New University Building, Hawaiinuiakea, University of Hawaii, Hawaii. by Mike Barns

Halau o Hawa’i nui a kea PROPOSED NEW SCHOOL OF HAWAIIAN KNOWLEDGE

New University Facilities U n i v e r s i t y

o f

H a w a i i,

M a n o a

C a m p u s

INTRODUCTION

E 'ike ka hoku o ka nalu, 0 hoku 'ula, o hoku lei "Behold the stars of the waves, the red star, the wreath of stars." When the rising and setting stars are near the ocean horizon, they provide clues to direction. [From a chant in the story of Paka'a and Kuapaka'a.]

The University of Hawaii recognised the importance of the Native Hawaiian people by responding to the 1986 Ka’u Taskforce Report and putting in place the Center for Hawaiian Studies which opened in 1997, to facilitate the research, teaching and maintenance of Hawaiian knowledge for all of the people of Hawai’i. The Center for Hawaiian Studies programme has been extremely successful and is now expanding its programme base as well as the number of students in its intake. This requires the provision of appropriate spaces to cater for the growth.

KAMAKAKUOKALANI CENTER FOR HAWAI’IAN STUDIES, UNIVERSITY OF HAWAII, MANOA CAMPUS, HONOLULU, HAWAII

T A B L E

O F

C O N T E N T S

SECTION ONE • • • • • • •

Introduction Background to the Project Hawai’i nui a kea as a statement of peoples of the Pacific Cultural Design Projects within Indigenous Communities The Need for a New Hawaiian Architectural Design Language Community of Interest Consultation Environmentally Sensitive Design

SECTION TWO • • •

The Planning Context Timelines and Costs Environmentally Sensitive Design Criteria

SECTION THREE •

Hawaiian Architectural Design Language

SECTION FOUR • • • • • • • • •

Concept Drawings: Overall Site Development Plan Ground Floor Layout Reception Area at ground Floor Typical Teaching Floor Libraries and Archives Facilities Hawaiian Language School Art School Station For the Nation

APPENDICES

Ancient Hawai’ian Chant:

E (o’u) mau kia’i mai ka po mai O my guardians, from remote antiquity,

E nana ia mai ka hale o kakou Watch over our home

Mai luna a lalo

HAWAI’I

From bottom to top;

Mai kahi kihi a kahi kihi From one corner to the other;

Mai ka hikina a ke komohana From east to west;

Mai ka uka a he kai HAWAI’I NUI A KEA

RAPANUI

From (the side facing) the upland to (the side facing) the sea;

Mai loko a waho From the inside to the outside

(Kia’i) ‘ia malama ’ia Watch over and protect it;

E pale aku i na ho’opilikia ana i ko kakou nohona Ward off all that may trouble our life here. AOTEAROA NEW ZEALAND

Amama. Ua noa. (Amama) - (the prayer) is freed From E.S. Craighill Handy and Mary Kawena Pukui The Polynesian Family System in Ka’u, Hawai’i

S e c t i o n

O n e

• Background to the Project

The University of Hawaii as the primary state University within Hawaii has recognised and embraced the importance of Hawaiian people and Hawaiian culture to the academic and intellectual wellbeing of the stat by creating the Kamakuokalani Center for Hawaiian Studies in 1997, located on the Manoa campus. This Center has been so successful in the past nine years that it has grown its student base and staff tenfold, having been housed in facilities which were designed to cater for the initial demand postulated in the 1980’s. The subsequent interest in Hawaiian culture has not only benefitted the state but also created a demand at University level to furnish appropriate degrees that will serve the leadership of Hawaii well into the future. Recognition of the relationship between the quality of future leadership and support for appropriate degrees at University level has underpinned the need for this project.

• Hawai’i nui a kea as a statement of the Peoples of the Pacific The geographic area in the triangle bounded by lines joining Hawai’i to Rapanui Easter Island and Aotearoa New Zealand holds a group of common people who have similar if not common values, ceremonies, languages, genealogies and histories.

Anthropologists have referred to these people as Polynesians, to separate them from other Pacific people who have differing distinct characteristics to Melanesians or Micronesians. The peoples of Hawai’i, Aotearoa New Zealand, Tahiti, Samoa, Tonga, Nuie, Tokelau and Rapanui Easter island have shared a se of common pasts in this part of the world including centers of origin, ocean cultures, religious practices, albeit with regional variations, colonisation, post colonial struggles and sovereignty issues.

This project serves to give voice to those common peoples of the pacific who share the same Polynesian root. They have coined the term Hawai’i nui akea to describe themselves. This term is inclusive of the various Polynesian cultures but continues to recognise the regional differences that exist between them. I offers to provided a base for Polynesian scholarship and research and acknowledges the great contributio that people from this part of the world have made to global stability, scholarship, cultural and social diversity and the preservation of intellectual property tied up in indigenous languages, ethno botany, environmental management, sustainability and astro-science.

S e c t i o n

T w o

• The Planning Context

This project is located upon the University of Hawaii Manoa Campus, in Honolulu, Hawaii and as suc must conform to the planning strategy put in place by the University of Hawaii Board of Regents date 1987 and updated but not endorsed in 1994. The University is currently undergoing their Master Plan process which seeks to update and confirm the Master Plan of the Manoa Campus with respect to appropriate floor plates of future buildings, Concept Plan statements of each proposed building, approximate budgets and approximate prioritisation of oncoming projects.

Once the University Board of Regents has endorsed and approved the Master Plan the entire strateg then lodged and negotiated with the City and County of Honolulu and the State of Hawaii as a statem intent of the Universities direction with respect to the built environment.

Agreement by the City allows the University to then engage individual projects within the Master Plan appropriate point in time with the commensurate Departments then being approved to raise funds an begin the development process.

•

Timelines and Costs

It is the intention of the Kamakakuokalani Center for Hawaiian Studies that this project be undertaken the earliest possible time. A visioning period of twelve months has been set aside to allow all interes parties to participate in the overall project, identifying key issues and ideas to be addressed. This incl the current visioning hui underway and presented in this Report. Following this will be an intensive investigation into various strategies necessary to include in the building design, such as a Minimum Q Cultural Design Statement, Planning and Design Brief Confirmation, Environmental Sustainable Desi Strategy and Building Procurement and Provision Strategy.

• Ecologically Sensitive Design Criteria Ahupua’a: traditional political and environmental management zones on the island of Oahu, Hawaii.

Clearly any major building being considered for construction today, in a period of depleted oil supplie rapid environmental change must as a priority take into consideration the aspects of Ecologically Sustainable Design (ESD)

S e c t i o n

T h r e e

• Hawai’ian Architectural Design Language

The generation and practice of Architecture can be recognised in a similar way to the study, use and deployment of spoken or written languages. In the same way that our spoken languages of Hawaiian, Maori, Tahitian or English are constructed of structural arrangement, the combination of elemental part and the use of agreed meanings for words and the use of that language is to convey represented meaning from one party to another, architecture can be viewed in the same way. Similarly, as language singularly contains the fundamental cultural values, sets of related values and codes of socio cultural hierarchy, architecture is also emblematic of cultures and encodes in its representation the underlying values of that culture including cultural values of place, spatial relationship, meaning of symbols, relevance and importance of geographical context and geospatial arrangement (geomancy).

The early settlement of the Hawaiian islands by peoples of Tahiti and the Society Islands brought with i native values of landscape, the location and placement of man and objects in the landscape, agreements as to the meaning of particular uses of space, ceremony to honour or acknowledge that space, built manifestations to represent the agreed meaning of the uses and activities of those spaces and spatial forms and volumes.

Encoded in traditional Hawaiian architecture, settlement patterns and building arrangements are the underlying values of Hawaiian culture. No less relevant than the piazza’s of the Vatican or the boulevards of Paris, the spatial settlement by Hawaiians of their landscape and the evolving use of forms to represent particular buildings and their locations is important and particular to Hawaiian people. At one point in history classical Hawaiian architecture reflected its society and the beliefs of that society, including arrangements of kapu and noa, (sacred and profane), the importance of Kupuna (elders) in the society, the malama (embrace) of ‘aina (land and parent) the political division of ali’i (chiefs) and kama ‘aina (commoners).

Although less prevalent today, Hawai’i has had a rich historical tradition of nau ‘oleleo (oratory) as a preliterate society which valued poetry, genealogy and speechmaking, the wise use of language (so as not inadvertently offend) was an important part of Hawaiian society and demonstrates the sophisticated articulation of the people and their use of language.

Similar to other parts of the pacific, one of the impacts of colonialism was the displacement of native spaces and native values of space, ceremonies and prayers surrounding the placement of space in the environment and the loss of traditional forms in the landscape. As identity tags, the loss of these cultural institutions has accelerated the loss of Hawaiian identity and facilitates the acculturation of Hawaiian people.

In order to reconsider Hawaiian identity and reconstitute its parts the role of architecture in the reprovision of traditional space, particularly with respect to learning and education must be addressed. Whilst not wanting to necessarily revisionist or nostalgically recreate the native and in recognition that most people on the planet today are the result of intermarriage and cultural confluence, the desire to create Hawaiian space and Hawaiian values with respect to those spaces is seen a as valuable to the Hawaiian reconstitution. Critical to this is the construction of a Hawaiian Architectural design language which embodies the fundamental values of Hawaiian society and provides for the Hawaiian spirit.

RECLAIMING THE CULTURAL AND ENVIRONMENTAL LANDSCAPE Part of relocating Hawaiian spaces, places and edifices into the contemporary world in architectural form requires recognition that an outcome of colonisation and annexation has been the dislocation of Hawaiian forms in the landscape and therefore removal of built form reference points, built symbols, dislocation of Hawaiian geospatial senses of space and time through the removal of institutional native Hawaiian buildings and constructions. By removing all senses of a presence in the built landscape, particularly in urban areas, the invalidation of a built Hawaiian presence is conspirational to the removal of Hawaiians from the landscape per se. All cultures require reconfirmation of their built symbols, forms, signs and signifiers to maintain and evolve. To remove these is to unfairly load the evolutionary trajectory of that culture in favour of the culture whose built forms are present and which exude a cultural dominance. In order to re-establish a Hawaiian sense of place in the built environment, urban, suburban and rural landscape, the reconstitution of buildings, structures, and built art forms that embrace the Hawaiian sense of place and Hawaiian cultural values is necessary. Accordingly, and without the desire to invalidate introduced colonial, modern and post colonial architectural forms and interventions which are present in Hawaii, the reconstruction of a Hawaiian Architectural design language for Hawaiian people at this point in time will assist with the repositioning of Hawaiians in the landscape. This can be an extensive exercise and one properly developed by Hawaiian people over a sustained period of time. Like oral language, it should identify key structural elements which embody Hawaiian values and processes, critical elements which underpin Hawaiian society, without which the society would struggle to survive. Scope for this wider, ongoing study is available in the plethora of Hawaiian projects that will likely follow from this. In order to begin that discussion a number of critically Hawaiian elements have been provided to assist with the construction of a Hawaiian Architectural Design Language. From this may be drawn a design vocabulary from which to derive the architectural design for the proposed new School of Hawaiian Knowledge, Halau o Hawaii nui akea. Those elements are; •

The Kumulipo

•

Hawai’i nui akea

•

Navigation, Star lines journeys and Cosmologies

•

Native plants

•

Sacred Land

•

Kupuna: Elders as a Connection to the past

•

Hula: Endorsement of the Gods

•

Na o’leolo: Oratory

•

THE PULE HO'OLA'A ALI'I

Hawaiâ&#x20AC;&#x2122;i nui a kea THE

KU M U L I P O

The Hawaiian chant of Creation sets out the 16 periods of coming into being and is the central tenet of existence of all living things. The Kumulipo sets out the complex range of relationships between male and female elements of the universe, and all living organisms starting with simple cell forms and ending with complex spiritual essence. The Kumulipo acts as the underlying driving element for the design for the new Hawaiinuiakea building, setting out the relationships intrinsic in all Hawaiian values. Each floor of the building will celebrate a particular aspect of the Kumulipo, acknowledging the fundamental Hawaiian beliefs of the universe and cosmos, and placing the learning curriculum within a context of Hawaiian knowledge. To that extent the building becomes a curriculum for learning, providing references to Hawaiian beliefs, genealogies, histories and therefore future trajectories. The sustainability elements of the design require that cultural consistency in keeping traditional information systems intact should be present and fundamental to the design.

H E

K U M U L I P O,

NO KA-'I-'I-MAMAO A IA ALAPAI WAHINE

KA WA AKAHI 1. O ke au i kahuli wela ka honua 2. O ke au i kahuli lole ka lani 3. O ke au i kuka'iaka ka la. 4. E ho'omalamalama i ka malama 5. O ke au o Makali'i ka po 6. O ka walewale ho'okumu honua ia 7. O ke kumu o ka lipo, i lipo ai 8. O ke kumu o ka Po, i po ai 9. O ka lipolipo, o ka lipolipo 10. O ka lipo o ka la, o ka lipo o ka po 11. Po wale ho--'i 12. Hanau ka po 13. Hanau Kumulipo i ka po, he kane 14. Hanau Po'ele i ka po, he wahine 15. Hanau ka 'Uku-ko'ako'a, hanau kana, he 'Ako'ako'a, puka 16. Hanau ke Ko'e-enuhe 'eli ho'opu'u honua 17. Hanau kana, he Ko'e, puka 18. Hanau ka Pe'a, ka Pe'ape'a kana keiki puka 19. Hanau ka Weli, he Weliweli kana keiki, puka 20. Hanau ka 'Ina, ka 'Ina 21. Hanau kana, he Halula, puka 22. Hanau ka Hawa'e, o ka Wana-ku kana keiki, puka 23. Hanau ka Ha'uke'uke, o ka 'Uhalula kana keiki, puka 24. Hanau ka Pi'oe, o ka Pipi kana keiki, puka 25. Hanau ka Papaua, o ka 'Olepe kana keiki, puka 26. Hanau ka Nahawele, o ka Unauna kana keiki, puka 27. Hanau ka Makaiauli, o ka 'Opihi kana keiki, puka 28. Hanau ka Leho, o ka Puleholeho kana keiki, puka 29. Hanau ka Naka, o ke Kupekala kana keiki, puka 30. Hanau ka Makaloa, o ka Pupu'awa kana keiki, puka 31. Hanau ka 'Ole, o ka 'Ole'ole kana keiki, puka 32. Hanau ka Pipipi, o ke Kupe'e kana keiki, puka 33. Hanau ka Wi, o ke Kiki kana keiki, puka 34. Hanau kane ia Wai'ololi, o ka wahine ia Wai'olola 35. Hanau ka Ekaha noho i kai 36. Kia'i ia e ka Ekahakaha noho i uka 37. He po uhe'e i ka wawa 38. He nuku, he wai ka 'ai a ka la'au 39. O ke Akua ke komo, 'a'oe komo kanaka 40. O kane ia Wai'ololi, o ka wahine ia Wai'olola 41. Hanau ka 'Aki'aki noho i kai 42. Kia'i ia e ka Manienie-'aki'aki noho i uka 43. He po uhe'e i ka wawa 44. He nuku, he wai ka 'ai a ka la'au 45. O ke Akua ke komo, 'a'oe komo kanaka 46. O kane ia Wai'ololi, o ka wahine ia Wai'olola 47. Hanau ka 'A'ala'ula noho i kai 48. Kia'i ia e ka 'Ala'ala-wai-nui noho i uka

CHANT ONE 1. At the time when the earth became hot At the time when the heavens turned about At the time when the sun was darkened To cause the moon to shine 5. The time of the rise of the Pleiades The slime, this was the source of the earth The source of the darkness that made darkness The source of the night that made night The intense darkness, the deep darkness 10. Darkness of the sun, darkness of the night Nothing but night. The night gave birth Born was Kumulipo in the night, a male Born was Po'ele in the night, a female 15. Born was the coral polyp, born was the coral, came forth Born was the grub that digs and heaps up the earth, came forth Born was his [child] an earthworm, came forth Born was the starfish, his child the small starfish came forth Born was the sea cucumber, his child the small sea cucumber came forth 20. Born was the sea urchin, the sea urchin [tribe] Born was the short-spiked sea urchin, came forth Born was the smooth sea urchin, his child the long-spiked came forth Born was the ring-shaped sea urchin, his child the thin-spiked came forth Born was the barnacle, his child the pearl oyster came forth 25. Born was the mother-of-pearl, his child the oyster came forth Born was the mussel, his child the hermit crab came forth Born was the big limpet, his child the small limpet came forth Born was the cowry, his child the small cowry came forth Born was the naka shellfish, the rock oyster his child came forth 30. Born was the drupa shellfish, his child the bitter white shell fish came forth Born was the conch shell, his child the small conch shell came forth Born was the nerita shellfish, the sand-burrowing shellfish his child came forth Born was the fresh water shellfish, his child the small fresh water shellfish came forth Born was man for the narrow stream, the woman for the broad stream 35. Born was the Ekaha moss living in the sea Guarded by the Ekahakaha fern living on land Darkness slips into light Earth and water are the food of the plant The god enters, man can not enter 40. Man for the narrow stream, woman for the broad

stream Born was the touch seagrass living in the sea Guarded by the tough landgrass living on land

Hawai’i nui a kea

Hawaiian Society, Culture, Cosmologies

ONE NATIVE NATION HAWAII The expanses of the Pacific Ocean are home to a group of people who share a common set of ancestors, gods, spiritual beliefs, histories and colonial experiences.

Tahitian Society, Culture, Cosmologies

Prior to colonisation by European 17th and 18th century powers these peoples traversed the Pacific many times through navigation techniques and practices that astounded the European observers. Customs that allowed ocean going voyages in both east-west and north-south routes recorded by oral histories and genealogical chants confirm the sets of relationships which bound these peoples together.

H a w a i ‘i n u i a k e a

Subsequent colonisation by competing European and American colonisers limited the need for traditional ocean going canoes, however the traditions remained and are still employed today.

TAHITI

The Hoku’lea voyages from Hawaii to Tahiti and Hawaii to Aotearoa periodically to keep the traditions alive.

RAPANUI EASTER ISLAND

Rapanui Society, Culture, Cosmologies

“All wisdom is not taught in one school”

A’ohe i pau ka ‘ike i ho’okahi halau Early voyaging to other island groups established ongoing relationships beyond settlement of the Pacific. Voyaging over many centuries has helped cement the political and cultural relationships that exist to this day and unite the Pacific as a cohesive if disparate Polynesian nation

AOTEAROA NEW ZEALAND ARCHITECTURAL PRINCIPLE:

Aotearoa New Zealand Maori Culture, Cosmolgies

“To provide a building which acknowledges the importance and relationships of all Polynesian cultures to each other”

Hawai’i nui a kea NAVIGATION, STARLINES, JOURNEYS & COSMOGONIES Hawaiian people have long engaged the celestial realm as they confirmed their relationships with their gods. Primary gods such as Wakea and Papa the primordial parents were seen in star constellations and used by Hawaiians as references in their navigation of the Pacific Ocean. Star lines and cosmologies were an intrinsic part of the Hawaiian world as they were throughout Polynesia, and gave the Hawaiians both physical and metaphysical guidance. Understandings of the working of the universe and celestial arrangements enabled Hawaiian people to understand the limitations of the Earth and allowed for complex navigation maps, gave explanations of key planetary occurrences, such as weather patterns, tides, storms, bird migration, wind movement around the Pacific and the inter relationship between the moon and the earth as played out in female fertility, sea sponge and coral reproduction, fish stocks and movement and seasonal change.

KA PIKO O WAKEA

Hawai’i’nuiakea will acknowledge the importance that the cosmos plays in the lives of Hawaiians and enable the ongoing learning of cosmic knowledge through the design of the building.

ARCHITECTURAL PRINCIPLE:

WAKEA

Hawai’i nui a kea NATIVE PLANTS

la’au lapa’au Native Plants provide Hawaiians with a dictionary from which their understanding of the natural world unfolds. Native plants represent not only an arrangement of the physical landscape but also the metaphysical world. Particular gods are embodied in particular plants; their use of which must be surrounded by particular ceremony and propitiation. Harnessing the physical natural landscape required a sense of duty, obligation, reciprocity and responsibility by Hawaiians as their role of natural conservator, as their gods were respected and honoured. The partnership between man and environment is manifest in many ceremonies still practiced today and is spread across all aspects of Hawaiian life, from dance to agriculture to music.

“Beloved children are the plants”

He Keiki aloha na mea kanu

HAWAII

Hawai’i nui a kea ‘AINA KAPU - SACRED LAND The land and sea was seen as an extension of the person and was to be respected, nurtured and safeguarded. More than that, the land was seen as one of the primordial parents and took many spiritual identities and represented many different aspects of the Hawaiian spiritual world. Within all of the understandings of the land, it was always regarded as sacred and demanded of Hawaiian people absolute protection, deference and placation.

DERRIVED ARCHITECTURAL QUALITIES •

•

• •

Notions of Sacred and Profane, ideas of duality, binaries, monopolies, recognising the body and others bodies as sacred, the learning process as a Kapu process, pule etc. Spaces that both compliment and oppose each other, whose intentions and ambience inform occupants of oppositional forces arranged to achieve peace. Areas to carry out Kapu ceremony, areas of the curriculum which require alternate spaces to teaching Areas to be quiet, thoughtful and reflective, into which one can recede from everyday campus life to attain peace, tranquillity

“The land is a chief; man is its servant”

He ali’i ka ‘aina, he kau wa ke kanaka

ARCHITECTURAL PRINCIPLE:

“To provide a building which acknowledges the sacredness of life and the perpetual relationship to land”

He ali’i ka ‘aina, he kau wa ke kanaka

I N S R I B I N G Hawai’i nui a kea K A K A U

H a w a i ’i a n t a t t o o Tattoo was the way by which both men and women applied not only decoration but also meaning to their skin through patterns, kaona and individual markings. Kakau remains a popular art form that represents individual identity and gives references and relationship to the Hawaiian pantheon of gods. Its ancient references confirm the heavenly relationships that united men and women and their akua. Similarly, ancient Hawaiians tattooed the earth, to inscribe meaning and to confirm their relationships with each other and with Papa, Wakea and their other gods. Earth cuts and body cuts were undertaken with care and aloha reflecting the character of relationships and the way they thought about their gods.

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T H E

L A N D

W I T H

M E A N I N G

I! Kanenui!kea, To the greatly revered Kane,

I! Kane o Kanaloa, To Kane and Kanaloa,

I! Kanehekili,

Kane of the thunder,

I! Kanewawahilani o Nakoloilani, To Kane who rends and resounds in the Heavens,

I! Kauilanuim!k"h!ikalani. To the great Lightening that flashes in the heavens. [SOURCE: Gutmutanis,, June. 1983. Na Pule Kahiko: Ancient Hawaiian Prayers. Honolulu: Editions Limited. Page 16.]

H A W A I ‘I A N

T A T T O O

“The heavens appear black”

P’ e l e

Ku Lani

Reference to the tattooing of Kahekili, ruler of Maui, who had himself tattooed black on one side of his body in the manner of the God Kanehekili, for whom he was named. SOURCE: Pukui, M.K. 1983. ‘’lelo No’eau, Hawaiian Proverbs and Sayings. Honolulu: Bishop Museum Press. 2565.

ARCHITECTURAL PRINCIPLE:

“To provide a building which confirms the full identity of Hawaiian people and their intrinsic connection with the land and waters of Hawaii and the Pacific, how they inform the land and water and are informed by it ”

He ali’i ka ‘aina, he kau wa ke kanaka

Hawai’i nui a kea H

E Laka e!

Hawaiian Dance: Honouring the Ancestors

O Goddess Laka!

Pupu weu weu, E Laka e O wildwood bouquet, O Laka

Hula is understood as being such an intrinsic part of Hawaiian life that it represents in its practice many fundamental beliefs of Hawaiian society. It encapsulates the important beliefs of serving the gods in order to maintain existence, bounty and sustenance. Such a dedication to the Akua (gods) helps to structure society and maintains fundamental polar divisions of sacred and profane, scholarship, discipline, mentorship, reverence for teachers, reverence for the spiritual belief systems and worship.

E Laka i ka leo; O Laka, Queen of the voice

E Laka I ka loa’a; O Laka, giver of gifts

E Laka I ka waiwai! O Laka, giver of bounty!

E Laka I na mea a pau! O Laka, giver of all things

Hula also encapsulates the Hawaiian systems of natural resource management and propitiation. Halau’s (Schools of learning) are education centers for traditional and contemporary forms of dance, chant, pa’u (drum) ,mele (music), and pule (prayer).

HONOURING THE ANCIENTS “Where the hands move, there let the eyes follow”

Kuhi no ka lima, hele no ka maka. ARCHITECTURAL PRINCIPLE:

“To provide a building which acknowledges the importance of ancestors, gods and Hawaiian belief systems”

He ali’i ka ‘aina, he kau wa ke kanaka

H U L

CHANT ONE

O ke au i kahuli wela ka honua At the time when the earth became hot

O ke au i kahuli lole ka lani

MAUKA

KA WA UMIKUMAMAONO

At the time when the heavens turned about

O ke au i kuka‘iaka ka la At the time when the sun was darkened

E ho‘omalamalama i ka malama

KA WA UMIKUMAMALIMA

KA WA UMIKUMAMAHA

KA WA UMIKUMAMAKOLU

KA WA UMIKUMAMALUA

KA WA UMIKUMAMAKAHI

KA WA UMI

KA WA EIWA

KA WA EWALU

KA WA EHIKU

KA WA EONE

KA WA ELIMA

KA WA EHA

KA WA EKOLU

KA WA ELUA

KA WA AKAHI

To cause the moon to shine

O ke au o Makali‘i ka po The time of the rise of the Pleiades

O ka walewale ho‘okumu honua ia The slime, this was the source of the earth

O ke kumu o ka lipo, i lipo ai The source of the darkness that made darkness

O ke kumu o ka Po, i po ai The source of the night that made night

O ka lipolipo, o ka lipolipo The intense darkness, the deep darkness

O ka lipo o ka la, o ka lipo o ka po Darkness of the sun, darkness of the night

Po wale ho--‘I Nothing but night

Hanau ka po The night gave birth

Hanau Kumulipo i ka po, he kane Born was Kumulipo in the night, a male

Hanau Po‘ele i ka po, he wahine Born was Po‘ele in the night, a female

Hanau ka ‘Uku-ko‘ako‘a, hanau kana, he ‘Ako‘ako‘a, puka Born was the coral polyp, born was the coral, came forth

Hanau ke Ko‘e-enuhe ‘eli ho‘opu‘u honua

Born was the grub that digs and heaps up the earth, came forth

Hanau kana, he Ko‘e, puka Born was his [child] an earthworm, came forth

Hanau ka Pe‘a, ka Pe‘ape‘a kana keiki puka Born was the starfish, his child the small starfish came forth

Hanau ka Weli, he Weliweli kana keiki, puka Born was the sea cucumber, his child the small sea cucumber came forth

Hanau ka ‘Ina, ka ‘Ina Born was the sea urchin, the sea urchin [tribe]

Hanau kana, he Halula, puka Born was the short-spiked sea urchin, came forth

Hanau ka Hawa‘e, o ka Wana-ku kana keiki, puka Born was the smooth sea urchin, his child the long-spiked came forth

Hanau ka Ha‘uke‘uke, o ka ‘Uhalula kana keiki, puka Born was the ring-shaped sea urchin, his child the thin-spiked came forth

Hanau ka Pi‘oe, o ka Pipi kana keiki, puka Born was the barnacle, his child the pearl oyster came forth

Hanau ka Papaua, o ka ‘Olepe kana keiki, puka Born was the mother-of-pearl, his child the oyster came forth

Hanau ka Nahawele, o ka Unauna kana keiki, puka Born was the mussel, his child the hermit crab came forth

Hanau ka Makaiauli, o ka ‘Opihi kana keiki, puka Born was the big limpet, his child the small limpet came forth

Hanau ka Leho, o ka Puleholeho kana keiki, puka Born was the cowry, his child the small cowry came forth

Hanau ka Naka, o ke Kupekala kana keiki, puka Born was the naka shellfish, the rock oyster his child came forth

Hanau ka Makaloa, o ka Pupu‘awa kana keiki, puka Born was the drupa shellfish, his child the bitter white shell fish came forth

Hanau ka ‘Ole, o ka ‘Ole‘ole kana keiki, puka Born was the conch shell, his child the small conch shell came forth

Hanau ka Pipipi, o ke Kupe‘e kana keiki, puka Born was the nerita shellfish, the sand-burrowing shellfish his child came forth

Hanau ka Wi, o ke Kiki kana keiki, puka Born was the fresh water shellfish, his child the small fresh water shellfish came forth

Hanau kane ia Wai‘ololi, o ka wahine ia Wai‘olola Born was man for the narrow stream, the woman for the broad stream

Hanau ka Ekaha noho i kai Born was the Ekaha moss living in the sea

Kia‘i ia e ka Ekahakaha noho i uka Guarded by the Ekahakaha fern living on land

He po uhe‘e i ka wawa

Darkness slips into light

He nuku, he wai ka ‘ai a ka la‘au

MAKAI

Hawai’i nui a kea MASTER DEVELOPMENT PLAN

University of Hawaii Main Campus

Because of the growth of University programmes, facilities management and departmental planning require Long Term Development Plans which allow the provision of building stock as demand increases accordingly. This document looks at the Long term Development Plan of the School of Hawaiian Knowledge as it grows to incorporate The Department of Hawaiian Language, the Kamakakuokalani Center for Hawai’ian Studies and provision for the inclusion of the Center for Education. The grouping of allied and associated disciplines to advance the development of Hawai’ian education and the general state of the Hawai’ian people also suggest the inclusion of a number of other facilities.

Proposed new Hotel/Dormitory and Convention Centre Site

Existing Hawaii’nuiakea Site to be developed.

The Master Development Plan therefore also includes for: •

Center for Hawai’ian Art

•

Center for Hawai’ian Music

•

Center for Hawai’ian Film, Television and Radio

•

Center for Hawai’ian Ethno botany

•

The Hawai’ian Library and Archives

•

The Center for Hawai’ian Astronomy

•

Full Immersion Language School

•

Hawai’ian Charter School

•

Student Facilities and Accommodation

Existing Car parking Structure to be developed over.

Existing Public School site and grounds integrated into Master Plan and co developed with the City & County of Honolulu

Hawaiâ&#x20AC;&#x2122;i nui a kea

S C H O O L

O F

H A W A I I A N

S T U D I E S

RECLAIMING THE LANDSCAPE

The expanses of the Pacific Ocean are home to a group of people who share a common set of ancestors, gods, spiritual beliefs, histories and colonial experiences. Prior to colonisation by European 17th and 18th century powers these peoples traversed the Pacific many times through navigation techniques and practices that astounded the European observers. Customs that allowed ocean-going voyages in both east-west and north-south routes recorded by oral histories and genealogical chants confirm the sets of relationships that bound these peoples together.

The Hawaiinuiakea project seeks to reinstall Hawaiian people back into the urban landscape by repositioning their traditional forms and concepts of place. space and ohana (family) as a new and valid expression of modern Hawaiian architecture..

HAWAII

MAUKA [1] KA WA AKAHI CHANT ONE

O ke au i kahuli wela ka honua

MAUKA

KA WA UMIKUMAMAONO

At the time when the earth became hot

O ke au i kahuli lole ka lani At the time when the heavens turned about

O ke au i kuka‘iaka ka la

KA WA UMIKUMAMALIMA

KA WA UMIKUMAMAHA

KA WA UMIKUMAMAKOLU

KA WA UMIKUMAMALUA

KA WA UMIKUMAMAKAHI

KA WA UMI

KA WA EIWA

KA WA EWALU

KA WA EHIKU

KA WA EONE

KA WA ELIMA

KA WA EHA

KA WA EKOLU

KA WA ELUA

KA WA AKAHI

At the time when the sun was darkened

E ho‘omalamalama i ka malama To cause the moon to shine

O ke au o Makali‘i ka po The time of the rise of the Pleiades

O ka walewale ho‘okumu honua ia The slime, this was the source of the earth

O ke kumu o ka lipo, i lipo ai The source of the darkness that made darkness

O ke kumu o ka Po, i po ai The source of the night that made night

O ka lipolipo, o ka lipolipo The intense darkness, the deep darkness

O ka lipo o ka la, o ka lipo o ka po Darkness of the sun, darkness of the night

Po wale ho--‘I Nothing but night

Hanau ka po The night gave birth

Hanau Kumulipo i ka po, he kane Born was Kumulipo in the night, a male

Hanau Po‘ele i ka po, he wahine Born was Po‘ele in the night, a female

Hanau ka ‘Uku-ko‘ako‘a, hanau kana, he ‘Ako‘ako‘a, puka Born was the coral polyp, born was the coral, came forth

Hanau ke Ko‘e-enuhe ‘eli ho‘opu‘u honua Born was the grub that digs and heaps up the earth, came forth

Hanau kana, he Ko‘e, puka

Born was his [child] an earthworm, came forth