitment to creating beautiful living spaces and enhancing our residentsâ cosmopolitan lifestyles, The MacNaughton Group and Kobayashi Group have partnered together with Nella Media Group and are proud to launch PALM Magazineâs inaugural issue.
Filled with contemporary Hawaiâi stories related to arts and culture, business, design, travel, and food, PALM will be published triannually and delivered exclusively to our residential developments.
PALM is inspired by Honoluluâs role as an international city perfectly positioned between the East and the West. The cityâs unsurpassed beauty, thriving arts and culture scene, as well as its world-class shopping and cuisine, provide endless opportunities for enjoying the good life, both here and abroad.
We look forward to sharing with you the places, people, and discoveries that are inspiring us each season, and wish you a prosperous happy holidays and New Year.
Aloha,
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4 LETTER From the Developer
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6
Tranquil. Graceful . Refined. Hawaiiâs only Forbes Travel Guide 5 -Star and AAA Five-Diamond Restaurant Halekulani 2199 Kalia Road | halekulani.com | 800 . 3 6 7 . 2343
The cover image features model Paloma Field in an editorial story highlighting products from Tiffany & Co. and Shinola, two brands that represent American ingenuity. Photographed at ONE Ala Moana by Mark Kushimi.
8 TABLE OF CONTENTS ARTS 14 About Face: Jaume Plensa BUSINESS 28 Open for Business: Hawaiâiâs Manufacturing Industry CULTURE 42 A Sailorâs Life Aboard the HÅkÅ«leâa 52 PapahaÌnaumokuaÌkea Marine National Monument DESIGN 66 Mad About Midcentury 74 Fashion: This American Life 88 Itâs in the Signs ESCAPES 98 A Harmonious Retreat in Niseko 110 Preserving Place on Oâahu FARE 126 The Inside Scoop on Poke 14 28 ON THE COVER
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PALM A 13
About Face
Rui Ruiâs World II, 2013, will be installed at the Park Lane residences. Shown here is the installation view at Cheekwood Botanical Garden & Museum of Art, Nashville, 2015. Copyright Jaume Plensa.
14 A ARTS Jaume Plensa PALM
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Self Portrait, 2013. Installation view: Cheekwood Botanical Garden & Museum of Art, Nashville, 2015. Copyright Jaume Plensa.
Park Lane welcomes a meditative sculpture by renowned Spanish artist Jaume Plensa.
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At 73 inches tall and only 26 inches wide, âRui Ruiâs World IIâ is dreamlike in form, weighty yet ethereal. This 1,800-pound marble sculpture is stretched out of proportion, rendering it both mystifying and meditative. Like the many works for which its creator, renowned artist Jaume Plensa, has become known, facing the sculpture feels like encountering a sentient being from a future utopia.
The striking obelisk-like bust is the artistâs first work to be displayed in the islands, and it will find its home in Park Lane Ala Moanaâs permanent art collection. Before its anticipated arrival in the islands, the sculpture toured the United States with Human Landscape, Plensaâs
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16 A ARTS Jaume Plensa
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Thoughts, 2013. Copyright Jaume Plensa, courtesy Galerie Lelong, New York.
The Dream, 2009, St. Helens, United Kingdom. Copyright Jaume Plensa, courtesy Galerie Lelong, New York.
largest exhibition in the country. Accompanying âRui Ruiâs World IIâ in the Human Landscape exhibition were sculptures composed of metallic letters, text fragments, and poems welded together, creating âsilent messengers containing fragments of past and future conversations,â as the Cheekwood Botanical Garden and Museum of Art in Nashville, Tennessee, described them.
While Plensaâs creations can be found in museums and private galleries around the world, over the years, the Spanish artist has been most celebrated for his large-scale work in public spheresââEchoâ in New Yorkâs Madison Square Park, âRootsâ in Tokyoâs Toranomon Hills, âOlhar Nos Meus Sonhosâ (which translates to âTo See My Dreamsâ) on Botafogo Beach in Rio de Janeiro. âHe isnât simply siting sculpture,â British curator Claire Lilley said of Plensaâs work during an interview with Bloomberg in 2015. âHeâs creating situations where conversations take place.â
The artist works with mediums ranging from wood to bronze to stone to glass, and uses high-tech methods of creation and installation to transform notions of public space. Nowhere is this technique more evident than at Plensaâs Crown Fountain, set in the midst of Chicagoâs Millennium Park. Since its debut in 2004, the fountain has become a play area for thousands of visitors, who romp through its reflecting pool during hot summer months and run beneath the two spouts of water that cascade from its rectangular glass towers. Initially,
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18 A ARTS Jaume Plensa
Paisatge VII, 2009. Copyright Jaume Plensa.
Mist, 2015. Copyright Jaume Plensa, courtesy Galerie Lelong, New York.
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While Plensaâs creations can be found in museums and private galleries around the world, over the years, the Spanish artist has been most celebrated for his largescale public works.
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Crown Fountain, 2004, Millennium Park, Chicago, Illinois. Copyright Jaume Plensa, courtesy Galerie Lelong, New York.
Awilda and Irma. Installation view: Cheekwood Botanical Garden and Museum of Art, Nashville, 2015. Copyright Jaume Plensa.
See No Evil, Hear No Evil, Speak No Evil. 2010, Frist Center for the Visual Arts, 2015. Copyright Jaume Plensa.
there was some critique of Plensaâs use of LED lights to display various faces of 960 diverse residentsâChicagoâs mayor was concerned it was âtoo Times Square for Millennium Parkââbut today, the fountain has been warmly welcomed as part of the city.
Plensa has never shied away from incorporating such technology into his art. Kelly Sueda, the private arts consultant who secured âRui Ruiâs World IIâ for Park Lane, points to another of Plensaâs creations, this one crafted for the 2015 Venice Biennale, which featured two gigantic mesh forms that seemed to float slightly above the floor of the 400-year-old Basilica of San Giorgio Maggiore. âJaume noted that when art was commissioned centuries ago, the work that was going in basilicas or cathedrals was contemporary,â Sueda says. âIt wasnât like they were going to bring in 200-year-old art.â
Since then, Plensaâs work has continued to weave a line connecting the past with the present. Itâs why his sculptures resonate so strongly with viewers, including residents of St. Helens near Liverpool, England, where coal miners faced a bleak future when the townâs mines were closed after 400 years of operation. Funded through the arts initiative, The Big Art Project, Plensaâs âDream,â a 66-foot-tall, bright white figurehead, shone like a lamp in the darkness, bringing the townspeople, many of them burly coal workers, to tears. Plensa will never forget the unveiling: âOne of the miners tells me, âJaume, when you are in the pit 300 meters deep, the darkness is so deep, light becomes a dream.ââ
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If only quantity is considered, the clothing that is made in Hawaiâi accounts for just a tiny sliver of the garment market. Much is produced elsewhere, even if it is designed in the islands. But what is crafted here may be a sign of what is to come. While manufacturing in the United States has been in perpetual distress over the past three decades, in Hawaiâi, and across the nation, forces are mobilizing to bring back manufacturing jobs from overseas.
âOur aloha shirts will always be made in Hawaiâi,â says Kuhao Zane of Sig Zane Designs. Though it costs more, his companyâs choice to manufacture in Hawaiâi is simple. As Kuhao explains, âThe dollar I make is spent here and circulated here. It is directly supporting Hawaiâi.â
In 2007, the Hawaiâi State Department of Business and Economic Development and Tourism analyzed the performance of the industry locally. âApparel manufacturing in Hawaiâi continued to lose jobs throughout the 2000s,â the 2015 report revealed. (Hawaiâiâs losses were less than the nationâs by roughly one percentage point.) The report also mentioned the historical roots of this industry: âApparel was promoted based on Hawaiâiâs unique style and cultural heritage that brought Hawaiian/Aloha wear to worldwide prominence. However,
Hawaiâiâs garment industry stretches, flexes, and grows in the 21st century marketplace.
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âThe dollar I make is spent here and circulated here,â says Kuhao Zane of Sig Zane Designs, which has been producing its lines in Hawaiâi for more than three decades. The Collective and Roberta Oaks are two brands that also manufacture their lines locally.
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over the years, a large number of garment manufacturing jobs have been outsourced overseas.â
Thirty years ago, Kuhaoâs father, Sig Zane, began screen-printing his shirts in Hawaiâi in tiny quantities. His goal was to incorporate cultural stories he had learned through hula into the patterns of aloha shirts. It was time to take the product that had become the look of the land, and make it truly reflect Hawaiian culture, he believed.
Since then, economies around the world, both small and large, have been turned on their heads as a result of international trade deals. Manufacturing locally may not ever again align with large corporate growth strategies. You simply cannot produce the kind of quantities here that you can in China, or even in Los Angeles.
But for Sig and Kuhao Zane, there is no need. âHawaiâi is a relatively small market, so I donât want a whole lot of just one product,â Kuhao says. âI want diversity. With smaller numbers, I can be more nimble and react to the market a lot quicker. Itâs really easy to slide in a special order and hit that product date.â
Roberta Oaks, another of Hawaiâiâs influential aloha shirt designers, agrees. Both she and the Zanes have shaped their business models to benefit from the low minimums required by local factories, and to sustain themselves at a sane, even-paced level. âItâs not necessarily cheap to manufacture locally, but supporting the local economy is just as important for my own small businessâs survival,â Oaks says. âIâm fine spending more and actually knowing the aunties who are sewing the front placket onto all of my menâs shirts. ⊠Itâs important to sustain ourselves and feed our local economy.â
Hawaiâiâs fashion scene is also awash with modern designs for men, women, and children that transcend traditional alohawear, an influx of fashion that excites consumers locally and nationally. One designer behind this is Allison Izu. In 2007, as the state was beginning to analyze the local manufacturing industry, Izu launched her eponymous brand, which specializes in denim for women under 5 feet 6 inches tall. Her label, which is now carried in national department stores like Bloomingdaleâs and Nordstrom, has grown in parallel with the stateâs commitment to help the manufacturing industry.
âItâs very different to manufacture here than anywhere else,â Izu says. Though she initially experimented with producing her line in China and Los Angeles, she is now a staunch supporter of local manufacturing, and an important voice in the ongoing legislative efforts to help the industry.
In her decade of doing business, Izu has learned that the path from concept to consumer is a complicated one. To strategize the multiple moving elements of design-tofulfillment workflows, Izu and five of her peers opened a shared workspace called Cut Collective, an early inception
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Because of the low minimums required by local factories, designer Roberta Oaks has been able to turn her modern aloha shirt brand into a thriving business.
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Allison Izu and Summer Shiigi of The Collective have been champions of the local manufacturing market, working with state agencies and the Chamber of Commerce Hawaiâi to strategize ways to increase visibility of Hawaiâiâs fashion industry.
of whatâs now The Collective. Today, the company comprises Izu, Summer Shiigi (whose own ready-to-wear label, Ten Tomorrow, expanded to mainland department stores in early 2016), and a squad of interns. The Collective offers mentorship to those seeking to manufacture clothing in Hawaiâi. Often, they advise their clients, which range from up-and-coming designers to large hotels, to simplify their designs, because while the local workforce can crank out thousands of aloha shirts in its sleep, it lacks the specialized equipment to handle complex designs and finicky fabrics.
âSummerâs a good example of a person who is open to take in what Hawaiâi has to offer and make her business fit into that,â Izu says. Shiigi clarifies, âSometimes I have to simplify my designs, and it can be hard to find people who will work with some of my preferred textiles.â Still, manufacturing locally is a priority, so Shiigi adapts. âIt doesnât hurt me. I still create what I want to create,â she says.
Such local manufacturing has become a top priority for Hawaiâiâs government leaders because of its potential contributions to the stateâs overall budget â a healthy middle class, historically, is largely reliant on an abundance of blue-collar work, like manufacturing. Izu and Shiigi sit on the board of Chamber of Commerce Hawaiâi, which, with the help of state agency High Technology Development Corporation, is working to grow the local manufacturing economy.
In 2014, the state led an initiative to resurrect the manufacturing sector. Since then, Sherry Menor-McNamara,
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president and CEO of Chamber of Commerce Hawaiâi, says she has seen a revitalization and increased awareness of local manufacturing. âItâs not tourism, itâs not military, but itâs another industry our state can support,â MenorMcNamara says.
Legislation was passed in 2014 to provide grants totaling $2 million to encourage and support manufacturing in the islands, with the first grantees being awarded in 2016. Equipment purchases are the heaviest hard cost associated with manufacturing, and machines can cost in the hundreds of thousands of dollars, shipping excludedâa capital expenditure that might otherwise be out of reach for a small business.
âWhat weâve learned about the fashion industry is that itâs all about networking and collaboration,â says Wayne Inouye, who heads Innovate Hawaii, a federal program operating under the High Technology Development Corporation. âWe all benefit when we work together.â
The industryâs overall progress in Hawaiâi has been encouraging, but the most pressing concern for the garment sector is that of a dwindling workforce. âA lot of garment makers are aging out and nobody wants to take over the business,â Izu says. âItâs not a luxurious job, or glamorous. ⊠Weâve seen at least five factories close down, and it happens at a momentâs notice.â Izu thinks that restructuring factories will make the business more attractive to young people. âYouâre not just sitting and sewing the same piece, a collar for example, hundreds of times,â she says. âYou can do rotations and see a product from start to finish and have that feeling of accomplishment.â
The monotony of the assembly line that is often associated with factory work is neither an appropriate representation of modern manufacturing, nor a model for the future. New skills are required to enter this workforce at nearly every level.
Priming the next generation of workers, revitalizing existing infrastructures, and growing new businesses can happen, but collaboration is key. With passionate support from small businesses and local government, Hawaiâi is poised to enjoy a return to local manufacturing as a middle-class mainstay. To be a part of it, all you need to do is look for the âMade in Hawaiâiâ label, and feel good knowing that your dollar spent has stayed here.
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PALM C 41
A Sailorâs Life for Me
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Text by Austin Kino
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Images copyright of Polynesian Voyaging Society and âÅiwi TV (2014)
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42 C CULTURE HÅkÅ«leâa PALM
A young Native Hawaiian connects with his ancestors aboard the HÅkÅ«leâa , Hawaiâiâs most famous voyaging canoe.
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In Antoine de Saint-Exupéryâs book The Wisdom of the Sands, the writer advised a man who wished to build a boat: âDonât drum up people to collect wood and donât assign them tasks and work, but rather teach them to long for the endless immensity of the sea.â
Since the day my dad first took my brother and me into the crashing waves of Oâahuâs south shore, I have been an ocean person. Over time, my curiosity to explore beyond the shoreline grew, along with my interest in my Native Hawaiian heritage. I learned in school that the Polynesians, my ancestors, were the greatest explorers of Oceania, based on their ability to survive epic ocean voyages and to skillfully navigate routes to distant
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44 C CULTURE HÅkÅ«leâa
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It was in my final year of high school at Kamehameha Schools when a friend invited me for an evening sail on Hawaiâiâs most famous voyaging canoe, HÅkÅ«leâa. Stepping onto the deck, I felt like I had crossed a threshold. No longer was the history of my ancestors a thing to read about in my schoolbook or a sight to see in pretty paintings, but rather, it was alive. I knew then that I wanted to be a part of the HÅkÅ«leâa âohana. I volunteered to help with the constant maintenance that a sailing canoe requires, and met generations of crewmembers who treat the famed waâa, or canoe, not as a vessel, but as an extension of oneâs own family.
Advancing from a volunteer on land to a voyager aboard HÅkÅ«leâa is never guaranteed. Considering the level of danger out at sea, knowing how to sail safely is the number one priority, and each individual is trained by doing. As someone who is a slow learner, I had to grow tough skin before I could start growing my sea legs. Getting accustomed to the bilingual nomenclature on a voyaging canoe was a vexing task. When asked to âhukiâ (pull) the jib halyard to raise HÅkÅ«leâaâs sails, or âaluâ (slack) the mizzen sheet, I realized that it takes but a second to identify the amateurs from the crewmembers, the pollywogs amongst the shellbacks. I clung to my peers as I joined a cohort of other young HÅkÅ«leâa sailors who were beginning to study celestial navigation, our training consisting of everything from learning meteorology and Earth and space science to spending many hours on or in the sea in order to gather our own observations of natureâs cycles.
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48 C CULTURE HÅkÅ«leâa
For one apprentice navigator, the HÅkÅ«leâa offered the chance to connect with his ancestors through a voyage around the world.
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In 2013, I was asked to be a part of the team of apprentice navigators who would crew HÅkÅ«leâaâs first legâa voyage from Hawaiâi to Tahitiâthat was to kick off a three-year journey around the world. I vividly remember one evening on that trip to Tahiti, eight days in, and approximately 1,000 miles away from Hawaiâi Island. I was lying on the deck of the canoe as she surfed through the Pacific Ocean, while the winds howled at 20 knots, and overhead swells rocked the vessel. In the midst of the tremors, I looked up to the stars, and felt a great peace wash over me. For the first time, I realized what a great adventure I had embarked upon. I felt more connected to my ancestors, who once gazed at these very same stars, than ever before.
The HÅkÅ«leâa has since sailed with dozens of crews across vast oceans, finding port throughout the Pacific, Australia, Indonesia, South Africa, Brazil, and numerous other countries. It is now in its final year of the worldwide voyage that seeks to mÄlama honua, or âcare for our Island Earth.â Over the course of this journey, HÅkÅ«leâa will travel more than 46,000 nautical miles to reach 26 countries, 85 ports, and 12 World Heritage marine sites.
Captain Billy Richards, a crewman of HÅkÅ«leâaâs first voyage to Tahiti in 1976, is one of many passing on knowledge to a new generation. âPeople ask me how much it takes to build a voyaging canoe,â Richards said at a training class at the Sand Island port in Honolulu. âI tell them, âYour life.â People see these canoes, and donât realize the maintenance, the hours, the time invested in them, the relationships necessary to sailâalmost all of it completely voluntary. These canoes have taken and given us so much more.â
The opportunity to learn celestial navigation has defined the majority of my adult life. Being recognized as an apprentice navigator has given me a seat at the table, and the chance to glean wisdom from worldrenowned practitioners. In each journey that Iâve been fortunate to take part in, my goal has remained the same: honor my teachers, care for my community, and do what is necessary to protect the waâa that has given me a window to the world.
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50 C CULTURE HÅkÅ«leâa PALM
At the Edge of Creation
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Diving under a school of nenue near Nihoa. ããã¢å³¶è¿ãã®ç°ç€ã«çŸ€ãããããšïŒã€ã¹ãºãïŒ
52 C CULTURE PapahÄnaumokuÄkea PALM
In one of the most diverse ecosystems in the world, efforts are underway to ensure that environmental and cultural resources are protected in perpetuity.
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When youâre out there, you see so many stars,â says Marcus Murray, reminiscing about his first night on Nihoa, one of many islands that make up the remote Northwestern Hawaiian Islands. Looking at a sky illuminated only by thousands of twinkling stars, Murray realized how drastically light pollution could affect an area. He had grown up in LÄhainÄ, on Maui, and even there, in a town with a population of just under 12,000, the stars didnât shine as brightly. Hailing from a family with members who are key players in Mauiâs fishing industry, Murray had been chosen to represent his island as a biology research assistant with University of Hawaiâi during a recent voyage to the newly expanded PapahÄnaumokuÄkea
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54 C CULTURE PapahÄnaumokuÄkea
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Encompassing more than half a million square miles, the PapahÄnaumokuÄkea Marine National Monument, which stretches across the Northwestern Hawaiian Islands, is now the largest marine conservation site in the world.
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More than 14 million seabirds, as well as 7,000 species of marine life, can be found within the PapahÄnaumokuÄkea Marine National Monument.
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Marine National Monument, in order to aid UH researchers in obtaining fish counts and depth readings. For Murray, seeing the islandâs pristine cliffs and rugged valleys was like traveling back in time.
From the unspoiled habitats of the Northwestern Hawaiian Islands to the active volcanoes and everchanging terrain on Big Island, Hawaiâi is recognized as one of the most biodiverse ecosystems in the world. Here, the worldâs foremost environmentalists and scientists gathered for the first time in the United States to attend the 2016 International Union for Conservation of Nature World Conservation Congress. At the center of the Pacific Ocean, the planetâs largest body of water, Hawaiâi was the fitting location for this significant event, which focused largely on oceans and seascapes rather than on the terrestrial environment, the primary topic of previous years.
This congress arrived on the heels of the PapahÄnaumokuÄkea Marine National Monument expansion by President Obama in August 2016. Encompassing more than half a million square miles, PapahÄnaumokuÄkea is now the largest marine conservation site in the world, comprising an area greater than all other U.S. national parks combined. The site was established in 2006 by President George W. Bush to protect the marine species that nest or live within area shores, as well as the numerous archaeological and sacred sites on and around the islands.
With the expansion, PapahÄnaumokuÄkeaâs far-flung location will act as a laboratory to help scientists better understand the
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56 C CULTURE PapahÄnaumokuÄkea
PALM
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effects of climate change. âBecause itâs not an area thatâs infected by humans, itâs an opportunity to understand the ecosystem and the functions of an ecosystem as they change with climate,â explains Athline Clark, the monumentâs superintendent with National Oceanic and Atmospheric Administration. Since the protected atolls and marine sites are relatively close to the main Hawaiian Islands, researchers will also be able to make predictions about climate responses by comparing the environmental shifts of inhabited islands to those of more isolated ones. Already, during dives conducted in the protected area over the last few years, researchers have found an incredibly high amount of biodiversity surrounding the seamounts. The endangered Hawaiian monk seal and the threatened Hawaiian green sea turtle frequent PapahÄnaumokuÄkeaâs waters, along with 14 million seabirds representing 22 different species. More than 7,000 species of marine life exist here, of which nearly one quarter are believed to be unique to the Northwestern Hawaiian Islands. âThe expansion will fully protect all of the benthic habitat organisms that are there, and there are many new and undescribed species,â Clark says. Designation as a conservation site means that all commercial extractions, including fishing, are prohibited in the area, although recreational fishing and the removal of resources for scientific purposes will be allowed with a federal permit. This is a good thing to Rick Gaffney, a co-chair of the West Hawaiâiâs Fisheries Council, who explains that expanding âno-takeâ areas will help to ensure that fisheries remain productive for future generations. âConservation areas give fish the chance to repopulate,â Gaffney wrote in an op-ed for National Geographic. âScience has confirmed that fish populations in protected areas spill-over into adjacent waters, increasing the quantity of fish available to, in this case, the main Hawaiian Islands.â Although Hawaiâiâs longline fleets will inevitably be affected by the expansion, Gaffney says only a small percentage of their catch is actually obtained in the area, and that small-boat fishermen, those he calls âpono fishermen,â who only take what they need, will eventually have greater access to fish, including bottom-fish species and ahi.
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60 C CULTURE PapahÄnaumokuÄkea
PALM
This idea of an area being protected, or kapu, aligns with Hawaiian culture, and helps to perpetuate its stories and traditions. âPapahÄnaumokuÄkea is critical to Native Hawaiian spiritual wellbeing,â says Kamanaâopono Crabbe, CEO of the Office of Hawaiian Affairs, which alongside the Department of Land and Natural Resources, NOAA, and the U.S. Fish and Wildlife Service, will oversee the management of the site. âThis action ⊠helps revive our connection to our kÅ«puna islands and reinforce our understanding of Hawaiâi as a contiguous spiritual and cultural seascape.â
The name of the monument honors the creation story, passed down through generations, of two Hawaiian ancestors, PapahÄnaumoku and WÄkea, whose union led to the births of the Hawaiian archipelago and the Native Hawaiian people. Preserving this story is important, as is protecting the 140 known cultural sites on Nihoa and Mokumanamana islands, which were part of the reason PapahÄnaumokuÄkea was named as Hawaiâiâs second UNESCO World Heritage Site in 2010. The first such site, Hawaiâi Volcanoes National Park, which is home to two of the most active volcanoes in the world, Mauna Loa and KÄ«lauea, was designated for its historical and cultural significance in 1987. While the fiery displays at Hawaiâi Volcanoes National Park provide scientists insight into what it might have been like during the creation of Hawaiâi thousands of years ago, PapahÄnaumokuÄkea offers a hopeful glimpse into the future. â[The expansion] is a step in the right direction,â Murray says. âBut itâs one stepâthereâs so much more that we can do.â
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62 C CULTURE PapahÄnaumokuÄkea PALM
Two UNESCO World Heritage Sites can be found in Hawaiâi: Both PapahÄnaumokuÄkea and Hawaiâi Volcanoes National Park have been designated for their historical and cultural significance to Hawaiian tradition.
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Globally, modern architectureâs rise aligned with Hawaiâiâs attainment of statehood in 1959. But even prior to the resulting increase of jet travel to the tourist district of WaikÄ«kÄ«, Hawaiâi had attained a reputation as a modern paradise, where hotels, apartment buildings, government buildings, shopping centers, schools, churches, recreational spaces, and cultural facilities displayed modernist panache. By 1950, architects in the islands had begun adapting the principles of modern architecture to the hospitable climate and the nascent construction industry. A generation of visionary architects, including Vladimir Ossipoff, Alfred Preis, George âPeteâ Wimberly, Cyril Lemmon, and Theodore Vierra, saw modern architecture in the subtropics as an opportunity to blend inside and outside spaces for living, working, worshipping, learning, and playing. This successful merger, which I described as âHawaiian Modernâ design in my book of the same name, written in 2007, can be seen in many of Oâahuâs most iconic structures, which remain timeless examples of contemporary, island-style architecture even a halfcentury later.
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A tour of a few of Honoluluâs midcentury buildings, which celebrate Hawaiâiâs insideout lifestyle.
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66 D DESIGN Midcentury
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In Hawaiâiâs subtropical climate, a generation of visionary modern architects, including Vladimir Ossipoff, whose Liljestrand House is shown here, saw an opportunity to blend inside and outside spaces for comfortable living.
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Using this trapezoidshaped deck, Ossipoff capitalized on tradewind breezes to cool the Liljestrand house naturally.
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The Liljestrand House Perched 900 feet above Honolulu, with panoramic views from WaikÄ«kÄ« to the âEwa plains, the Liljestrand House, completed in 1952, combines inside and outside living in several exceptional ways. Hawaiâiâs modern master, Vladimir Ossipoff, designed this exquisite family home not only to capitalize on vistas from its Makiki Heights locale, but also to use the islandâs tradewinds to create comfortable and casual living. The pinnacle of this experience can be found at the tip of the trapezoidshaped deck that juts out from the living room, as if pointing to the azure horizon in defiance of natureâs elements.
Waikīkī Shell
The Waikīkī Shell, designed by San Francisco architect Lewis Parsons Hobart, was completed on the
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68 D DESIGN Midcentury PALM
grounds of Kapiâolani Park in 1956 as a place to âsee the stars under the stars.â At this open-air amphitheater, it is not unusual for a performance to be blessed by a passing shower. With the verdant Koâolau mountain range as its backdrop, the Shellâs stage faces WaikÄ«kÄ«âs southern shore, a positioning that provides exceptional natural lighting for performers while northeasterly tradewinds carry music to the audience on the lawn. Abstract and graceful, the WaikÄ«kÄ« Shell is both a visual and auditory asset to one of Honoluluâs grandest parks.
Neal S. Blaisdell Concert Hall
Set back from King Street among lithe clusters of coconut palms, and facing the dense banyan tree of Thomas Square, is the Neal S. Blaisdell Concert Hall, completed in 1964 under the leadership of its namesake, Honolulu Mayor Neal Shaw Blaisdell. The 2,000-seat arena acts as the cityâs grand front lÄnai for the performing arts scene. A closer look at the intricate, modeled glass and ceramic grillwork at the front of the hall reveals a feature unique to Hawaiâi architecture: The glass tiles are not sealed weathertight to their arched ceramic frames. Instead, gaps between them allow outdoor air to enter the buildingâa detail
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70 D DESIGN Midcentury PALM
Completed in 1969, the Hawaiâi State Capitol is a geopolitical metaphor for Hawaiâiâs origins.
that amplifies the sensual delights of island living: the play of sunlight on glass, the caress of a breeze, and the smell of rain.
Bachman Hall, University of Hawaiâi at MÄnoa
Although the University of Hawaiâi was founded in 1907, one of its most prominent buildings is Bachman Hall, a midcentury symbol of integrity and openness completed in 1949. Designed by the Honolulu firm Fisk, Johnson, Ossipoff, and Preis, Associated Architects to be a comprehensive administration facility for the rapidly growing university, it is one of the best examples of modern architecture that is considerate of Hawaiâiâs climate. Bachman Hallâs monumental peristyle serves multiple purposes: First, as a gateway to the university; second, as a buffer against the harsh southwestern solar orientation; and third, as a cloister around a central garden and pedestrian forecourt to the buildingâs interior lobby. Adjacent to the main garden is a smaller garden with an overhead trellis, which brings intimacy and reflection to this otherwise grand lÄnai and building.
Hawaiâi State Capitol
The grandest example of Hawaiâi as a modernist paradise is its seat of government, the Hawaiâi State Capitol. Completed in 1969 and designed by John Carl Warnecke of San Francisco in partnership with local firm Belt, Lemmon and Lo, the Capitol is a geopolitical metaphor for Hawaiâiâs origins. Its ground-level reflecting pool symbolizes the Pacific Ocean, while the House and Senate chambers represent the cinder cones of a volcano. Also, where most capitol buildings are enclosed with a dome-like structure, Hawaiâiâs offers an open-air view of the sky.
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72 D DESIGN Midcentury
PALM
University of Hawaiâi at MÄnoaâs Bachman Hall, designed by Fisk, Johnson, Ossipoff, and Preis, Associated Architects, is one of the best examples of modern architecture that is considerate of Hawaiâiâs climate.
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This American Life
Shot on location at ONE Ala Moana
Images by Mark Kushimi
Styled by Ara Feducia
Hair and makeup by HMB Studios
Modeled by Paloma Field & Austin Kino
This editorial, photographed at ONE Ala Moana, features designs by two brands that represent American ingenuity. Since 1837, the masterpieces of Tiffany & Co. have defined style and celebrated the worldâs greatest love stories. Shinola, founded in Detroit in 2011, stands for the preservation of craft and the beauty of industry.
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Austin is shown at the ONE Ala Moana library and wears a Vince button-up cardigan and five-pocket trouser, and a Billy Reid brushed twill shirt, all from Bloomingdaleâs; shoes, OluKai. Shown opposite: Canfield 43 mm watch, Shinola.
Austin is shown in front of the ONE Ala Moana infinity-edge pool deck wearing a Theory Rothley Castellos merino wool sweater and Sovereign Code Izzy jogger pants, both from Bloomingdaleâs; Converse Jack Purcell shoes, Kicks Hawaii; Runwell Sport Chrono 48 mm watch and leather football, Shinola; Paloma Picasso Knot double wrap bracelet in 18k rose gold and leather, Tiffany & Co.
Paloma is shown in the wine tasting room at ONE Ala Moana wearing a 5-Knot leaf embroidered bomber jacket, We Are Iconic; Weekend Max Mara white floral clipper dress, Bloomingdaleâs; accordion crossbody bag, Shinola; Converse shoes, Kicks Hawaii; Elsa Peretti Bone cuff in 18k gold, Tiffany & Co.
Max Mara Platani camel coat and Theory wool geo plaid slim crop pant, both from Bloomingdaleâs; Clare V Margot fold-over leather clutch, We Are Iconic; New Balance shoes, Kicks Hawaii; Cass 28 mm watch, Shinola.
Public School Glenn denim jacket and Theory cotton gingham shirt, both from Bloomingdaleâs.
Austin is shown in the private dining area of ONE Ala Moana wearing a Scotch and Soda multi-colored check shirt, Billy Reid quilted vest, and Vince pants, all from Bloomingdaleâs; Runwell 47 mm watch, Shinola; Converse Jack Purcell shoes, Kicks Hawaii.
Max Mara Vicky camel dress and Vince horizontal rib cowl, both from Bloomingdaleâs; Canfield 38 mm watch and zip backpack in slate blue, Shinola; Out of Retirement interlocking bangle in 18k gold and wood, Tiffany & Co; shoes, stylistâs own.
Top: Weekend Max Mara vest, Soft Joie Dinay layered dress, and Marc Jacobs shoulder bag, all from Bloomingdaleâs.
Bottom: Out of Retirement rectangle ring in 18k gold and Atlas wide cuff in 18k gold, both from Tiffany & Co.
Paloma is shown in the private dining area of ONE Ala Moana wearing a Smythe patch pocket Dutchess blazer and Citizens of Humanity Cora high rise jeans, both from We Are Iconic; Longchamp red shoulder bag and Rag & Bone rib knit turtleneck, both from Bloomingdaleâs; boots, stylistâs own.
Austin is shown near the ONE Ala Moana infinity-edge pool deck wearing a Golden Bear MA-1 wool bomber jacket, Shinola; J Brand Kane pants, Bloomingdaleâs; New Balance shoes and Shwood sunglasses, Kicks Hawaii; watch, Shinola. Shown opposite: Weekend Max Mara dress and necklace, Bloomingdaleâs; watch, Shinola.
Bloomingdaleâs
Ala
Moana Center Mall Level 2, Ewa Wing
Shinola
International Market Place Level 1, Queenâs Court
Tiffany & Co.
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Moana Center
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Level 2, Center Court We Are Iconic
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Itâs in the Signs
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Text by Sonny Ganaden
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Images by John Hook
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88 D DESIGN Signs PALM
Around Honolulu, old signage reflects nostalgic days of yesteryear, when Hawaiâi moved toward statehood and people settled in the islands from faraway places.
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Just a mile inland of WaikÄ«kÄ« on a muggy Thursday, University of Hawaiâi at MÄnoa professor and chair of graphic design, Chae Ho Lee, walks the urban neighborhood of Makiki looking for signs. A dense cluster of apartments and townhouses bisected by a freeway, Makiki has more in common with the workingclass New York borough of Queens than the beachside bungalows seen on island advertisements. Home to nearly 100,000 locals, itâs the most dense district on the islands; President Barack Obama grew up in the neighborhood, as did pop superstar Bruno Mars. But what Makiki apartments lack in luxury, they make up for in vernacular signageâsome of the most delightful
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90 D DESIGN Signs
PALM
In the neighborhood of Makiki, where President Barack Obama and musician Bruno Mars grew up, signs on buildings tell the story of Hawaiâiâs sense of place as it moved toward statehood.
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in the world. They are the informal kind, made by ordinary local folks and passed by daily, ubiquitous yet worthy enough to be considered a form of public art.
For Lee, the signs reflect the islandsâ early statehood era, when jets and visitors began arriving in droves. âIn 1967, we reached one million tourists annually,â Lee says. âThatâs when Hawaiâi became truly global and international. People settled here from faraway places, and they wanted the luxury they didnât have back home.â
Most signs radiate a kitschy resort vibe, dangling from a facade that obscures a cookie-cutter walk-up apartment building. Their midcentury tropical designs and typography are endemic to the islands: oxidized copper, script that mimics handwriting, Hawaiian words translated in triangular blocks. These signs often reflect place, acknowledging an almost taxonomic Native Hawaiian language that had names for everywhere in the archipelago. Lee walks past residential buildings with motel names like The Breezeway, Tantalus Vista, Makiki Winds, Poinciana, and Kalii Koaâall bearing proud signs from decades past, as if the American dream passed out on mai tais and woke up in a sweltering neighborhood on the other side of the H-1 Freeway. At Heulu Gardens, Lee points out a handmade metal sign done in brush script; at Punahou Terrace, he finds a rounded sans serif type reminiscent of the Dunkinâ Donuts logo. âThis one looks like a personal projectânot about utility, itâs nearly impossible to read from the street,â Lee says of the beige colored Princess Kealoha sign, its letters fluctuating between thin and thick strokes.
Across the street from Makiki Parkâthe scene of keiki soccer games and babiesâ first luausâthe Hawaiian Holiday building takes the proverbial
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92 D DESIGN Signs
cake. The building literally looks like a cake. Prefabricated concrete letters and numbers in a pudgy font jut off a volcanic rock wall, above which is a three-story, sunbleached bas relief of a fishing and hula scene reminiscent of a childrenâs ride at Disneyland. The work is inscribed with the name Hon Chew Hee, a local artist famous for his vast mural that once adorned the interisland terminal at the Honolulu International Airport.
âMost of these signs, we canât figure out who made them,â says Matthew Tapia, a Hawaiâi-born graphic designer and letterer. With more than 53,000 followers on Instagram (@matthewtapia), Tapia has become internet-famous for documenting island signage under the hashtag âsignsofhawaii.â The signs, Tapia says, are a tradition that went by the wayside when giant conglomerates took over. âPeople had pride in their buildings, put real craft into these things,â he says. âItâs so different from fonts on a computer that are sent to a digital cutter. I think weâve lost the element of human hands.â Not in Makiki, though, where nostalgic labels are still maintained and still common, tributes to the good life greeting locals on their ways home.
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94 D DESIGN Signs
PALM
These signs often reflect place, acknowledging an almost taxonomic Native Hawaiian language that had names for everywhere in the archipelago.
96 D DESIGN Signs
Travel experiences
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both faraway and familiar
PALM E ãšã¹ã±ãŒã
97
Harmonious Retreat
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Images by Mark Walsh & Colin Wiseman
98 E ESCAPES Niseko PALM
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Niseko offers a winter getaway, where world-class skiing and snowboarding are entwined with a culture steeped in tradition.
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Atop the slopes facing Mount Yotei on the northern Japanese island of Hokkaido, the birch forests roll on endlessly under the heavy blanket of winter, bisected only by narrow runs of white. On these pristine paths, the air is quiet and still, its silence only interrupted by the sound of your breath and the crunch of snow beneath your feet.
As the deep shadows of winter morning retreat across the face of Mount Niseko-Annupuri, you relish the dayâs first run down silky slopes of newly fallen powder. Looking back up the incline, you easily trace your boardâs deep arc amongst a few sets of freshly laid tracks. Then, a chairlift swiftly scoops you up, transporting you back to the peak.
Niseko is a municipality with a population of about 10,000 residents located near Mount Yotei, a dormant volcano within ShikotsuToya National Park. It lies about 50 kilometers to the southwest of the city of Sapporo, where New Chitose Airport is located, the closest major hub. From here, it is a two-and-a-half hour trip to Niseko along a scenic route, for which there are multiple car rental options, as well as shuttle services. Once you have arrived, itâs easy to fall into step with Nisekoâs relaxed mountain town pace.
The quiet air belies the fact that most visitors are on the slopes at any time of day, especially late January and February, when the powder is deepest. Niseko is frequently included among the top 10 ski resorts in the world, largely due to
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žì°ë³Žëì¥ì ì ìíìµëë€. 100 E ESCAPES Niseko
its snowfall averaging nearly 600 inches per year. Frigid weather, blowing in from the Siberian north, delivers an abundance of light, powdery snow across more than 2,000 skiable acres and six ski areas. The main area of Niseko Higashiyama, also referred to as Niseko Village, combines with Annupuri, Hirafu, and Hanazono to provide access to four of these ski areas via one ticket. Night skiing is also widely offered.
One of Nisekoâs proudest productions, aside from its dreamlike powder riding, is the Gentemstick snowboard, a physical representation of the philosophies of master shaper Taro Tamai, who believes that the wave and the snow are similar elements since each serves as a contact
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102 E ESCAPES Niseko
PALM
Frigid weather, blowing in from the Siberian north, delivers an abundance of light, powdery snow across more than 2,000 skiable acres and six ski areas.
point to the earth. An avid surfer himself, Tamaiâs Gentemstick is perfect for riding the face of the rolling terrain and the feathery snow of Niseko. Stop by his headquarters for a gander at some fine snowriding craft, and leave with a new outlook on the sport.
As the day wanes and your legs become weary, unwind at one of Nisekoâs 15 onsen, which range from a lavish spa to a simple, communal bathhouse. A mineral rich, volcanically heated water bath, the onsen is as much a part of the Niseko experience as are the slopes. The Niseko Grand Hotel has a popular coed onsen that provides a more social soaking experience, while Goshiki Onsen Ryokan, a 30-minute drive north into the country, offers a rustic experience surrounded by snowy mountain views.
For those with a curious palate, the restaurants in Niseko also dazzle. Niseko lies in a region with fertile volcanic soil, providing an abundance of diverse and delicious local ingredients. Stop in at Sessa in the Hirafu area for shabu shabu with top-grade Wagyu beef, or
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106 E ESCAPES Niseko PALM
visit Farmers Dining U-Respa in the heart of Niseko town for traditional tonkatsu. At the latter, an unassuming storefront gives way to a charming interior serviced by enthusiastic staff. A popular tonkatsu here features succulent Sangenton pork, a rare hybrid hog that is bred in Japan. For a more hands-on experience, learning about the countryâs historic tea traditions, visit Green Saso, a modern café that pairs high-quality green tea tastings with traditional Japanese sweets. When evening descends, itâs time to decide if you are going to hit the slopes again, now under a starry sky, or explore the town as snowflakes fall and warm restaurants beckon. Whatever you choose, you can be sure that Nisekoâs top-notch skiing and snowboarding, its bottomless snow, and its soul-warming hot waters will draw you back time and again for the ideal winter getaway.
WHERE TO STAY?
The Sekka Annupuri Lodge is a short walk from the Niseko Annupuri gondola, which is the main transportation to the top of the runs. The resortâs rooms combine modernism with traditional Japanese harmony. Alternatively, The Vale Niseko is a five-star hotel that boasts the ultimate ski-in, skiout accommodations. Perched at the edge of Niseko Hirafu ski runs, it offers a range of accommodations, from single rooms to multi-room apartments with private onsen spas. Lodging options are many in Niseko, and a quick visit to the municipalityâs tourism website (nisekotourism.com) can help get you situated perfectly.
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108 E ESCAPES Niseko
Preserving Place
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110 E ESCAPES Oâahu PALM
Take in the beauty and bounty of Hawaiâi through authentic island experiences.
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In the bustling city of Honolulu, it can be easy to get caught up in the daily grindâeat, sleep, work, repeat. For anyone like myself, a small-business owner who grew up in Hawaiâi, the sights and sounds of this unique place can often go overlooked in favor of long office days. But Oâahu offers ever-surprising escapes. When I have taken a moment to remind myself of this, I have learned that one of the best ways to rediscover the Hawaiâi that so many visitors (5 million a year to Oâahu alone) have come to love is to have authentic experiences that allow deeper learning about the place and contribute to preserving it. Instead of hitting the beach, you can help restore a Hawaiian fishpond, find out how you can grow young leaders on a farm, or come face-to-face with one of the worldâs most misunderstood creatures, the shark. In Hawaiian, there is a saying, ââO ka hÄ o ka âÄina ke ola o ka poâe,â which translates to, âThe breath of the land is the life of its people.â Get to know the land. Dig your hands into
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112 E ESCAPES Oâahu
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Rediscover the Oâahu that many have come to love by taking part in experiences that allow for deeper learning about the island, and contribute to preserving it.
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On the west side, help create a more food-secure Waiâanae Coast at MAâO Organic Farms
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the dirt. Experience the less traversed parts on Oâahuâs east, west, and north shores from a brand new perspective, while giving back to the place that so graciously plays host.
MAâO Organic Farms
As I kneel in a row of recently planted carrots at MAâO Organic Farms, a college-age farmhand tells me about the importance of plucking the weeds surrounding baby carrots that will eventually be served in restaurants or sold in farmers markets around Oâahu. Uproot the bad so the good can flourish.
I take a moment to enjoy the cool breeze sweeping over the Waiâanae Mountains into the lush Lualualei Valley. I look up just in time to see Uncle Gary, as everyone calls him, bouncing along near the citrus trees, atop a tractor. Despite the dozens of Waiâanae youth working on the farm, the New Zealand native who began it all still labors alongside the young farmers daily.
Gary and his wife, Kukui, who is from NÄnÄkuli, founded MAâO (which is short for Mala âAi âOpio and translates to âThe Food Youth Gardenâ) in 2000 as a youth-driven, food-producing leadership program that seeks to combat many of the issues that plague the Waiâanae community. At the time, in addition to abject poverty and drug abuse, these included having the worst food security in the state and a large population of youth under 25 without the means to attend college.
Today, the farm is growing more than 50 types of fruits and vegetables on any given day, and producing, on average, nearly 2 tons of produce every week. But thatâs not all theyâre cultivating. Dozens of students have completed the intensive Youth Leadership Training, a two-year internship that pays a participantâs college tuition toward an associateâs
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degree from Leeward Community College, with hundreds more participating in MAâOâs summer and afterschool programs. Says Gary, âThereâs nothing more satisfying than to put a seed in the ground and see it grow.â
Learn about how you can support MAâO during KÄkoâo Co-Producer Visits, held on the first Wednesday of the month, when interested funders or vendors and community organizations can tour the farm and learn about ways to help MAâO fulfill its mission. For more information, visit maoorganicfarms.org.
Paepae o Heâeia
The thing that gets you most about Heâeia Fishpond in KÄneâohe is the quiet. The waters are still, reflecting a near-flawless mirrored image of the blue sky above it, broken only by a school of fish splashing their tails at the surface.
I am here on a community workday, helping to restore the ancient fishpond with Paepae o Heâeia, the nonprofit charged with caring for it. By the end of the day, we hope to clear out more than 3,200 pounds (or more than 1.5 tons) of the invasive limu that chokes the pondâs coral and marine inhabitants. The pond stretches across 88 acres of KÄneâohe Bay and is one of six remaining loko
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iâa (fishponds) in the area. Long before Western contact, Native Hawaiians developed a unique system of fishpond aquaculture that helped feed the population of up to one million people that lived in the islands. Still today, nowhere else in the world can you find the variety or quantity of fishponds.
Because they are located where land meets sea, fishponds catch everything that flows downstream, from nutrients to pollutants, making them an important way to judge the health of the land and ocean. âThe brackish water is like the foundation for life and the foundation for the food chain,â says Hiâilei Kawelo, Paepaeâs executive director. The pond, estimated to be about 600 to 800 years old, is being used as the kÅ«puna, the ancestors, intended it: âAs a place of practice,â Kawelo says, âa place for our culture to live, to see a little bit of what is still possible.â
Paepae o Heâeia offers volunteer opportunities Friday mornings and every second and fourth Saturday of the month, as well as walking tours and corporate retreats. RSVP required. For more information, visit paepaeoheeia.org.
One Ocean Diving
On my first cage-free shark dive, I donât realize how nervous I am until I get out of the water and slowly unclench my jaw from around the mouthpiece of my snorkel. On a tour with One Ocean Diving, Galapagos and grey reef sharks swim around us as we float in the deep Pacific waters three miles offshore from Haleâiwa Harbor. A hammerhead shark even passes in the distance.
The pelagic shark program with One Ocean Diving is billed as a scientific excursion, meaning that along with fellow snorkelers, participants can expect a student or researcher studying marine biology to be along for the ride. Paying for the tour also helps keep the vessel and team in action. While on the water, the crew takes note of shark behavior and numbers. One Ocean began as a research endeavor backed by grants, but in 2013, coowners Ocean Ramsey, a diver and shark conservationist, and Juan Oliphant, a photographer, realized the potential of tours to both fund research and educate a broader population about the true nature of sharks and how they play an important role in maintaining healthy marine ecosystems.
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W SALON HAWAII 401 Kamakee St. #104 808.943.2700 info@wsalonhawaii.com wsalonhawaii.com Luxury brands, Kérastase and Shu Uemura, sold here BEST OF HONOLULU Award-Winning Salon in 2015 and 2016 PROFESSIONALS WITH A PASSION FOR EXCELLENCE
Ramsey exhibits a passion for the animal that is contagious. She says itâs important to continue raising awareness about sharksâa quarter of which are threatened with extinction according to the International Union for Conservation of Natureâs Red List of Threatened Speciesâand specifically, shark finning. The IUCN, which held its World Conservation Congress at the Hawaiâi Convention Center earlier this year, calls shark finning one of the biggest threats contributing to shark population decline.
For Ramsey, who grew up in the North Shore community of Laâie, and is now a world traveler who has swum with great white sharks, the creatures are to be respected and protected. A tour with One Ocean will leave you feeling the same.
To schedule a tour, visit oneoceandiving.com.
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As poke trends around the world, Hawaiâi spots show why itâs still best enjoyed in the islands.
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On the second floor of an unassuming building on South Beretania Street, near University Avenue, is where you will find Ahi Assassins, its entrance recognizable by the quartet of fish flags hanging over the railing. Inside is a tidy, bustling operation that is standing-room only. The kitchen (where the breakdown of whole fish takes place) accounts for the bulk of the space. On the right side of the room is a glass case displaying batches of poke, a fresh assortment of edible eye candy. Some are laced with inamona and limu, others with garlic sauce and Hawaiian salt. Take a place in line. This is where Hawaiâiâs best poke is found.
The islandsâ versions of pokeâ which in Hawaiian means âto cut crosswise into piecesââare spins on a traditional Hawaiian dish of mashed raw reef fish lightly seasoned with seaweed and sea salt. Modern interpretations, like shoyu and spicy ahi flavors, feature local tastes, primarily Hawaiian and Japanese, and have been developed over decades. Though typically made with
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Above: Poke has traveled all the way to the Shangri-La Hotel in Paris, where the hotelâs seasonal terrace restaurant, La 8 Iéna, serves a refined version of the dish from June through September (courtesy image).
Below: An Ahi Assassins worker filets freshly caught fish.
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ahi tuna, poke bases range from shrimp to edamame.
In Hawaiâi, poke is not a fad, but a staple of the cuisine. But now, the local dish is also trending on a global scale. It started slowly, dropping into the mainland palate over the course of a few years. Poke popped up on restaurant menus in places like Los Angeles (Sweetfin Poké in Santa Monica and Poke-Poke in Venice) and New York City (Sons of Thunder in Midtown, Wisefish Poké in Chelsea, and Noreetuh in the East Village). With a general population focusing on eating healthier, the timing was right. Suddenly, over the course of a year, the poke uptick became a poke craze, with new shops opening at a breakneck pace.
The fever runs internationally. Travelers now encounter poke everywhere from Hong Kong to Paris, where youâll find a most elegant poke bowl, complete with paper-thin curls of green mangoes and sundried tomatoes, at the Shangri-La Hotel. Fine-dining restaurants often incorporate it into appetizers. Casual poke shops churn out bowl after bowl. Poke has been marketed as everything from âHawaiian-style cevicheâ (incorrect because poke is raw, not cured) to a âCalifornia craze thatâs slowly infusing the rest of the U.S.â (also incorrect) and âtartare from Hawaiâiâ (also incorrect because tartare is a fine dice, as opposed to the larger cubes of fish cut for poke). Itâs also been incorrectly written and sold as âpoké,â with the idea that an accent on the e makes it easier for people to pronounce. Like any trend with a strong cultural identity, the farther from home you carry the trend, the
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less authentic it becomes.
Back at its birthplace, poke is its best. Every spot serving the dish has its own version, and everyone has their favorites. Great stops for poke in Honolulu include Maguro Brothers in Chinatown (where the fish also benefits from stellar knife skills), Da Hawaiian Poke Company, Tamashiro Market, and Ono Seafood, where every single batch of poke is tailored and made to order. Aloha Cones, tucked away on a strip of Kinau Street, offers colorfully plated pokebowl meals (usually meaning the poke is served over hot rice) complete with sides of crab salad and vegetables.
But if youâre having poke at one place in Hawaiâi, have it at Ahi Assassins, where owner Josh Schade operates by the motto, âCaught here, not brought here. Slayed. Weighed. Filleted. Made in Hawaiâi.â A thirdgeneration fisherman, Schade opened Ahi Assassins as a space to sell his line-caught whole fish. He and a small handful of friends and family still catch the fish used here. Schade himself heads out to sea three to five times a week to source the proteins that wind up on the menu. It is Schadeâs uncompromising adherence to sourcing locally, and knowing exactly who you are sourcing fromâa fact made increasingly important after the exposure by the Associated Press of slave-like conditions on some Hawaiâi commercial fishing fleetsâthat is what makes Ahi Assassins the spot for the best poke in town.
Here, the entire fish is broken down in the shop each morning (visit at the right time, and you might get a
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view of the action). There are a dozen types of poke on rotation, prepared in small batches so it can be replenished frequently. Specific offerings change daily depending on the type of fish caught. The Hawaiian Styleâahi tossed with onions, Hawaiian salt, inamona, limu, and Hawaiian chili peppersâis a classic. Lunatic is the bestseller, featuring spicy sauce made without mayo (unheard of in Hawaiâi) and garlic. A poke bowl runs $7 and comes with rice and 7 ounces of poke. Other places, by comparison, serve bowls with 3 or 4 ounces of poke. And nothing goes to wasteâwhat doesnât make it as poke is served as baked ahi, ahi katsu, or even fried ahi bones.
As evidenced by Ahi Assassins, poke is still most celebrated in Hawaiâi, where it is sold by the bowl or by the pound at neighborhood grocery stores, tiny hole-in-the-wall gems, and high-end restaurants. A potluck or beach barbecue is not complete without containers filled with glistening morsels of shoyu and fish. As places around the world continue to interpret one of Hawaiâiâs favorite dishes, here in the islands, we still know how to enjoy poke best: with the sand beneath our toes, shared with family and friends.
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