Palm VIII

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The curious life is one that innately guides a person down an array of unbeaten paths, where new doors await to be opened and beauty can be found in every room and corner. This inquiring spirit can lead to cherished discoveries and creations such as the residences developed by The MacNaughton Group and Kobayashi Group, two local companies collectively rooted in innovation.

In this seventh edition of PALM, there are surprises at every turn of the page as we celebrate the endless curiosity that our islands inspire. The people and places featured in this issue beckon you to reexamine how the Hawaiian Islands are portrayed on the silver screen through the lens of its emerging local filmmaking community, to reconsider the food trends currently defining dining in Waikīkī, and to retread a familiar neighbor island through a road trip rich with charming oddities. We also take you into the secret royal chambers of ‘Iolani Palace and the hidden labs of the federal government’s most diverse seed farm— institutions dedicated to preserving the past and present for the future.

We hope you are inspired to constantly explore new and old surroundings with intrigue and be reenergized by the life you lead.

興味深い人生を送るずは、道なき道ぞず惹き぀けられおいくこず。 そこには新しい扉が開かれるのを埅っおいたす。扉の向こうには、 どの郚屋のどの片隅にもそれぞれの矎が芋぀かるこずでしょう。

探求し続ける粟神は、思いがけない発芋や創造ぞず぀ながっお いきたす。革新性をその基本理念に持぀2぀のハワむ䌁業、ザ・マ クノヌトン・グルヌプずコバダシ・グルヌプが開発したレゞデンス にも、そんな発芋ず創造が結実しおいたす。 今回お届けするPALMマガゞン第7号では、このハワむず いう土地が私たちの前に垞に芋せおくれるさたざたな驚きをご 玹介しおいたす。どのペヌゞにも、興味深い人びずや堎所ずの思 いがけない出䌚いが芋぀かるこずでしょう。映画通のスクリヌン に映し出されるハワむ像を刷新する、ハワむの新䞖代映画䜜家 たち。ワむキキのダむニングシヌンを再定矩し぀぀ある新しい食 のトレンド。慣れ芪しんだネむバヌアむランドの颚倉わりな魅力を 再発芋するロヌドトリップ。さらに、王族たちの遺物を保管するむ オラニ宮殿の秘密の小郚屋や、米囜政府が管理する倚様性に富 んだ怍物の皮子バンクなどもご玹介しおいたす。そこでは、未来 のために過去ず珟圚を保存しようず人びずが力を泚いでいたす。 皆様にずっお、これらのストヌリヌが呚囲の新しいものや 叀いものを再発芋し、生掻の䞭にいきいきずした゚ネルギヌを芋 い出すためのヒントずなるよう、願っおいたす。

14 LETTER From the Developer

CEO & PUBLISHER

Jason Cutinella

CHIEF CREATIVE OFFICER & EDITOR

Lisa Yamada-Son lisa@nmgnetwork.com

CREATIVE DIRECTOR

Ara Laylo

EDITORIAL DIRECTOR

Matthew Dekneef

ASSOCIATE EDITOR

Anna Harmon

PHOTOGRAPHY DIRECTOR

John Hook

TRANSLATIONS Japanese Yuzuwords

Korean AT Marketing

MEDIA

Gerard Elmore

Lead Producer

Kyle Kosaki

Video Producer

Shaneika Aguilar

Junior Video Editor

Aja Toscano

Network Marketing Coordinator

ADVERTISING

Mike Wiley

Group Publisher

mike@nmgnetwork.com

Francine Naoko Beppu

Network Strategy Director

Chelsea Tsuchida

Marketing & Advertising Executive

Helen Chang

Marketing & Advertising Executive

Kylee Takata Sales Assistant

OPERATIONS

Joe V. Bock Chief Revenue Officer

Gary Payne VP Accounting

Courtney Miyashiro

Operations Administrator

PUBLISHED BY: NMG Network

36 N. Hotel St. Ste. A Honolulu, HI 96817

© 2018–2019 by Nella Media Group, LLC. All rights reserved. No part of this publication may be reprinted without the written consent of the publisher. Opinions are solely those of the contributors and are not necessarily endorsed by NMG Network.

PALM is published exclusively for:

The MacNaughton Group & Kobayashi Group

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18 TABLE OF CONTENTS ARTS 24 In Focus BUSINESS 36 Courting Waikīkī 46 Plants for Posterity CULTURE 58 Treasured Past 68 Canine Companions DESIGN 82 Architecture for All 100 The House Guest ESCAPES 116 Surf Safari 126 A Curious Crossroads FARE 140 Globally Sourced 116 100 ON THE COVER
The cover image photographed by IJfke Ridgley featuring model Valerie Ferguson.

未来に䌝える皮

衚玙

写真アむフク・リッゞリヌ、モデ ルノァレリヌ・ファヌガ゜ン。

20 目次 アヌト 24
ビゞネス 36 ワむキキを魅了する食 46
銀幕のハワむ
文化 58
68
デザむン 82
100 ファッション ゚スケヌプ 116 サヌフ・サファリ 126
食 140
王囜の遺品
ベストフレンドたち
すべおの人のための建築
ビッグアむランドののんびりドラむブ
グロヌバルな食料品店
46 82

HONOLULU

U pgrade to Perfection

BEOLAB 50

Continuing our endeavors to create the future of sound, the new BeoLab 50 delivers truly exceptional performance with innovative sound controls and a uniquely unfolding design. A high-end active loudspeaker with a modest footprint that feels at home in any interior. With its slender, tall silhouette and rounded base, BeoLab 50 stands proud without being obtrusive. The aluminium surfaces and warm oak lamellas are inherently Bang & Olufsen in a refined and visionary design.

BEOVISION ECLIPSE

BeoVision Eclipse is the definitive TV featuring the latest 4K HDR OLED screen technology and the world’s best TV sound. The brightest and most vivid colors imaginable delivered with absolute black contrast, lets BeoVision Eclipse reproduce cinematic imagery true to the original source.

560 N NIMITZ HWY, SUITE 105 HONOLULU, HAWAII 96817 808.284.1800 WWW.BANGANDOLUFSENHONOLULU.COM
visit us for more details on our residential program

Visual that amplify

notions

AR TS

A PALM アヌト

CUL TU RE

of place that A sense fosters the human spirit

the soul of the city

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In Focus

銀幕のハワむ

Text by Nazareth Kawakami

文 = ナザレス・カワカミ

Images by John Hook

写真 = ゞョン・フック

Film stills courtesy the filmmakers

映画のスチヌル写真は補䜜者提䟛

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A manifold group of independent Hawai‘i filmmakers are expanding the islands’ cinematic persona with stories that push against popular postcard notions of island living.

ありふれた絵葉曞の颚景からリアルな物語ぞ。ハワむの倚様なむン ディペンデント映画䜜家たちが、スクリヌンに映し出されるハワむの 姿をより幅広く陰圱に富んだものにしおいたす。

하와읎에 대한 얞꞉은 닚순한 천국의 읎믞지륌 연상

시킚닀: 잔디 깎는 ê³³, 하얀 몚래 í•Žë³€, 훌띌 소녀. ê·ž

러나, 하와읎 소재 독늜 영화 제작자듀로 구성된 새

로욎 귞룹읎 상혞 작용적읞 공간 확장에 따띌 읎러한

폐쇄적읞 튞래픜듀을 핎첎하고 있닀.

On December 28, 1895, curious Parisians purchased tickets to enter the basement of a café, where they would become audience members at one of the first public movie screenings. The movies each ran roughly 50 seconds long, and included Sortie des Usines LumiÚre à Lyon, which translated means “Workers Leaving the LumiÚre Factory.” Sortie des Usines LumiÚre à Lyon lacks any aspect of a narrative—it is very literal in its title. Yet the audience was captivated. Since that screening in 1895, film narratives have developed far beyond that of French workers meandering about a factory. Through film, the expanse of human imagination and sincerity is explored. Where this exploration has often fallen short is in its

1895幎12月28日、奜奇心でいっぱいのパリゞャンたちが入堎刞を 買い求め、ずあるカフェの地䞋宀に詰めかけたした。これが䞖界初の 商業映画䞊映䌚の䞀぀でした。その日公開された映画は、いずれも 長さ50秒。その䞀぀は『Sortie des Usines LumiÚre à Lyon』぀ たり「リュミ゚ヌル工堎から出おくる劎働者たち」ずいう題名でした。 ストヌリヌらしいものは䜕もなく、ただ人びずが工堎から出おくるず いう、タむトルのたたの内容です。それでも芳客は魅了されたした。 この1895幎の封切り以来、映画のストヌリヌは「工堎から出 おくる劎働者たち」をはるかに超えお発展しおいきたした。人類は、

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representation of non-Western cultures—an egregious offender being films set in Hawai‘i that perpetuate clichés like grass shacks, uneducated natives, and any number of unfortunate tropes that continually paint Hawai‘i as a paradisiacal backdrop lacking depth or trauma. In over a century of cinema’s growth as a medium, the inability of nonHawaiian filmmakers to portray Hawai‘i and its cultures as three-dimensional have limited their narratives, rendering them bland and, oftentimes, predictable.

However, Hawaiian filmmakers’ narratives are as vibrantly diverse as they are compelling.

“What’s remarkable about this moment in time is that I don’t believe there is a singular narrative being perpetuated locally,” says Alika Maikau, the co-director of Mauka to Makai. In his short film, Maikau and co-director Jonah Okano send their lead characters—two cousins who have recently become involved in drugtrafficking—on a dangerous journey from Kāne‘ohe to Kailua. The narrative explores their relationship to each other and to the land that they traverse; a land which, despite its beauty, is host to the profoundly troubled realities of the characters of the film.

想像力ず誠実性ずを映画を通しお探求し続けおきたず いえたす。しかし、この探求が実を結ばないこずが倚か ったのが、非西掋文化の描き方でした。ハワむを舞台ず した映画にも、藁葺きの小屋、教逊のない珟地人ずいっ た盞も倉わらずのステレオタむプを繰り返し描く䟮蟱 的なものや、単なる曞き割りのような舞台ずしおの、深 みや痛みを持たない楜園ずいった残念な描き方が倚く 芋られたした。映画は1䞖玀以䞊にわたっお成長しおき たしたが、倖から来た映画䜜家はハワむずその文化を 立䜓的に描くこずが少ないため、ハワむを舞台ずする映 画の物語は倉化に乏しく、倚くの堎合ごくありふれた内 容になっおいたした。

しかし、珟代ハワむの映画䜜家が提䟛する物語 は、匷い説埗力ず同時にいきいきずした倚様性に溢れ おいたす。「今珟圚の状況が玠晎らしいのは、ハワむの ロヌカルに共通する特定の語り口ずいうものがないこ ずだず思うんです」ず語るのは、短線映画『Mauka to Makai』の共同監督であるアリカ・マむカりさん。もう䞀 人の監督ゞョナ・オカノさんず共に手がけたこの映画の 䞻人公は、ドラッグの売買に関わる2人の埓兄匟たち。

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702 SOUTH BERETANIA STREET, HONOLULU, HI 808.543.5388 | CSWOANDSONS.COM

In another short film, Kālewa, directed by Hawai‘i filmmaker Mitchel Viernes, the narrative takes the viewer into another world. The plot follows the experience of a Hawaiian astronaut sent to conduct research on a distant planet. However, despite the fantastical otherworldly setting, the drama of the film is anchored here in Hawai‘i, with the astronaut’s family; more specifically, his strained relationship with his father. “Kālewa is very much a story about making things right with the people we love, because we never know what might happen tomorrow,” Viernes says. Kālewa puts a Hawaiian character as far away from the islands as possible, while telling a story of the Hawaiian experience: one of personal strife and the importance of family.

The narrative diverges from the normal cliché, fulfilling the role of sci-fi/thriller while remaining an approachable, empathetic drama. “I do believe many local filmmakers tend to lean towards telling dramatic fictional stories that reflect what life is like here in Hawai‘i from our perspective,” remarks Viernes, “rather than what has been typically portrayed in movies from Hollywood.”

There is no singular narrative shared by Hawai‘i’s filmmakers. It is the inherent authenticity and the unyielding sincerity of their perspectives as Hawaiians that unifies the directors and their films. In Waikiki, directed by Chris Kahunahana, the story centers on a hula dancer whose job is to create an image of paradise for visitors. However, the events of her own life reveal it to be an illusion. What makes Waikiki so compelling is not only the drama of the themes explored on screen, like abusive lovers, mental insanity, and the struggle of urban life, but also its unapologetic rejection of the clichés about Hawai‘i.

The involvement of narcotics in Mauka to Makai is also a departure from popular culture’s idea of what a film about Hawai‘i would entail, and a setting that would alienate most viewers who’ve grown accustomed to Hawai‘i’s generic cinematic persona, if not for the narrative being strung together by the development of the two main characters and their relationships. The characters and their interactions are familiar and “authentically” Hawaiian, meaning true to their Hawaiian roots, and pursuant of an honest depiction of the region, which co-director Maikau says was essential to the writing and casting. “I grew up in Kāne‘ohe, with the characters in this story,” he says.

These films diverge from the Hollywood norm, taking what could be construed as a typical modern Hawaiian narrative and turning it on its head. Starting with the Hawaiian Renaissance of the 1970s, in mediums like theatre and literature, there has been a slow departure from white-sand beaches and lovelorn sailors

映画はカネオヘからカむルアぞ向かう2人を远い、その危険に囲た れた状況を描きながら、2人の関係ず、圌らず土地ずの関係を探っお いきたす。矎しい土地の䞭に、登堎人物たちが深刻な問題を抱える 珟実が描かれたす。

やはりハワむの映画䜜家、ミッチェル・ノィ゚ルネスさんによる 短線映画『Kālewa』は、芳客を異䞖界に連れお行きたす。ストヌリヌ は、ハワむアンの宇宙飛行士が遠く離れた惑星で調査をするずいう 蚭定。舞台は宇宙ですが、ドラマの䞭心はここハワむで、宇宙飛行士 の家族、特に父芪ずの間の緊匵した関係が描かれおいたす。

「『Kālewa』は、倧切な人ずきちんずかかわるこずに぀いおの物語な んです。明日䜕が起こるかなんお、僕たちには分かりたせんからね」 ず、ノィ゚ルネスさんは説明したす。『Kālewa』はハワむアンの䞻人公 をこの島々からはるか遠くぞ連れ出しながら、察立ず家族の重芁性ず いうハワむの物語を語っおいるのです。

ありきたりのステレオタむプから離れ、SFスリラヌ映画ずしおの 性栌もたっずうしながら、芪しみやすく共感できるドラマになっおい たす。「ロヌカルの映画䜜家の倚くは、自分たちの目線から芋たハワ むの暮らしを反映したドラマチックなフィクションを䜜ろうずしおい るんだず思いたす。ハリりッド映画でこれたでよく描かれおきたハワむ ではなくおね」ず、ノィ゚ルネスさんは語りたす。

ハワむの映画䜜家たちの間に共通する単䞀のテヌマずいうも のはありたせん。圌らずその䜜品に共通しおいるのは、ハワむに生た れた者ずしお受け継いだ立堎の正統さ、そしおあくたでも真摯な芖点 です。クリス・カフナハナさん監督の䜜品『Waikiki』の䞻人公は、芳光 客のためにパラダむスのむメヌゞを䜜るこずを仕事にしおいるフラダ ンサヌ。でも、圌女の身の䞊に起こる出来事から、それが幻想に過ぎ ないこずが明らかにされおいきたす。この映画が力匷く芳客を惹き぀ けるのは、暎力をふるう恋人、粟神疟患、郜垂での困難な生掻ずいっ たテヌマを扱うドラマであるず同時に、ハワむに぀いおのステレオタ むプをきっぱりず吊定しおいるからでしょう。

『Mauka to Makai』で扱われおいる麻薬問題も、䞀般にハワ むの映画ず聞いお期埅されるような内容からは倧きく螏み出したも の。これたでに映画で芋慣れおきたハワむしか知らない芳客にずっお は近づきにくく感じるかもしれない蚭定ですが、その䞭で玡がれおい く2人の䞻人公の物語ずその関係性によっお、誰もが぀ながりを感じ やすいものになっおいたす。登堎人物たちずその関係は、違和感のな い「本物の」ハワむアンらしく描かれおいたす。ハワむアンずしおのル

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Mitchel Viernes, the director and screenwriter of Kālewa , outside the Hawaii Filmmakers Collective in Honolulu. At left, a still from the film, Mauka to Makai . At right, a scene from Waikiki

in favor of more earnest, diverse depictions of Hawaiian themes and perspectives. While Hollywood is slow to produce the sort of genuine narratives that Hawai‘i deserves, the filmmakers of Hawai‘i are getting it done—and they’re doing an excellent job. Perhaps the day will soon come when moviegoers unfamiliar with our islands will hear of a Hawaiian film and recall, rather than paradisiacal tropes, narratives with authenticity and depth; perhaps Mauka to Makai’s drug-fueled tragedy, Kālewa’s beautifully surreal landscapes, or the strained idealistic facade of Waikiki

ヌツに忠実に、この土地の玠顔をありのたたに映し出す こずが、物語の䞊でもキャスティングの䞊でも絶察的な 条件だったず、共同監督のマむカりさんは語りたす。「僕 はカネオヘで育ったんです。この物語に出おくるような人 たちず䞀緒にね」ずマむカりさん。

これらの映画はハリりッドのパタヌンから螏み出 しお、たったく新しい珟代ハワむの物語を䜜り出しおい たす。1970幎代の「ハワむアン・ルネッサンス」運動以 降、挔劇や文孊などの䞖界では、癜い砂ず倱恋した氎兵 ずいったそれたでのお決たりの題材から、より真摯で倚 様性に飛んだハワむの題材ず芖点ぞず少しず぀移行し おきたした。ハリりッドからは本圓にハワむにふさわしい 物語がなかなか䜜り出されおいたせんが、ハワむの映画 䜜家たちがその仕事を匕き受け、玠晎らしい䜜品を生 み出しおいたす。

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There is no singular narrative shared by Hawai‘i’s filmmakers. It is the inherent authenticity and the unyielding sincerity of their perspectives that unifies the directors and their films.

Trends that drive

BU SIN ESS

B PALM ビゞネス

the economy

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Courting Waikīkī

ワむキキを魅了する食

Text by Martha Cheng

文 = マヌサ・チェン

Images by Skye Yonamine

写真 = スカむ・ペナミネ

There has never been a better time to dine in Waikīkī. In the past two years, more than 20 restaurants have opened in the heavily touristed neighborhood once shunned by locals and dominated by menus with expensive surf-and-turf clichés. Now you can experience a $300 omakase of around 30 courses prepared by one of Japan’s most acclaimed sushi chefs at Sushi Sho in the Ritz-Carlton, and less than half a mile away, in the basement of the Waikiki Shopping Plaza, eat some of the lightest and most perfectly fried tempura in the state for less than $15 at Kaneko Hannosuke at Waikiki Yokocho.

Straight-from-Japan chains dominate the spate of new restaurants drawn in by a development frenzy buoyed by record numbers of visitors to O‘ahu and a growing market of higher-income residents on the island. Among these are TsuruTonTan Udon Noodle Brasserie in the Royal Hawaiian Center, which serves fresh, firm udon noodles in broths ranging from uni

From chef-driven concepts to international chains, a new wave in dining is shaking up Waikīkī’s culinary scene.

シェフが䞻導するコンセプトを掲げるレストランから囜際的チェ ヌンたで。ワむキキのダむニングシヌンに新顔レストランの波が改 革を起こしおいたす。

ワむキキでの倖食は今、か぀おないほど充実しおいたす。 以前 はありふれた魚介ずステヌキの高額なコヌス料理ばかりが目立 ち、地元䜏民には敬遠されおいたワむキキでしたが、今ではザ・ リッツ・カヌルトンの「すし匠」で日本屈指の寿叞職人の手による 300ドルのおたかせコヌスを楜しんだり、「ワむキキ暪䞁」でハワ む最高の倩ぷらを15ドル以䞋で楜しむこずもできるのです。 ワむキキには過去2幎間で20軒以䞊のレストランがオヌプ ンしたしたが、その倧半を占めるのが日本発のチェヌン店です。  その䞀぀が、ロむダル・ハワむアン・センタヌにオヌプンした「぀る ずんたん」。 雲䞹クリヌムや梅しそのかき氷ずいったナニヌクな メニュヌで、コシのある新鮮なうどんを提䟛しおいたす。たた、「ワむ キキ暪䞁」にはフヌドホヌル圢匏で13の店舗が軒を䞊べおいた すが、その倚くが日本の倧手倖食チェヌンの海倖初店舗です。

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B BUSINESS Waikīkī Dining

와읎킀킀의 반겜 1마음 읎낎에서 겜험하는 음식의 범위는

ê·ž 얎느 때볎닀 ë„“ë‹€. 여러분은 섞계에서 가장 훌륭한 슀시

요늬사 쀑 한 명읎 15달러짜늬 템푞띌 식당 귌처에 있는 것을 발견할 수 있습니닀. 와읎킀킀 개발 추섞는 섞계 죌요

도시에서 벌얎지고 있는 추섞 쀑 하나입니닀. 개발자듀은 êž°ì¡Ž 레슀토랑에 구애륌 하고, 죌방장 쀑심의 컚셉곌 읞Ʞ

있는 국제적 첎읞읎 귞것입니닀.

From Mahina & Sun’s to Dukes Lane Market and Eatery, the common thread of these new restaurants is that they are not the restaurateurs’ first businesses. This reflects a larger trend in many major cities around the world: developers collaborating with established restaurateurs, chef-driven concepts, and popular international chains. Image by Laura La Monaca.

cream to ume shiso shave ice, and Waikiki Yokocho, a food hall that contains 13 eateries, many of which are the first U.S. locations of large Japanese chains. This includes Nana’s Green Tea, which Frank Clark, the CEO of Waikiki Yokocho, calls the “Starbucks of green tea;” it has 81 locations in Japan.

Clark, who also owns Real Select International, a real-estate company for commercial and luxury residential properties, and who previously founded a businessconsulting company specializing in the Japanese market, believes the landscape of the restaurant industry is shifting in Japan. “Restaurants are all kind of maxed out in Japan,” he says. “They’ve hit their peak with 650 stores, 150 stores. Their

その䞭にはワむキキ暪䞁のCEO、フランク・ クラヌクさんが「緑茶版スタヌバックス」ず 呌ぶ「ナナズ・グリヌンティヌ」もありたす。

日本垂堎に特化したビゞネスコンサル ティング䌚瀟の蚭立経隓も持぀クラヌクさ んは、日本の倖食産業に぀いお「日本垂堎 は飜和状態です。倚くの䌁業は米囜進出を 次の目暙ずし、ホノルルをその足がかりず考 えおいたす。文化的にも銎染みが深く、地理 的にも日本から近いですから」ず語りたす。 もちろん、ハワむに進出しおいるのは日 本䌁業だけではありたせん。぀るずんたんの 向かい偎には、銙枯のミシュラン䞀぀星店か ら始たった有名な飲茶チェヌン「ティム・ホ ヌ・ワン」がオヌプンしたした。たた、アメリカ

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Waikiki Yokocho is one of four new food halls that opened in Honolulu in 2017, and Waikīkī is home to three of them.

next alternative is the United States. A lot of these guys would consider [Honolulu] as a stepping stone 
 because of its similarity in language and culture, and the distance is closer.”

But Japanese companies are not the only ones expanding into Hawai‘i. Across from TsuruTonTan is Tim Ho Wan, a chain that started with a Michelin-starred dim sum restaurant in Hong Kong and is famous for its char siu bun capped with a thin, shortbread-like crust. Restaurant concepts by celebrity chefs from the continental U.S. and Hawai‘i include Stripsteak by Michael Mina and Roy Yamaguchi’s Eating House 1849, both of which are housed in the gleaming, glitzy new International Market Place. Over at The Surfjack, a boutique hotel, Kaimukī’s Ed Kenney established his first restaurant in Waikīkī, Mahina and Sun’s.

The common thread of almost all the new restaurants is that they are not the restaurateurs’ first businesses. This reflects a larger trend in many major cities around the world: developers courting established restaurateurs, chef-driven concepts, and popular international chains. In many ways, it is an updated version of the infiltration of cities by mid-size chains such as the Cheesecake Factory tailored to an increasingly food-obsessed and well-traveled world.

本土やハワむのセレブシェフが手がけたレストランもありたす。むンタ ヌナショナルマヌケットプレむス内にはマむケル・ミヌナ氏の「ストリ ップステヌキ」や、ロむ・ダマグチ氏の「むヌティング・ハりス1849」が オヌプンし、独立系ホテルのザ・サヌフゞャック内には、カむムキで掻 躍する゚ド・ケニヌ氏が「マヒナサンズ」をオヌプン、初めおワむキキ に進出したした。

これらの新レストランのほがすべおに共通しおいるのは、ワむキ キ店が圌らの第1号店ではないずいうこず。これは䞖界各地の䞻芁 郜垂におけるトレンドを反映しおいたす。デベロッパヌは、すでに成 功しおいるレストランやシェフ䞻導のコンセプトを持぀レストラン、 人気のある囜際的チェヌンに声をかけたす。こうした動きは、「チヌズ ケヌキ・ファクトリヌ」のような䞭芏暡チェヌン店展開が行き枡った 埌の次のステップであり、たすたす食にこだわり、たすたすよく旅をす るようになった顧客局のための新しいトレンドだずいえるでしょう。 ワむキキに突然増えたフヌドホヌルフヌドコヌトの高玚版 も、流行を反映しおいたす。アメリカにおけるフヌドホヌルの数は 2016幎に37パヌセント増え、105か所にのがりたした。商業䞍動

PALM 40 B BUSINESS Waikīkī Dining

AN ARTFUL LIFE

FAVORITE ARTIST: Richard Diebenkorn. An artist’s artist.

FAVORITE POSSESSION : My 1950s Ossipoff house.

FAVOR ITE COCKTAIL : Anything with lime, mint or grapefruit.

FAVORITE DESTI NAT IONS: New York and Naoshima Island, Japan.

WINDOW OR AISLE : Aisle. J ust in case you have to go

GU ILT Y PLEASURE : Binge watching a mini-series.

BUCKET LIST GOAL: Golf ing at Augusta National.

I COLLECT : Art. Anything that inspires me, engages me, or challenges me.

WHY THE PRIVATE BAN K? At the end of the day, I feel so taken care of and that someone is looking out for me. It’s a really great feeling. ARTIST / ART DEALER

KE L L Y S UE D A boh.com/kellysueda
Sueda
perfect balance. The individuals and/or owners of any other trademarks, logos, brands or other designations or origin mentioned herein did not sponsor, approve or endorse this advertisement, or the views expressed herein. Member FDIC ©2018 Bank of Hawaii
From artist to art dealer, Kelly
strikes a

The sudden influx of food halls (which are usually just fancified food courts) in Waikīkī also tracks a global trend. Their numbers grew by 37 percent to 105 in 2016 in the United States and are predicted to double by 2019, according to commercial real-estate firm Cushman and Wakefield. Four new food halls opened in Honolulu in 2017, and Waikīkī is home to three of them: Waikiki Yokocho; The Street, orchestrated by Michael Mina; and Dukes Lane Market and Eatery, a new venture by ABC Stores. Paul Kosasa, CEO of ABC Stores, says the developer of the new Hyatt Centric Waikiki Beach hotel approached him for ideas for the ground-floor space. Kosasa decided on a food-service concept. “Food is very popular,” he says. “You can see it popping up all over the world in the form of restaurants and food halls.”

Developers may be attracted to food as a growing market, but they are also fleeing a shrinking one. “The reason why people are looking at restaurants now is because the retail market is much softer in Waikīkī [than it once was],” Clark says. In a world where so much can be bought online, “people are looking at dining options.”

The problem is everyone had the same idea. So what is a boom for diners could be a bust for business owners. Neither Clark nor Kosasa knew that so many restaurants—or even other food halls—would be opening at the same time. “It’s probably oversaturated,” Kosasa admits. After less than a year in business, Baku and Yauatcha in the International Market Place have already closed.

Clark says he opened Yokocho later than anticipated, partially because “with an influx of 60 to 70 restaurants opening at once [on O‘ahu], we experienced the delays in permitting.” He also pushed back Yokocho’s opening so that its unveiling wouldn’t be at the same time as those of The Street, Dukes Lane, and Shirokiya’s Japan Village Walk food court at Ala Moana Center. “We didn’t want to be in the middle,” he says, “because no one remembers the middle guy.”

In addition to permitting delays, the biggest problem all the restaurants face is a labor shortage, exacerbated by the influx of new businesses. With Honolulu’s unemployment rate at 2.6 percent as of June 2018, restaurateurs are finding it hard to hire and keep workers.

But for now, the boom in restaurants is luring in locals. While Clark is primarily targeting the Japanese tourist market, he finds that 25 percent of his customers are Hawai‘i residents. It’s a higher number than he anticipated, but he attributes it to Yokocho’s affordable and authentic Japanese food.

産䌁業クッシュマン・アンド・りェむクフィヌルド瀟は、その数が2019 幎たでに倍になるだろうず予枬しおいたす。 ホノルルには2017幎 に4぀の新しいフヌドホヌルがオヌプンし、そのうち3぀ワむキキ暪 䞁、マむケル・ミヌナ氏の「ザ・ストリヌト」、ABCストアの新事業であ る「デュヌクス・レヌン」がワむキキにありたす。ABCストアのCEO、 ポヌル・コササさんは、新しいハむアットセントリックホテルの開発䌁 業に1階スペヌスで事業をしないかずもちかけられ、フヌドサヌビス を手がけるこずにしたそうです。「食関連は䞖界䞭で泚目されおいた す」ずコササさん。 デベロッパヌはフヌドビゞネスを魅力ある成長 垂堎ずしお捉えおいたすが、同時に瞮小する垂堎からは撀退しおいた す。「人々がレストランに泚目しおいるのは、ワむキキの小売垂堎が以 前よりも匱くなっおいるからです」ずクラヌクさんは語りたす。なんで もむンタヌネットで買えおしたう今、「人びずの興味は倖食に向いお いるのです」ずクラヌクさん。

問題は、誰もが同じように考えおいるこずでしょう。消費者にず っおのブヌムが経営者にずっおは危機ずなるこずもあるのです。クラ ヌクさんもコササさんも、これほど倚くのレストラン、たしおや他のフ ヌドホヌルが同時にオヌプンするずは予枬しおいたせんでした。 ク ラヌクさんによるず、ワむキキ暪䞁のオヌプンは圓初の予定より遅く なったそうです。理由の䞀぀は、オアフに同時期に60軒から70軒ほ どのレストランがオヌプンしたため、営業蚱可の取埗に遅れが生じた こずだずいいたす。蚱可取埗の遅延に加え、新しいビゞネスの増加に よっおたすたす深刻化する人手䞍足の問題もありたす。ホノルルの倱 業率は2.6パヌセントず䜎く、レストランは埓業員の確保ず維持に苊 劎しおいたす。

しかし珟圚、レストランブヌムは䜏民たちを呌び寄せおいたす。

クラヌクさんは日本からの芳光客を䞻なタヌゲットずしおいたした が、蓋を開けおみるず顧客の25パヌセントはハワむ䜏民だったそう で、手頃な䟡栌ず本栌的な日本食が人気の理由だず考えおいたす。

たた、ほかにはないナニヌクな食事䜓隓も、ワむキキのレストランに 人が集たる理由のひず぀でしょう。 䜏民も芳光客も、10垭しかない 「すし匠」の予玄を競い合っおいたす。この店を指揮するのは、創造 的な挑戊を求めお日本からハワむぞやっおきた䞭柀圭二氏。䞭柀氏 はほずんど忘れ去られおいた江戞前寿叞の技術を埩掻させ、10日間

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Breakfast at Mahina and Sun’s at The Surfjack Hotel and Swim Club, where chef Ed Kenney established his first restaurant in Waikīkī. Image by Laura La Monaca.

Previous page, inside Dukes

Lane Market & Eatery, a concept fusing innovative dining in Waikīkī. Image by Redefined.Media.

While prices (and the copious parking at International Market Place) are certainly a draw for many locals, so is the chance to have an utterly unique dining experience. Both visitors and residents vie for the 10 seats at Sushi Sho, helmed by Keiji Nakazawa, who left his restaurant in Japan for Hawai‘i in search of a creative challenge. He resuscitates esoteric Edomae sushi techniques with 10-day-aged, wild yellowtail nigiri and slightly fermented moi, defying the contemporary notion that fresh is always best. But he doesn’t hew strictly to tradition; his omakase showcases a bite-size riff on laulau and a surf-and-turf of snail roe, caviar, and uni on chawanmushi. That reservations here are so hard to come by proves that while quality and tastes from around the world are increasingly accessible, creativity remains rare and valuable.

熟成させたブリの握り、わずかに発酵させた モむずいった寿叞ねたを䜿い、新鮮なものが 垞にベストだずいう通念に挑戊しおいたす。

しかし、䌝統に厳密に埓っおいるだけではあ りたせん。䞭柀氏のおたかせコヌスには、ひ ず口サむズのラりラりや、カタツムリの卵ずキ ャビアずりニ入りの茶碗蒞しなども登堎した す。 この店の予玄は困難をきわめたすが、 それは、䞖界クラスの品質や䞖界の味がた すたす身近なものになっおいる珟圚でも、真 に創造的な食の䞖界が垌少で貎重であるこ ずの蚌明だずいえるでしょう。

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Plants for Posterity

未来に䌝える皮

Text by Martha Cheng

文 = マヌサ・チェン

Images by Kenna Reed

写真 = ケンナ・リヌド

46 B BUSINESS Prosperic Plants PALM

Within the barrack walls of a military base on O‘ahu is the United States Department of Defense’s only seed bank. The team behind it has been tasked with a beautiful challenge.

譊備厳重なオアフ島の軍事基地。そのバラックの壁の内に、倧切な 課題を蚗された囜防省唯䞀の皮子バンクがありたす。

였아후군 자연자원 프로귞랚에 속한 곌학자와 환겜볎혞론자 팀은 하와읎 군대에서 발견된 ë©ž

종 위Ʞ에 처한 식묌 종을 수집, 볎졎, 전파하는

곌제에 직멎핎 있닀. 읎 나띌 얎디에서도, 심지

얎는 섞계 얎느 곳에서도, 멞종 위Ʞ에 처한 식

묌듀읎 귞렇게 많읎 있닀.

When Hurricane Lane threatened to hit O‘ahu, Kapua Kawelo and her team moved their living collection of endangered plants and trees from an adjacent greenhouse into their enclosed office. They packed in so many that in certain areas the foliage was impenetrable. In another room, almost 9 million seeds of 171 plant species—some that exist nowhere else— remained stored in refrigerators and a freezer set to minus 80 degrees Celsius. Facing the threat of disastrous flooding and wind, the keepers of Noah’s Ark of Hawai‘i’s endangered plants waited nervously.

ハリケヌン「レヌン」がオアフ島に接近しおいた時、カプア・カノェロさ んずそのチヌムは、絶滅危惧皮である草朚の生きたコレクションを、 隣接する枩宀から屋内のオフィスに移したした。あたりにも倚くの怍 物を詰め蟌んだため、人間の居堎所がなくなったずころもありたし た。さらに、冷蔵庫ずマむナス80床Cに蚭定された冷凍庫には、171 皮の怍物から採取された900䞇個近くの皮子が保管されおいたす。

その䞭には地球䞊でここにしか存圚しない皮子もありたす。いわば、 絶滅危惧怍物をおさめたハワむ版ノアの方舟です。その守り手たち

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The O‘ahu Army Natural Resources Program at Schofield

Army base manages the only seed storage in the state that is backed up by a generator. The team is tasked with collecting, preserving, and propagating endangered species found on Army lands in Hawai‘i.

Barracks

This team belongs to the O‘ahu Army Natural Resources Program, which has been tasked with collecting, preserving, and propagating endangered species found on Army lands in Hawai‘i. In a building deep within the Schofield Barracks Army base, they manage the only seed storage in the state that is backed up by a generator. It is also the U.S. Department of Defense’s only seed bank.

Hawai‘i is known as the endangered species capital of the United States. Of the 1,280 endangered animals and plants listed by the U.S. Fish and Wildlife Service, 557 are native to the Hawaiian Islands. Those that are endangered are critically so, “compared to mainland standards and even global standards,” Kawelo says. “Mainland things are endangered when 50,000 or 100,000 are left. Here, we’re lucky if we have five.” Now with the establishment of the Army Natural Resources Program’s seed bank, nowhere else in the country are so many plant species at risk of extinction.

In 1973, as President Nixon signed the Endangered Species Act into law, he said, “Nothing is more priceless and more worthy of preservation than the rich array of animal life with which our country has been blessed.” The act required federal agencies to consult with the USFWS to ensure their activities would not jeopardize endangered species. Two years after a slew of new plant species were listed as endangered in 1993, the Army Natural Resources Program on O‘ahu was initiated to conserve those found on training lands in Hawai‘i. While it endeavors to preserve endangered animals and insects, including the ‘elepaio and native tree snails, much of the program is focused on plants, of which there are about 120 at risk of extinction on Army lands alone.

Since its debut, the program has grown from two employees to about 50. Its biologists have rescued a few species from extinction. This includes the hāhā, a tree that looks as if it emerged from a Dr. Seuss book, with a tall, spindly trunk that erupts into broad, green leaves and chandelier-like clusters of long, white flowers. In 1995, there were only five of these trees in all of Hawai‘i; by 2003, they were all dead. From saved seeds, the Army Natural Resources Program team grew new hāhā and then planted them across the Wai‘anae mountain range. Now, there are more than 1,500 of the trees growing in the wild.

は深刻な措氎に芋舞われる可胜性に盎面し、ハリケヌンが通り過ぎ るのを固唟をのんで埅ちたした。 ハワむの陞軍甚地に生息する絶 滅危惧皮の採集、保存、育成を任務ずするこのチヌムは、オアフ島の 米囜陞軍自然資源プログラムに属しおいたす。スコフィヌルド・バラッ クスの奥たった䞀画にある建物の䞭で圌らが管理する皮子保管庫

は、ハワむ州では唯䞀、停電時でも発電機で維持できる䜓制を敎え たもの。 ここは米囜防省が持぀唯䞀の皮子バンクでもありたす。

ハワむは米囜内で最も絶滅危惧皮が倚い地域です。合衆囜魚 類野生生物局USFWSが指定した絶滅のおそれのある動物や怍 物1,280皮のうち、557皮がハワむ諞島原産です。 カノェロさんに よれば、それらの皮は「米囜本土の基準ず比べおも、さらには䞖界基 準からいっおも」重床の危機に瀕しおいるそうです。「本土の動怍物 は残存個䜓数が5䞇から10䞇になるず絶滅危惧皮ずみなされたす が、ここハワむでは、5個䜓でも残っおいれば幞運な方なのです」。陞 軍自然資源プログラムが皮子バンクを蚭眮したのはそのためです。こ れだけ倚くの怍物が絶滅にさらされおいる地域は他にありたせん。

1973幎、ニク゜ン倧統領は絶滅危惧皮法に眲名し成立させ た際に、「動物の豊かな倚様性ほど貎重で保護に倀するものはな い。我が囜は倚様な動物皮に非垞に恵たれおきたのだ」ず述べたし た。この法埋は、すべおの連邊政府機関に察し、絶滅危惧皮の存続 を脅かすこずがないよう、USFWSの助蚀を埗るこずを矩務づけおい たす。そこで、1993幎にUSFWSが䞀連の怍物皮を新たに絶滅危 惧皮に指定した2幎埌に、ハワむの蚓緎甚地に生える皮を保護する ためにオアフ島の陞軍自然資源プログラムが蚭立されたのです。同 プログラムぱレパむオハワむヒタキや原生皮の暹䞊性カタツム リなど絶滅危惧皮である動物や昆虫の保護にも務めおいたすが、䞻 に力を泚いでいるのは怍物の保護です。陞軍甚地に生えおいるもの だけでも玄120皮の怍物が絶滅の危機に瀕しおいるそうです。 プログラムの始動以来、職員は2名から玄50名に増え、専属 の生物孊者たちがいく぀かの皮を絶滅から救いたした。その䞭の䞀 ぀がハハ孊名Cyanea superbaず呌ばれる朚。ひょろりず高く 䌞びた幹の先端から倧きな緑の葉を攟射状に広げ、ぶらさがった 長い柄の先にシャンデリア状の束になった现長い癜い花を咲かせ る、たるでドクタヌ・スヌスの絵本から抜け出しおきたような姿の朚 です。1995幎にハワむ党土で5個䜓しか残っおいなかったこの朚 は、2003幎たでにすべお枯れおしたいたした。陞軍自然資源プログ ラムは、保存しおいた皮から新しいハハを皮苗堎で育お、ワむアナ゚

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To protect native forests, which are home to many endangered plants and animals, the biologists control invasive species—slugs, pigs, rats, and other introduced plants—through physical barriers and removal. For sometimes, saving cannot happen without killing. And sometimes, the field workers are intimately involved with each plant, hand-pollinating those that have lost pollinators like the endangered honeycreeper birds. They also collect seeds “which are destined for propagation or storage, a backup collection in case of hurricane or wildfire from Army training,” Kawelo says. Even when native forests are damaged without military involvement, the Army Natural Resources Program may step in, as is the case now: Kawelo hopes to reestablish a wiliwili forest that was annihilated in an August 2018 wildfire in Wai‘anae and Mākaha.

The seed bank’s biodiversity reveals itself in just a handful of seeds: the tiny black curlicues of ko‘oko‘olau; the bright orange-red wiliwili shaped like small kidney beans; the tufted, wispy na‘ena‘e. The bank is also a living library of history. Through its collection of endemic plants, endangered and not, Kawelo relays how Native Hawaiians used plants such as ‘ākia, how they pounded its bark and mixed it with bait to daze fish, making them easier to scoop up and catch. Wiliwili, with its light wood, was fashioned into surfboards.

After Hurricane Lane spared O‘ahu, Kawelo moved the plants back into the nursery, where the biologists continue to keep watch. They will continue to save what is disappearing, to propagate what we have already lost, to preserve a biodiversity that will help our future in ways that we cannot yet know.

山麓の各所に移怍したした。今では1,500個䜓を超えるハハの朚が 自然の䞭で育っおいたす。

たくさんの絶滅危惧皮の怍物や動物の生息堎所である原生林 を守るため、生物孊者たちは物理的な障壁や駆陀によっお、ナメク ゞ、ブタ、ネズミ、そのほかの䟵入皮のコントロヌルも行っおいたす。

カヌブした现いくちばしを持぀ミツスむずいう鳥絶滅に瀕しおいた すなどの送粉者がいなくなった怍物をフィヌルドワヌカヌが䞀぀ず ぀手䜜業で受粉させるこずもありたす。 フィヌルドワヌカヌは皮子 の採集もしたす。「採集した皮子は、繁殖甚か、ハリケヌンや陞軍の蚓 緎に起因する山火事が発生した堎合に備えたバックアップ甚の保存 に回したす」ずカノェロさん。陞軍自然資源プログラムは、軍の掻動 ずは無関係に原生林が損傷した堎合にその回埩を図るこずもありた す。珟圚は、2018幎8月にワむアナ゚ずマカハで発生した山火事で 壊滅的な被害を受けたノィリノィリの森を再生したいずカノェロさん は願っおいるそうです。

この皮子バンクが代衚する生物倚様性は、わずか䞀握りの皮 子にも衚れおいたす。くるんず巻いた小さな黒いコオコオラりの皮 子。鮮やかな橙赀色で、小粒の金時豆のような圢のノィリノィリの皮 子。そしお繊现な毛束のようなナ゚ナ゚の皮子など。皮子バンクは 生きた歎史図曞通でもありたす。ハワむ固有皮のコレクションを通し お、ネむティブハワむアンたちがどのように怍物を利甚しおきたかを 䌝承するのもカノェロさんの仕事です。たずえば、アキアは、その暹皮 をたたいお朰しお持の撒き逌に混ぜ、魚を麻痺させおすくい取りやす くするために䜿われおいたした。ノィリノィリは、朚質が軜いためサヌ フボヌドを䜜るのに利甚されおいたそうです。

オアフ島が幞いにもハリケヌン「レヌン」の盎撃を免れた埌、カ ノェロさんは避難させた怍物を皮苗堎に戻したした。そこでは生物 孊者たちがたゆみなく芳察を続けおいたす。 圌らはこれからも消え ゆく皮を救い、自然界ですでに絶滅しおしたった皮を繁殖させ、生物 倚様性を保存し続けおいきたす。 その怍物たちが、予想もできない 圢で私たちの未来を助けるかもしれたせん。

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PALM
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CUL TU RE

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C PALM 文化

fosters the human spirit

PALM C 57

Treasured Past

Text by Matthew Dekneef

Images by Michelle Mishina

Dinner invites, calling cards, and letters handwritten by Hawai‘i’s monarchs and officials.

58 C CULTURE ‘Iolani Palace PALM
王囜の遺品
文 =マシュヌ・デクニヌフ
=マむケル・ミヌシナ
写真

From royal jewelry to personal stationary, priceless items are housed in the hidden collections of ‘Iolani Palace, some of which have never been displayed.

王家の宝石から文房具たで。むオラニ宮殿に収蔵されおいる貎重な 品々の䞭には、䞀床も公開されたこずのないものもありたす。

하와읎 왕국읎 전복된 후, '읎올띌니 궁궐'의 묌걎듀은 공공

겜맀에 붙여졌거나 왕가의 부동산 맀맀로 팔렞닀. 궁궐의 수

집품 전묞가듀은 1970년대 박묌ꎀ 섀늜 읎후 잃얎버늰 묌걎

듀을 되찟Ʞ 위핎 음한닀. 많은 수의 작품듀읎 닀시 입수되

었고 많은 작품듀읎 음반읞듀에게 전시되얎 있지만, 여전히

박묌ꎀ의 개읞 소장품 낎에서 작품을 재발견하는데 있얎서

놀랍고 불가사의한 요소듀은 낚아있닀.

In a stark white chamber of ‘Iolani Palace’s collections room, a gold pocket watch rests on a piece of cloth fabric. The watch’s cover is inscribed with ornate script that reads KIK, the monogram of King Kalākaua. The gloved hands of collections specialist Halia Hester handle the object with a mix of care and anxiety that seems surgical, as if they are transporting a human organ. Hester admits she has never opened the watch before and her colleagues hold their collective breath. She unlocks it. Inside, opposite the watch’s face, an inscription reveals it belonged to Colonel Curtis Pi‘ehu Iaukea, presented to him by Queen Kapi‘olani on April 27, 1895. The glass surface of the timepiece is pristine. The clock’s hands are static, frozen in time.

PALM

むオラニ宮殿の収蔵品を収めた真っ癜な壁の小郚屋。垃の䞊に金の懐䞭時蚈 が眮かれおいたす。時蚈の蓋には「KIK」ずいう食り文字。これはカラカりア王の むニシャルです。収蔵品担圓のスペシャリストであるハリア・ヘスタヌさんが手 袋をはめた手で時蚈をそっず持ち䞊げたした。たるで人間の臓噚を扱う倖科医 のような、繊现で慎重な手぀きです。ヘスタヌさんも実はこの時蚈を開けおみ るのは初めおだそうです。同僚たちが息を詰めお芋守る䞭、ヘスタヌさんは時 蚈の鍵を倖し、蓋を開けたした。蓋の内偎には文字盀ず向き合っお文字が刻た れ、1895幎4月27日にカピオラニ女王からカヌティス・ピ゚フ・むダりケア倧 䜐に莈られたものだず分かりたす。ガラスの衚面は曇り䞀぀なく、新品同様。時 蚈の針は凍り぀いたたた昔の時を瀺しおいたす。

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CULTURE ‘Iolani Palace

There are other never-displayed relics from Hawai‘i’s royalty that Hester and her team have yet to reveal: a brooch and earrings fashioned of pink coral and seed pearls, a debonair three-piece silver smoking set, and a frosted glass decanter labeled “Oke,” shorthand for ‘ōkolehao, the liquor distilled from tī root that is popularly referred to today as “Hawaiian moonshine.” The most impressive, if intimidating, is a Scottish Rite 33-degree sword that belonged to Kalākaua, a reminder of his dynasty’s Freemason associations.

But the pocket watch feels emblematic of all the contents vaulted away on the top floor of ‘Iolani Palace—artifacts that represent a bygone area, trapped in time, yet still able to surprise and share stories anew.

It turns out that identifying the objects ‘Iolani Palace has not yet displayed is a challenge. The palace is a unique museum in the sense that most of its collection is already on view during guided tours of its rooms and corridors or has been included in special exhibits. Many of the never displayed pieces, like stationary, don’t fit the thematic scope of what’s encountered by guests in the Palace, or are simply too delicate, like jewelry, to be placed throughout the open rooms; others are waiting for the opportune moment to be curated into special exhibits on the basement floor. The palace’s total inventory of items, both seen and unseen by the public, numbers just more than 5,000.

As a result, the majority of what the specialists have gathered in response to this inquiry are noteworthy amounts of dinner invites, calling cards, and letters handwritten by Hawai‘i’s monarchs during travels abroad. Local history

ぞスタヌさんずそのチヌムが管理する収蔵 品の䞭には、このほかにもただ展瀺されたこずのな い王家の遺品がありたす。ピンクの珊瑚ず小粒真 珠をあしらったむダリングずブロヌチ。銀補の喫煙 具3点セット。「Oke」ず曞かれた、すりガラス補のデ カンタ。「Oke」はティヌの根からできる「オコレハ オ」ずいう蒞留酒のこず。このお酒は珟圚では「ハワ むのムヌンシャむン密造酒・自家補酒」ずしお知 られおいたす。䞭でも目を惹くのは、スコットランド の兞瀌甚の剣。カラカりア王の持ち物で、フリヌメ む゜ンず王宀の関係を瀺しおいたす。

でもむオラニ宮殿の地䞋に保管されおいる 品々を最もよく象城しおいるのは金の懐䞭時蚈で しょう。こうした収蔵品は、過ぎ去った時代の䞭で 凍り぀きながらも芋る人に新しい驚きを䞎え、物語 を䌝えおいるのです。

むオラニ宮殿でただ展瀺公開されおいない ものを探す、ずいうのは意倖に難しい仕事でした。 むオラニ宮殿はナニヌクな博物通でもありたす。 収蔵品の倧郚分はガむド぀きツアヌで芋るこずが でき、その他のものもほずんどは特別展瀺で公開 されおきたした。展瀺されたこずのない品々の倚く は、むオラニ宮殿がゲストのために甚意しおいるテ ヌマ別の展瀺に収たりきらなかった文房具などや、 垞蚭展瀺するには繊现すぎる宝食品などですが、 地䞋のギャラリヌフロアで特別展の機䌚を埅っお いるものもありたす。宮殿の収蔵品目録は、公開さ れおいるものず未公開のものを合わせお5,000点 を超えたす。

この取材に応えお宮殿の収蔵品スペシャリ ストが集めおくれた未公開品の倧半は、晩逐䌚ぞ の招埅状、名刺、ハワむ王家の人びずが海倖旅行 䞭に自らしたためた手玙の数々でした。カラカりア 王から1886幎に駐日ハワむ王囜代理公䜿ロバヌ ト・りォヌカヌ・アヌりィンに宛おた手玙では、ハワ む王囜の歎史ず倖亀䞊の展望が語られ、その2か

62 C CULTURE ‘Iolani Palace PALM

and diplomatic views are discussed in an 1886 letter from Kalākaua to Robert Walker Irwin, the Kingdom of Hawai‘i’s minister in Japan, in which he writes of a fire that burned down Chinatown two months prior and of obtaining Japanese laborers to dam up Leilehua Valley. In a personal note from Lili‘uokalani to a friend, she extends an invitation to go fishing, and that is all—a prosaic glimpse at the life of a future queen who was then just a princess with a penchant for spending a free day by the water like anyone else. There is a flourish and yet a weight to this everyday ephemera of royalty.

Piecing together ‘Iolani Palace is a bit like a jigsaw puzzle. Once the political epicenter of the Hawaiian Kingdom, the Palace seeks to restore it with its original contents—practically everything that now resides inside was put up for public auction or sold at a royal estate sale following the Overthrow. Zita Cup Choy, the resident historian and docent educator, has worked at ‘Iolani Palace for 41 years—“back when the Throne Room was just carpet, and that’s it!” she recalls—and has seen its collection grow since the museum opened its doors to the public in 1978. Scouring historical photographs, government inventories, and newspaper clippings, the collections team will establish the provenance of the items by looking for maker’s mark and transcribing detailed oral histories. This is how it has acquired everything from side tables to sets of china.

As the initial contact between donor and palace, the collections team is who verifies an item’s connection the Palace and answers that call, literally. “When the phone rings, I get ecstatic,” says Leona Hamano, the collection manager. “Who could be at the opposite end of the phone, right? Is it something they want to share with us or with the public?” Often, the query is not about an outright donation but rather a request to authenticate a piece in one’s possession. “Someone will call us because of a story their grandpa told them about something supposedly belonging to the Palace,” Cup Choy says. “They’re looking for information, and in the process of helping them find information, we’re developing a relationship.”

That donation process, from the initial call to an object’s acceptance by the Palace, can take more than a year. In some cases, it can take more than 20, as was the case with a window bench now off the Gold Room. “You have to respect that they are family heirlooms and they have an emotional connection to it,” Cup Choy says, of the items not yet returned to the Palace, elsewhere in the world and still unseen. “When they’re ready, it might come back.”

月前に起きたチャむナタりンの倧火灜、そしお日本からの移民劎働者の力でレ むレフア峡谷にダムを建蚭する蚈画などに぀いおも觊れられおいたす。リリりオ カラニから友人ぞ宛おた手玙は、魚釣りぞの招埅でした。ごく簡単な走り曞き は、その埌女王ずなる王女リリりオカラニの生掻をかいた芋せおくれたす。ほか の人びずず同じように、王女も氎蟺で過ごす気楜な1日が奜きだったに違いあ りたせん。王族たちの日垞を物語るこのような断片には、華やかさず共に重み も感じられたす。

むオラニ宮殿の遺物は、ゞグ゜ヌパズルのピヌスのようでもありたす。こ の宮殿はか぀おハワむ王囜の政治の䞭心でしたが、ハワむ王囜がクヌデタヌ によっお倒されたあず、䞭にあった調床品はすべお競売などで売りさばかれお したいたした。宮殿は王囜の圓時の姿に埩元しようず、それらを買い戻す運動 を続けおいたす。専任の歎史家であり、ドヌセントの指導を担圓しおいるゞヌ タ・カップ・チョむさんは、むオラニ宮殿に41幎間勀務しおいたす。宮殿が博物 通ずしお䞀般公開を開始した1978幎以来、収蔵品が少しず぀増えおいくの を芋守っおきたチョむさんは「最初は、玉座の間にはカヌペットが敷かれおい るだけで䜕䞀぀なかったんですよ」ず語りたす。収蔵品チヌムは、歎史的な写 真、政府の目録、新聞の切り抜きなどを手がかりに、補造者のマヌクや口䌝で 䌝えられおいる詳现ず突き合わせ、それぞれの品の来歎を突き止めおいきた す。サむドテヌブルから陶噚のセットたで、さたざたな品がそのようにしお䞀぀ ひず぀宮殿に戻されおいきたした。

収蔵品チヌムは寄莈者ず宮殿を぀なぐ窓口ずしお、寄莈品が確かにか぀ お宮殿にあった本物かどうかを確認したす。問い合わせの電話に最初に応える のはこのチヌムです。「電話が鳎るず、有頂倩になっおしたうんですよ」ず語るの は、収蔵品郚門のマネヌゞャヌであるレオナ・ハマノさん。「電話の向こうにいる のはどんな方かしら、ず想像が膚らみたす。私たちに䌝えたいこずがあるのか、 それずも広く䞀般に公開したい品があるのかしらず」。倧抵の堎合、問い合わ せの内容はすぐに寄莈したいずいう申し出ではなく、その人が所有しおいるも のの真莋を調べおほしいずいうリク゚ストです。「たずえば、自分の家にある品 はこの宮殿のものだずお祖父さんから聞いた、ずいう人が電話をかけお来るん です。皆さん、情報を知りたくお問い合わせおくるのですが、私たちはそのお手 䌝いをしながら信頌関係を築いおいきたす」ずチョむさん。

最初に電話があっおからその品を宮殿で受け取るたでの寄莈プロセス には、1幎以䞊かかる堎合もあり、珟圚「黄金の間」に展瀺されおいる窓蟺のベ ンチのように、ずきには20幎以䞊かかるこずさえありたす。「代々家族に䌝わっ おきた思い入れのある品物ですから、その意思は尊重しなければなりたせん」。

ただ宮殿に戻っおきおいない、䞖界のどこかに眠っおいる品々に぀いお、チョむ さんはそう語りたす。「時が来れば、戻っおくるかもしれたせんからね」。

66 C CULTURE Iolani Palace PALM

Canine Companions

by

Images by John and Samantha Hook

68 C CULTURE Dogs PALM
ベストフレンドたち
文 = ナニカ・゚スカランテ
写真 =ゞョン・フックサマンサ・フック

With these dashing pet portraits, Palm showcases the unique kinship between four-legged friends and their devoted owners.

四本足の忠実な友人たちず愛情溢れる飌い䞻たち。それぞれに特別 な絆で結ばれた家族のポヌトレヌトをご玹介したす。

전 섞계 사람듀에게 개는 천 년 전의 사냥

파튞너볎닀 훚씬 더 많닀. 읎 쎈상화 몚음

은 파크 레읞, 혞쿠아, 귞늬고 놀읎 친구

로부터 치유에 읎륎는 알띌 묎아나의 개

듀읎 하는 역할듀을 볎여죌고 있습니닀.

The bond between owner and dog is one that has withstood time. Surely, over a millennium of humans and domesticated dogs living side by side, this prehistoric connection has strengthened and evolved. Today, dogs are treated less as hunting companions and more as family members.

ペットず飌い䞻の間の絆は、はるか昔から受け継がれおきたした。歎 史家も、なぜ私たちがこれほどたでに犬たちに心を奪われるのかを 説明できないようです。犬ず私たちの共生関係は、人間が狩猟ず採取 の生掻をしおいた時代にさかのがるこずが知られおいたす。人ず犬ず は叀代から䜕千幎もかけお絆を匷めおきたしたが、珟代の私たちは 犬を狩猟の友ではなく、倧切な家族ずしお迎えおいたす。

70 C CULTURE Dogs
PALM

• • • TOBY

SHIBA INU, 8 YEARS OLD

Chihiro Ching, and daughter Jaden

Property Manager

Resident of One Ala Moana

Chihiro and her husband adopted Toby before they had children to warm up their old home. They refer to him as their practice baby. “He makes us calm, because he’s always well-behaved. That’s the biggest thing for me,” she says. “After Jaden was born, Toby was so good to her. He’s almost like an older brother. A lot of people see dogs just as animals, but truly he has a family presence.”

• • •

トビヌ

柎犬、8æ­³

チヒロ・チンさん嚘のゞェむデンちゃん プロパティ・マネヌゞャヌ ワン・アラモアナ圚䜏

チヒロさんご倫劻は、以前䜏んでいた叀い家を明 るくしようず、子どもが生たれる前にトビヌを飌い 始めたした。圓時はトビヌのこずを「緎習甚ベビヌ」 ず呌んでいたそうです。「この子はい぀もこんな具 合におずなしいので、私たちの気分も萜ち着かせ おくれるんですよ。私にずっおはそれが䞀番倧きい わね」ずチヒロさん。「ゞェむデンが生たれおから も、トビヌは本圓によくしおくれお、たるでお兄ちゃ んみたいでしたよ。犬を単に動物だず思っおいる人 も倚いけど、トビヌにははっきりずした家族の䞀員 ずしおの存圚感があるんです」。

•

• •

SHATZI & ELSA

DAPPLED MINIATURE DACHSUNDS, 8 YEARS OLD

Lynne Kaneshiro

Executive Advisor at Premier Title and Escrow Resident of Park Lane

“I just can’t live without dogs. I’ve had them since I was in high school,” Kaneshiro says. “They are the joys of my life, really.” Originally, Kaneshiro had adopted Shatzi and picked up Elsa for friends. When her friends realized they couldn’t take care of Elsa, Kaneshiro took her in as well. Now the twin daschsunds keep her company. “They make me so happy and love me unconditionally,” she says. “When I first saw this breed, they were already all spoken for. I loved them so much that I waited for the breeder to get a new litter. And they just love it here. They love walking within Park Lane. It’s so comfortable, and the feeling here is just warm.”

• • •

シャッツィ゚ルサ

ダップルのミニチュアダックスフンド、8歳

リン・カネシロさん、プレミア・タむトル・アンド・ ゚スクロヌの゚グれクティブ・アドバむザヌ、 パヌクレヌン圚䜏

「犬なしでは、私は生きおいけたせん。高校のずき以 来ずっず犬ず䞀緒でしたから。犬たちは私の人生の 喜びなんですよ、本圓にね」ずリンさんは熱を蟌めお 語りたす。圓初、リンさんはシャッツィだけを匕き取る ぀もりで、゚ルサは友人のために遞んだ犬だったそ うです。友人が゚ルサの䞖話をするこずができなくな った時、リンさんぱルサも䞀緒に飌うこずにしたし た。今では双子のダックスたちがい぀もリンさんのそ ばにいたす。「この子たちはい぀も本圓に幞せにしおく れるし、私のこずを無条件に愛しおくれたす。最初にこ の皮を芋たずきにはもう貰い手が぀いおいたのです が、あたりにも気に入っおしたったので、ブリヌダヌの ずころに次の子たちが生たれるたで埅぀こずにしたん です。この子たちも、うちがずっおも気に入っおたす。 パヌクレヌンの䞭を散歩するのが倧奜きなんですよ。 ずおも居心地が良いし、枩かい環境ですからね」。

BASENJI TERRIER, 8 YEARS OLD

“Our family had experienced a loss, and we just needed something that would help bring new life and youth into the household,” Brady says. “I was ambivalent about getting him for an apartment because we didn’t know what kind of dog he would be. But he loves it here. He hasn’t destroyed anything in the house since we got him.” Yaeger is named after the famous fighter pilot Chuck Yaeger. But Brady likes to say his name is short for the popular liquor JÀgermeister. “We take him down to the dog park or around Ala Moana Beach Park,” she says. “Everyone always says he’s a lucky dog—to go from the Humane Society to living in a luxury high-rise like this.” •

むェヌガヌ バセンゞヌ、8æ­³

ゞェニヌ・ブラディヌさん、䞍動産゚ヌゞェント、ホクア圚䜏

「家族に䞍幞があったあず、私たちは家の䞭に新しい呜ず若さを吹き蟌 んでくれる存圚を必芁ずしおいたした」ず、ゞェニヌさんは語りたす。「私 は最初、コンドミニアムでこの子を飌うのが良いこずかどうか、刀断が぀ きかねおいたした。むェヌガヌがどんな性質なのか分からなかったので。 でも、この子はここが倧奜きです。飌い始めおから、家の䞭で䜕䞀぀壊し たものはありたせん」。むェヌガヌの名前は、有名な戊闘機パむロット、チ ャック・むェヌガヌにちなんでいたすが、ゞェニヌさんは有名な匷いリキ ュヌル「む゚ヌガヌマむスタヌ」の略だず蚀うのが奜きです。「よくドッグ パヌクに連れお行ったり、アラモアナ・ビヌチパヌクの呚りを散歩したす。 みんな、この子のこずをラッキヌな犬だね、ず蚀うんです。ヒュヌメむン・゜ サ゚ティからラグゞュアリヌなタワヌの家に匕っ越したのですからね」。

• • • YAEGER
• •

• • • KAMBO

MINIATURE SCHNAUZER, 5 YEARS OLD

Leah Han

Business Owner

Resident of Park Lane

Miniature schnauzers are protective of their owners. Han considers Kambo her favorite little rascal. “We got him when he was only 2 months old. At first, I didn’t like him, but my daughter really wanted to have a dog. He helps my daughter and I bond,” she says. “We’ve had a lot of laughs with him. Without him, maybe we wouldn’t be able to connect as much. When we come home, he’s always happy to welcome us back. He’s the first dog I’ve had, so he’s pretty spoiled. Even the staff here spoils him. They’re great because when we’re not home, the staff takes care of him.”

• • • カンボ

ミニチュアシュナりザヌ、5æ­³

レア・ハンさん、ビゞネスオヌナヌ、パヌクレヌン圚䜏

ミニチュアシュナりザヌは、飌い䞻を守る意識がずおも匷い 犬です。レアさんは、カンボのこずを可愛いいたずらっ子だず 思っおいたす。「この子がただ2か月のずきに匕き取ったので す。私は最初、あたり奜きじゃなかったのですが、うちの嚘が 犬をずおも欲しがっおいたので。この子は、私ず嚘の絆を匷 めるのを助けおくれたした。この子がいるず、い぀も笑いが 絶えないんです。この子なしでは、きっず嚘ずの間の぀ながり をこんなに深められなかったかもしれたせん。私たちが家に 垰るたびに、い぀もずっおも嬉しそうに迎えおくれたす。私は 犬を飌うのが初めおなので、かなり甘やかしおいるず思いた すよ。ここのスタッフにも甘やかされおたすね。私たちが䞍圚 のずきにもスタッフが面倒を芋おくれるので、ずっおも助かっ おいたす」。

•

• •

PRINCESS

MALTI-POO (MALTESE-POODLE MIX), 9 YEARS OLD

Lynn Lally, and husband Jim Philanthropists

Residents of Park Lane

“She’s a rescue animal—we’re the third owners,” Lynn says. “Apparently her last owners abused her. When we got her, you could see all of her ribs and everything. But today, she’s the most happy and loving dog.” When Lynn suffered an asthma attack shortly after the adoption, the malti-poo immediately grabbed Jim from the other room. Lynn has considered Princess her guardian angel ever since. “She brings me so much joy and comfort. I initally got a dog on my doctor’s recommendation, to take care of my blood pressure. We weren’t ready to get one, but fell in love with her the first time we saw her.”

• • • プリンセス

マルプヌマルチヌズずプヌドルのミックス、9æ­³

リン・ラリヌさん、倫のゞムさん

慈善事業家

パヌクレヌン圚䜏

「この子は保護犬で、私たちは3番めの飌い䞻です」ずリ ンさん。「前の飌い䞻に明らかに虐埅されおいたようで、匕 き取った時にはあばら骚が党郚芋えおいたした。でも今で は、これ以䞊ないくらい幞せで愛情いっぱいの犬ですよ」。

プリンセスが匕き取られお間もない頃、リンさんは喘息の 発䜜に襲われたした。プリンセスはすぐにほかの郚屋にい たゞムさんを呌びに行ったそうで、それ以来、リンさんはこ のマルプヌを守護倩䜿だず思うようになったそうです。「こ の子は、喜びず癒やしを本圓にたくさん感じさせおくれる んです。最初は、血圧のために良いからずいう医垫の勧め に埓っお犬を飌うこずにしたんです。すぐに飌う぀もりでは なかったのですが、この子を芋た瞬間に奜きになっおした ったの」。

•

• • RAMSAY

LABRADOODLE, 5 œ YEARS OLD

Arlene Iwamoto

Retired

Resident of Park Lane

Ramsay’s priorities are food, people, and play—in that order, says Iwamoto. “My husband and I were interested in the labradoodle breed and heard about a breeder on Kona,” she says. “We had someone look at the pups and bring her over. And, of course, when you see first see them, it’s hard to say no. She’s the bridge between my husband and me. She’s the glue. It’s been a good transition for her when we moved to Park Lane. We have our own front yard, and she’s welcome anywhere.”

• • • ラムれむ ラブラドゥヌドル、5歳半

アヌリヌン・むワモトさん リタむア パヌクレヌン圚䜏

ラムれむが優先するものは、ごはん、人、そしお遊 び、ずいう順番だずアヌリヌンさんは笑いたす。  「私も䞻人もラブラドゥヌドルに興味を持っお いお、知人にコナのブリヌダのずころに仔犬を芋 に行っおもらったのです。そしおもちろん、ひず目 芋たらノヌずは蚀えたせんでした。この子は私ず 䞻人ずの間の架け橋にもなっおくれるんですよ。 糊みたいにね。パヌクレヌンに匕っ越したのも、 この子にずっおずおも良かったわね。うちには専 甚の前庭があるし、それにどこに行っおもみんな に歓迎しおもらえるんですから」。

flourishing

of creative facilities

PALM D 81 デザむン PALM 81
DE SI GN
The

Architecture for All

すべおの人のための建築

Text by Timothy A. Schuler 文 = ティモシヌ・A・シュラヌ

Images by John Hook & Skye Yonamine 写真 = ゞョン・フック、スカむ・ペナミネ

82 D DESIGN Preis PALM

The radical legacy of the architect Alfred Preis.

オアフ島に先進的なスピリットの遺産を残した、知られざる 建築家アルフレッド・プレむス

만앜 여러분읎 Ʞ능적윌로나 믞적윌로나 슐거욎 공공 구조 륌 볞닀멎, 여러분은 알프레드 프레늬슀가 감사하게 여Ꞟ

지도 몚늅니닀. 프늬슀는 USS 애늬조나 Ʞ념ꎀ의 걎축가

로 가장 잘 Ʞ억되지만, 섬 전역의 지역 녞동조합듀을 위한

디자읞 귞늬고 하와읎 자연의 아늄닀움을 볎졎하Ʞ 위한

위원회 의장 등 진볎적읞 우렀의 옹혞자였닀. 귞는 또한 하

와읎에서 최쎈로 죌 전첎의 계획 조정자가 되었고, 읞프띌

Ʞ능에서 믞학을 통합시킀는 선구자가 되었습니닀.

They reveal themselves by their doors. Walking down the dead-end street, I count one, two, three, at least half a dozen, and there are likely more, since several of the entrances are hidden behind screens or obscured by thick vegetation. The houses, in various states of disrepair, are clustered together, their paint fading in the Pālolo sun. No two are alike. Some are low and wide, with delicate wood posts supporting the eaves. Others are tall, two-story things, boldly painted to accentuate their features. And yet all of the houses share one particular detail: a door with a long, narrow window running down its center.

ドアが、その家々の玠性を物語っおいた。行き止たりになっおいる通りを歩き ながら、私はドアの数を数えた。1぀、2぀、3぀ 少なくずも6぀、おそらくはもっ ずあるだろう。いく぀かの入り口は、スクリヌンや生い茂った朚々の陰に隠れお よく芋えない。かたたっお建っおいる家々の状態はさたざただがどれも修理が 必芁で、パロロの匷い陜射しに照らされお、ペンキの色が耪せおいる。どれ䞀぀ ずしおほかず同じものはない。䜎く幅広いシル゚ットで、朚補の繊现な柱が庇を 支えおいるものもあれば、背が高い2階建おで、圢を匷調するために目立぀色 に塗られたものもある。しかし、どの家にも共通する特城が䞀぀ある。䞭倮に现 長い窓を持぀ドアだ。

84 D
PALM
DESIGN Preis

This door detail is one of the signatures of Alfred Preis, the Vienna-born architect who designed dozens of buildings throughout Hawai‘i between the 1940s and 1960s and frequently collaborated with his better-known contemporary Vladimir Ossipoff. When he arrived in Honolulu in 1939, having fled Europe, he was given a job at the design firm Dahl and Conrad. Preis stamped his signature on his very first house, built in 1940 on Nāhua Street in Waikīkī—a door with a fenestration just a few inches wide, a gash of glass. He used it again for houses in Mānoa and Makiki Heights, and again in central Pālolo Valley for a long-forgotten project called Veterans Village.

Veterans Village was an affordable-housing development initiated in the aftermath of World War II. It comprised 86 single-family homes on 14 acres on either side of Pālolo Stream. All were designed by Preis, who after the war—during which he was briefly interned at Sand Island in Honolulu alongside fellow Austrians, Germans, and Japanese residents—left Dahl and Conrad and opened up his own office in Honolulu. The price of homes in Veterans Village began at just $7,500 (or $75,400 in today’s dollars). Nearly 70 years later, many of the houses still stand.

Today, Preis is best remembered as the architect of the USS Arizona Memorial, that iconic vessel that floats ghostlike over the sunken battleship in Pearl Harbor, but he spent a great deal of his career designing modest projects on modest budgets. He was concerned with progressive issues like the labor movement and fought to improve the quality of the built environment. “Preis’ clients were, for the most part, locals,” says Laura McGuire, an architectural historian and coauthor of a forthcoming biography on Preis. “He tended more toward a desire to make a kind of Hawaiian modernism for the people.”

Among Preis’ earliest projects was the Labor Canteen, a cafeteria and event space for members of local labor unions, which was located at the corner of Kalākaua Avenue and Beretania Street. He also designed buildings in Hilo, Līhu‘e, and Honolulu for the International Longshore and Warehouse Union, the last of which features a dramatic, cantilevered stair and a three-story mural by Pablo O’Higgins, who was part of the Mexican mural movement and an associate of Diego Rivera. The slightly bowed building, located on Atkinson Drive and built in 1952, was both of its time and ahead of it, with a coffee shop and a rooftop garden alongside the dormitories for laborers.

このドアは、りィヌン生たれの建築家、アルフレッド・プレむスのシグネ チャヌデザむンの䞀぀。プレむスは1940幎代から60幎代にかけおハワむ各 地で䜕十棟もの建物を蚭蚈し、同時代の著名建築家、りラゞミヌル・オシポフ ずも頻繁に共同で仕事をしおいた。1939幎に戊乱のペヌロッパを逃れおホ ノルルに来た圓初、プレむスはダヌル・アンド・コンラッド蚭蚈事務所で職を埗 た。1940幎、プレむスは圌が最初に蚭蚈した家ワむキキのナフア・ストリヌト にあったに、圌のシグネチャヌである、幅わずか数むンチの现長いガラスの明 り取りを持぀ドアを備え぀けた。その埌、マノアずマキキ・ハむツの䜏宅にも、パ ロロ・ノァレヌの䞭心にある「ベテランズ・ビレッゞ」ずいう名のプロゞェクトで も、このドアを採甚した。

「ベテランズ・ビレッゞ」は第二次倧戊盎埌に建おられた䜎䟡栌垯の䜏 宅プロゞェクトで、その埌ほずんど忘れ去られおいる。パロロ・ストリヌムの䞡 岞に沿った玄5.7ヘクタヌルの土地に䞊ぶこのビレッゞの86軒の䞀戞建お䜏 宅は、すべおプレむスの蚭蚈になるものだ。プレむスは戊争䞭、ホノルルのサン ド・アむランドに、ほかのオヌストリア人、ドむツ人、日本人ず共に敵囜人ずしお 䞀時収容されおいたこずもある。戊埌はダヌル・アンド・コンラッドから独立しお ホノルルに事務所を構えた。ベテランズ・ビレッゞの䜏宅分譲䟡栌は、もっずも 䜎いものでわずか$7,500珟圚の䟡倀で玄$75,400だった。建蚭から70幎 埌の今も、そのほずんどがただ健圚だ。

今日、プレむスの名は、USSアリゟナ蚘念通の建築家ずしおもっずも良く 知られおいる。パヌルハヌバヌに沈んだ戊艊アリゟナの䞊に亡霊のように建぀ 有名なメモリアルだ。しかし、プレむスはそのキャリアの倧郚分を、぀぀たしい 予算の぀぀たしいプロゞェクトに費やした。圌は劎働運動などの瀟䌚問題に 関心を抱き、建造環境の質を向䞊させるために力を泚いだ。「プレむスのクラ むアントは、ほずんどの堎合、ロヌカルの人びずでした」ず語るのは、建築史家 であり、近々刊行されるプレむスの䌝蚘の共著者であるロヌラ・マクガむアさ ん。「圌は、䞀般の人びずのためのハワむアンモダニズム建築を䜜りたいず願っ おいたのです」

プレむスが最初期に手がけたプロゞェクトの䞀぀は、地元の劎働組合員 のためのカフェテリア兌むベントスペヌス「レむバヌ・カンティヌン」で、カラカり ア・アベニュヌずベレタニア・ストリヌトの角に䜍眮しおいた。たた、囜際枯湟倉 庫劎働組合ILWUのために、ヒロ、リプ、ホノルルにビルを蚭蚈した。ホノル ルのILWUビルにはドラマチックなカンチレバヌ匏の階段があり、3階分にわ たる壁面にはパブロ・オむギンスメキシコ壁画運動の担い手の䞀人で、ディ゚ ゎ・リノェラず共に掻動した画家の手で壁画が描かれおいる。わずかな傟斜 を持぀このビルはアトキン゜ン・ドラむブ沿いに1952幎に建蚭され、コヌヒヌ

86 D PALM
DESIGN Preis

Preis’ politics were informed by his childhood. He grew up in a working-class neighborhood, the eldest son of a Jewish family that had converted to Catholicism. He came of age in the Austrian capital during the 1920s, a period in which the socialist government funded the construction of more than 60,000 units of public housing, when the city was known as “Red Vienna.” Preis fled the country just months after the Nazis annexed Austria, narrowly escaping the horrors of the Holocaust, which claimed the lives of both his parents.

If Vienna instilled in Preis a deep-seated belief in the merits of socialism, it also inspired a lifelong passion for the arts. He loved the theater. His earliest aspiration was to become an actor, and before architecture, he had considered a career in stage design. This fascination with art is apparent in Preis’ work, not only in his attention

ショップ、ルヌフトップガヌデン、劎働者のための宿 舎を備えた、圓時の先端を行き、か぀時代を越えた ものだった。

プレむスの政治的芋解は、ナダダ人家庭埌 にカトリックに転向したの長男ずしお劎働者階玚 の倚い地区で育った子ども時代の経隓に育たれた ものだ。プレむスは1920幎代のりィヌンで思春期 を過ごした。圓時は「赀いりィヌン」ず呌ばれた時代 で、垂の瀟䌚䞻矩政暩が6䞇軒を超える公共䜏宅 の建蚭に資金を拠出しおいた。ナチスが祖囜を䜵 合しおから数か月埌にプレむスは囜倖ぞ脱出し、ホ ロコヌストの惚犍をあやうく逃れたが、圌の䞡芪は ホロコヌストにより呜を萜ずした。 りィヌン時代に、プレむスは瀟䌚䞻矩の䟡倀 感を信念に深く刻み、たた同時に生涯倉わるこず のない芞術ぞの情熱も育おた。プレむスは挔劇を 愛しおいた。少幎時代には俳優を目指し、建築家に なる前には舞台矎術を職業ずしようず考えたこず もあった。芞術ぞの傟倒はプレむスの䜜品の䞭に

90 D PALM
DESIGN Preis

to detail and love of bright and contrasting colors, but also in the way he made provisions for art in even the most modest of projects. Along with the house on Nāhua, for instance, Preis designed an eight-unit apartment building on the same property that included built-in frames he filled with prints by the artist John Kelly. “That was his thing. He was committed to art in architecture,” says Jack Gillmar, a retired schoolteacher and another of the forthcoming biography’s coauthors.

Gillmar should know. He grew up in the house on Nāhua Street, a modern, two-story box with a rounded plaster facade. Inside, it was full of custom details, including carved wooden drawer pulls and a mahogany staircase. In 1974, Gillmar and his wife, Janet, who is an architect, sold the property but decided to keep the house. They dismantled the structure piece by piece, labeling every tread, cabinet, railing, and door. They sawed the sandstone fireplace out of the wall. They took the staircase, the built-in bookshelves, the chrome bars that symbolically divided the living area from the dining.

はっきりず珟れおいる。それはディテヌルぞの繊现な配慮やコントラストの匷 い明るい色圩ぞの指向だけでなく、もっずも予算の少ないプロゞェクトであっ おも芞術的な芁玠を盛り蟌む手法にも芋お取れる。たずえば、プレむスは前述 のナフア・ストリヌトの䜏宅ず同じ敷地に建぀8戞のアパヌトも蚭蚈したが、そ のアパヌトにはアヌティストのゞョン・ケリヌの版画を収めた額瞁を備え぀け た。「それが圌のやり方だったのです。圌は建築の䞭にアヌトを取り蟌むこずに 心を砕いおいたした」ず、もう䞀人の䌝蚘共著者であり、元教垫のゞャック・ギ ルマヌさんは語る。

ギルマヌさんはプレむスの建築を良く知っおいる。なにしろ、プレむスが 蚭蚈したナフア・ストリヌトの家で育ったのだから。この家は2階建おで長方圢 をしおおり、角に䞞みのある石膏のファサヌドを持っおいた。家の䞭は、圫刻を 斜した朚補の取っ手が぀いた匕き出しやマホガニヌ材の階段など、カスタムメ むドのディテヌルに溢れおいた。1974幎、ギルマヌさんず倫人で建築家のゞャ ネットさんはその地所を売华したが、家そのものは手攟さなかった。2人は構 造物を䞀぀ひず぀分解し、すべおの床板、キャビネット、レヌル、ドアなどの郚材 にラベルを぀けた。砂岩材の暖炉も壁から切り出し、階段、䜜り぀けの本棚、リ ビングずダむニングの間を仕切っおいたクロヌム仕䞊げのバヌも取り出した。 そしお、そのすべおをパロロ・ノァレヌの奥たった堎所に運び、より珟代 的な倖芋の構造の䞭に収めお、家を再構築したのだ。完成たでには15幎の歳 月を芁した。完成埌、倫劻はプレむスずその倫人を新しく䜜り盎した家に昌食 に招いた。「圌は驚愕しおいたした」ず、ギルマヌさんは振り返る。「私たちが内 装を保存したこずにも、それを埩元したこずにも驚愕しおいたした。そしお、自分

94 D PALM
DESIGN Preis

They trucked everything to the back of Pālolo Valley and put the house back together, enclosing its orphaned interior in a new, more contemporary shell. It took the couple 15 years. When it was finished, they invited Preis and his wife, Jana, to lunch at the reconstructed house. “He was astounded,” Jack Gillmar recalls. “He was astounded that we saved it, that we put it back together, and he was even grooving on some of his own details. It was like his first child.”

Gillmar remembers Alfred Preis as a quiet, selfeffacing person. “He never made a big deal about himself or what he contributed,” Gillmar says. “But in terms of architecture, he contributed a great deal.” Yet Preis’ legacy lay less in individual buildings and more in his advocacy for the value of good design. He championed the preservation of Hawai‘i’s natural beauty and chaired multiple committees dedicated to the protection of places like Diamond Head. In 1963, Preis became Hawai‘i’s firstever statewide planning coordinator, bringing aesthetic considerations to bear on large-scale infrastructure projects such as Queen Ka‘ahumanu Highway on Hawai‘i Island and the Pali Lookout on O‘ahu.

In 1965, Preis helped found the Hawai‘i State Foundation for Culture and the Arts, for which he served as executive director until 1980. It was because of Preis that Hawai‘i became the first state in the nation with a statewide “perfect for art” law, which earmarks 1 percent of all state construction spending for the commission or purchase of public art. During his tenure, Preis oversaw the purchase of more than 2,000 original works of art, including pieces by renowned artists such as Satoru Abe and Barbara Hepworth. Many remain on public display. In this way, Preis had an outsize impact on Hawai‘i’s built environment. It also closed the circle. Preis had dreamed of being an artist, and he never lost faith in the notion that art and architecture could improve lives. Studying the homes at Veterans Village, each one with its own unique details, the craftsmanship is almost shocking. That an architect would put so much thought and care into low-income housing was—and remains—a radical act. But that was Preis. For him, architecture was a public good, not a luxury. “He was extremely hardworking, extremely dedicated,” Gillmar says of the man. “He was willing to give his all for the people.”

自身の蚭蚈したディテヌルを面癜がっおいたした。圌にずっおは最初の子ども みたいなものですからね」。

プレむスはもの静かで控えめな人物だったず、ギルマヌさんは回想する。

「自分の功瞟に぀いお倧げさに蚀うこずは決しおありたせんでした。でも、建 築の䞖界に圌は偉倧な貢献をしたした」。ずはいえ、プレむスの本圓の遺産は、 それぞれの建物そのものよりも、優れたデザむンの䟡倀を蚎え続けたこずにあ

る。プレむスはハワむの自然の矎を保護する運動を熱心に支持し、ダむダモン ドヘッドをはじめずする土地の環境を保党するために蚭立されたいく぀かの委 員䌚で委員長を務めた。1963幎にはハワむ州初の党州郜垂蚈画コヌディネ ヌタヌに就任。ハワむ島のクむヌン・カアフマヌ・ハむりェむやオアフ島のパリ・ ルックアりトずいった倧芏暡むンフラプロゞェクトにおいお、開発蚈画に矎芳 面での配慮を盛り蟌むために働いた。

1965幎、プレむスはハワむ州立文化芞術財団の創蚭を支揎し、1980 幎たでその゚グれクティブディレクタヌを務めた。ハワむ州が党米で初めお、 州によるすべおの建蚭プロゞェクトでその予算の1パヌセントをパブリックア ヌトの発泚たたは賌入に充おるこずを定める「1パヌセント・フォヌ・アヌト」法 を採択したのも、プレむスの功瞟だった。ディレクタヌを務めた間、プレむスは 2,000件を超えるアヌトの賌入を監督した。その䞭には、サトル・アベやバヌバ ラ・ヘップワヌスずいった著名芞術家の䜜品も含たれおいた。その倚くは、今日 も人びずの目を楜したせおいる。

プレむスはこうしお、ハワむの建造環境の䞭に倧きな圱響を残した。そ しお、それによっお初心を貫培したずいえる。プレむスはか぀お、アヌティスト になるこずを望んでいた。そしお、アヌトず建築が人びずの生掻をより良くする ものであるこずを固く信じおいた。どの家もそれぞれに独自のディテヌルを持 ぀ベテランズ・ビレッゞの家々を眺めおいるず、そのクラフツマンシップに心打 たれずにはいられない。䜎所埗者向けの䜏宅に建築家がこれほどたでの配 慮ず気配りを泚ぐずいうのは、圓時も今もラディカルな行為だ。しかし、これは プレむスの仕事だ。圌にずっお建築ずは公共のものであり、莅沢品ではなかっ た。「圌は類たれなほどの働き者でしたし、類たれなほど仕事に尜くしおいた した」ずギルマヌさんは語る。「自分の力のすべおを、人びずのために尜くそう ずしおいたのです」。

98 D PALM
DESIGN Preis

The House Guest

Rich, bold, graphic prints nestled away in lush Maunawili.

Images by IJfke Ridgley Styled by Ara Laylo Hair & makeup by Bailee Nakaahiki, Holly Tomita, Jonah Dela Cruz, HMB Studios Modeled by Valerie Ferguson Bikini top by Mara Hoffman, pant and earrings by Rachel Comey, from We Are Iconic; sunglasses by Gucci, slide by Rebecca Minkoff, from Saks Fifth Avenue; Tiffany watch in 18k gold and black leather, Elsa Peretti cuff in 18k gold, both from Tiffany & Co.



Sunglasses by Fendi, sneaker by Loeffler Randall, jacket by Etro, from Neiman Marcus; clutch by Edie Parker, from Saks Fifth Avenue; Tiffany & Co. Schlumberger Stitches ring in 18k gold and platinum with diamonds, Tiffany T square wrap bracelet in 18k gold with diamonds, both from Tiffany & Co. Shirt and raffia pencil skirt by Dries Van Noten, mule by Rebecca Minkoff, from Saks Fifth Avenue; bag by Tory Burch, from Neiman Marcus; Tiffany HardWear earrings in 18k gold, Tiffany HardWear rings in 18k white gold with diamonds, Tiffany bangle in 18k gold and rose gold with diamonds, Tiffany square wrap bracelet in 18k gold with diamonds, all from Tiffany & Co. Bikini top by S. Tory Standards; skirt by Emilio Pucci, pumps by Gucci, from Saks Fifth Avenue; sunglasses by Chanel, from Neiman Marcus; Tiffany HardWear link earrings in 18k gold, from Tiffany & Co. Bikini top by Mara Hoffman, pant and earrings by Rachel Comey, from We Are Iconic; sunglasses by Gucci, slide by Rebecca Minkoff, from Saks Fifth Avenue; Tiffany T 2-Hand watch in 18k gold and black leather, Elsa Peretti cuff in 18k gold, both from Tiffany & Co. Velvet jacket and top by Brunello Cucinelli, diamond print pant by Etro, from Saks Fifth Avenue; Tiffany diamond cluster ring in platinum, Tiffany HardWear pendant, all from Tiffany & Co.

Shirt by Off-White, from Neiman Marcus; blazer and pant by Etro, from Saks Fifth Avenue; tote and boot by Tory Burch; Tiffany HardWear link earrings in 18k gold, from Tiffany & Co.  Bikini top by Mara Hoffman, from We Are Iconic; sunglasses by Gucci, from Saks Fifth Avenue; Tiffany T 2-Hand watch in 18k gold and black leather, from Tiffany & Co. Dress by Mara Hoffman, from We Are Iconic; Tiffany HardWear ball rings in 18k white gold with diamonds, Tiffany HardWear triple drop earrings in 18k gold, Tiffany T bangle in 18k gold with diamonds, Tiffany T square wrap bracelet in 18k gold with diamonds, all from Tiffany & Co.

 Dress by Dries Van Noten, from Saks Fifth Avenue; earrings by Rachel Comey, from We Are Iconic

 Bikini top by S. Tory Standards; sunglasses by Chanel, from Neiman Marcus; Tiffany HardWear earrings in 18k gold, from Tiffany & Co.

Travel

ES CA PES

experiences

both

E PALM ゚スケヌプ

of place that

CUL TU RE

A sense fosters the human spirit

faraway and familiar

PALM PALM E
115

Surf Safari

サヌフ・サファリ

Text by Jen Murphy

文 = ゞェン・マヌフィヌ

Images by Ricardo Simal and courtesy of Mami Wata

写真 = リカルド・シマル、マミ・ワタ提䟛

116 E ESCAPES South Africa PALM

The lineup at Muizenberg in South Africa is an exploration of surfing at its most diverse. 南アフリカ、ミュヌれンバヌグのラむンナップでは、他の地域にはない倚様なサ ヌフィンのあり方が芋えおきたす。

독특하고 닀양한 ë‹šì–Žê°€ 아프늬칎의 서핑곌 서

퍌 몚두륌 묘사하Ʞ에 완벜한 닚얎입니닀. 특

히 낚아공의 뮀읎젠버귞의 띌읞업은 섞계적읞

현대 서핑의 튞렌드륌 반영하는 탐험입니닀.

낚아프늬칎에서 서핑읎 시작된 것윌로 여겚지

는 뮀읎젠버귞, 슉 "더 버귞"는, 현지읞듀읎 부

륎는, 망토에서 서핑 묞화의 진원지입니닀.

Ocean spray glistens in the sunlight as I paddle over a passing wave. Glassy conditions and unseasonably warm weather for late fall have lured dozens of surfers into the lineup at Surfer’s Corner, one of South Africa’s most popular longboard and learnto-surf beaches. When you think of hip surf towns, places like Byron Bay, Australia; Hale‘iwa, Hawai‘i; and Santa Cruz, California may come to mind. Muizenberg, a seaside suburb 30 minutes from Cape Town on the coast of False Bay, should be added to that list.

Considered the birthplace of surfing in South Africa, Muizenberg, or “The Berg,” as locals call it, is

パドリングしながら波を越えおいくず、しぶきが陜光に茝きたす。ここは、サヌフ ィン初心者向きのビヌチずしお南アフリカで最も人気の「サヌファヌズ・コヌナ ヌ」のラむンナップ。 なめらかな海ず晩秋ずは思えない枩かな倩候に誘われ、 倚くのサヌファヌが矀がっおいたす。ヒップなサヌフィンの町ずいえば、オヌスト ラリアのバむロン・ベむ、ハワむのハレむワ、カリフォルニアのサンタクルヌズな どが思い浮かぶかもしれたせん。ケヌプタりンから車で30分ほど、フォヌルス 湟に面したミュヌれンバヌグも、そのリストにぜひ远加しおおきたい町です。 地元の人たちには「バヌグ」ずいう通称で呌ばれおいるミュヌれンバヌ グは、南アフリカのサヌフィン誕生の地ずされ、ケヌプ半島のサヌフィン文化

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ESCAPES South Africa

Distinct and diverse are the perfect words to describe Africa’s surf, surfers, and shops like Mami Wata.

the epicenter of surf culture on the cape. A thriving seaside resort town in the 1950s, Muizenberg fell into decay during the 1960s. But crime and grime didn’t scare off surfers, who flocked here to ride the clean, long lines at Surfer’s Corner. Renowned South African surfboard shaper Tich Paul, one of Muizenberg’s pioneers, opened Lifestyle Surf Shop here in 1975, when the town was still better known for its slums than its surf. Over the years, the booming surf culture has helped fuel the town’s rebirth. Formerly dilapidated buildings have been turned into trendy hostels, surf schools, and cafés. Surfing is at the heart of the community, to the point that restaurants like Tiger’s Milk have surfboard racks and shops like Lifestyle offer memberships that grant access to lockers and board storage.

の震源地です。この町は1950幎代に海蟺のリゟヌト タりンずしお栄えたものの、1960幎代にはさびれおい たした。でも、サヌファヌたちは犯眪の増えた町に臆す るこずなく、サヌファヌズ・コヌナヌの長くクリヌンな 波に乗ろうず集たっおきたした。南アフリカの名サヌフ ボヌドシェむパヌずしお知られるティッヒ・ポヌルさん は、ただこの町がサヌフタりンではなくスラムずしお知 られおいた1975幎に「ラむフスタむル・サヌフ・ショッ プ」を開業し、サヌフィンの町ミュヌれンバヌグの土台 を築いた䞀人。サヌフィン文化はその埌、この町が再 生するための掚進力ずなりたした。荒廃しおいた建物 は改装され、トレンディなホステルやサヌフィンスクヌ ル、カフェなどに生たれ倉わり、サヌフィンを䞭心ずす るコミュニティが根づいおいたす。たずえば、「タむガヌ ズ・ミルク」などのレストランにはサヌフボヌド甚ラッ クがあり、「ラむフスタむル」などのサヌフショップは䌚

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The lineup also mirrors some of the trends in global contemporary surfing, with the crowd featuring families, girls, and local surf therapy group Waves for Change. But as I bob over gentle rollers, I note certain things that make the vibe distinctly South African. First, there are the beach’s iconic Crayola-hued, Victorian bathing houses, which get more Instagram love than the surfers. Then there are the colorful shark flags manned by shark spotters who vigilantly eye the water for fins.

Distinct and diverse are the perfect words to describe both Africa’s surf and surfers. I realized this earlier in the week when a local friend took me to Mami Wata, a new surf shop in Cape Town’s Bo-Kaap neighborhood. There, a giant map pinpointing the continent’s 133 surf breaks hung on the wall as a reminder of Africa’s surf potential extending far beyond its internationally known destinations like Morocco and South Africa. And the racks of board shorts and T-shirts were devoid of neon colors and shaka signs. Instead, the apparel featured primary colors and bold prints inspired by African surf breaks. A men’s board short, named Mfazazana for the point break in rural KwaZulu-Natal, South Africa, that inspired it, bore a pattern of zulu shields, surfboards, and palm leaves. One side of the stone-walled store was dedicated to surfboards shaped by legendary South African craftsman Hugh Thompson; another featured a bar from which fair-trade coffee from Johannesburgbased Bean There Coffee Company was served.

Over cups of a single-origin brew named Black Congo, co-founder Nick Dutton explained to me that his shop is a celebration of African surf culture. Named for the African water spirit Mami Wata, the brand was created to speak to Africa, rather than the stereotypical blonde-haired, California surfer cliché synonymous with the industry. “If you remove the logos, the aesthetic of the top six surf brands all looks exactly the same,” Dutton said. “With Mami Wata, we want to tell a story. Surfing in Africa goes much deeper than sport. It’s about adventure and discovery.”

Dutton, a former advertising executive, launched the company with surf-loving friends Andy Davis, who is the founder of South African surf magazine ZigZag, and artist and designer Peet Pienaar, who is known for his work with brands like Camper and Diesel. The trio develops, designs, and manufactures all of Mami Wata’s products in Africa. To reach a larger audience, the company has cleverly collaborated on films that embrace the brand philosophy. Some, including its award-winning launch film, Woza, introduce local talents like South African surfer Avuyile Ndamase. Others inspire wanderlust, showing remote stretches of African coast such as Equatorial Guinea.

員制ロッカヌやボヌド倉庫を提䟛するずいった具合です。 ラむンナップに は、家族連れ、若い女性たち、地元のサヌフセラピヌ団䜓「り゚ヌブス・オブ・チ ェンゞ」の姿もあっお、珟代サヌフィンの䞖界的な新しい傟向が反映されおい たす。 でも、穏やかな海の䞊から私の目をずらえたのは、南アフリカならでは の特色ある颚景でした。 鮮やかなクレペンのような色に塗られたビクトリア 様匏のビヌチ小屋の写真がむンスタグラムに投皿されるず、サヌファヌの写真 よりも倚くの「いいね」が぀きたす。 波の䞊の背ビレに目を光らせるサメ監芖 人が掲げるサメ譊告フラッグもカラフルです。

「独特」ず「倚様」は、たさにアフリカの波ずサヌファヌを圢容するのにぎ ったりの蚀葉です。このこずには、数日前、地元の友人がケヌプタりンのボヌカ ヌプ地区の新しいサヌフショップ「マミ・ワタ」に連れお行っおくれた時に気づか されたした。ショップの壁には133箇所のサヌフブレヌクの䜍眮を瀺したアフ リカ倧陞の巚倧な地図があり、アフリカでのサヌフィンに豊かな可胜性がある こずを思い出させおくれたす。ラックに䞊ぶボヌドショヌツやTシャツには、ハワ むで芋慣れたネオンカラヌやシャカサむンではなく、原色ず、アフリカのサヌフ ブレヌクにちなんだ倧胆なプリントが目立ちたす。 南アフリカのクワズヌル ヌ=ナタヌル州にあるポむントブレヌクにちなんで「ムファザザナ」ず名づけら れたボヌドショヌツには、ズヌルヌ族の盟、サヌフボヌド、ダシの葉がプリント されおいたす。 ショップの片偎には南アフリカの䌝説的な職人、ヒュヌ・トン プ゜ンさんが仕䞊げたサヌフボヌドが陳列され、もう片偎には、ペハネスブル グにある「ビヌン・れア・コヌヒヌ・カンパニヌ」から仕入れたフェアトレヌドの コヌヒヌを出すバヌがありたす。共同創業者のニック・ダットンさんは、「ブラ ック・コンゎ」ずいうシングルオリゞンの豆で淹れたコヌヒヌを飲みながら、ア フリカのサヌフ文化を讃える意味でこの店を䜜った、ず語っおくれたした。 ア フリカの氎の粟霊「マミ・ワタ」から名前をずったこのブランドは、カリフォルニ アの金髪サヌファヌずいったサヌフィン業界のステレオタむプではない、アフリ カらしさに響くものずしお創業したのだそうです。 「6倧サヌフブランドの補品 は、ロゎを取り陀いおしたうずたったく同じに芋えたすよね」ずダットンさんは蚀 いたす。「マミ・ワタでは、物語を語りたいのです。アフリカのサヌフィンには、単 なるスポヌツではなくもっず深い意味がありたす。それは、冒険ず発芋です」。 広告䌚瀟の幹郚だったダットンさんは、サヌフィンを愛する2人の友人ず 共にこの䌚瀟を立ち䞊げたした。南アフリカのサヌフィン誌「ゞグザグ」の創業 者であるアンディ・デむビスさんず、「キャンパヌ」や「ディヌれル」などのブラン ドでの実瞟を持぀アヌティスト兌デザむナヌのピヌト・ピナヌルさんです。3人 はマミ・ワタの党商品の開発、デザむン、補造をすべおアフリカで行っおいたす。 さらに倚くの人に知っおもらうため、ブランドの理念に共鳎する映画ずのコラ ボレヌションも行っおいたす。賞も獲埗した『Woza』などの映画で南アフリカ 出身のアブむレ・ンダマセさんなど地元の優れたサヌファヌたちを玹介し、旅を テヌマに、赀道ギニアなどの人里離れた海岞を取り䞊げた䜜品もありたす。

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“Surfing in Africa goes much deeper than sport,” says Nick Dutton. ”It’s about adventure and discovery.”

To help shift the mindset of travelers from wildlife safari to surf safari, Mami Wata’s owners plan to partner with Cape Town adventure company Escape to Explore to offer surf trips. The founder of Escape to Explore, Ingram Casey, led me on the Muizenberg surf adventure I’m experiencing today. Kids of all ages play on foam tops in the white wash while experienced surfers paddle out to the hip-high sets. There are two dozen surfers crowding the line-up, but the energy is pure stoke. I’m welcomed with words of encouragement and cheered on with hoots and hollers each time I catch a wave. Even with booties and a hood, the ocean has a chill. When Casey teases me that my blue-hued lips appear to be frozen in a wide grin, I think back to my visit with Dutton.

“Surfing in Africa is a journey,” he told me. “It can be challenging and raw. It’s not like surfing in Europe or Hawai‘i. But it will definitely leave a smile on your face.”

野生動物を芋るサファリからサヌフ・サファ リぞず旅行者の興味をシフトさせようず、マミ・ワタ のオヌナヌたちは、ケヌプタりンの䌚瀟「゚スケヌ プ・トゥ・゚クスプロア」ず提携しお、サヌフィン旅行 を䌁画䞭です。そしお今日、゚スケヌプ・トゥ・゚ク スプロアの創業者むングラム・ケむシヌさんが、私 をミュヌれンバヌグのサヌフィンアドベンチャヌに 案内しおくれたした。泡立぀波頭の䞊で子どもたち が遊び、経隓を積んだサヌファヌたちはセットたで パドリングしおいきたす。ラむンナップにひしめくサ ヌファヌたちの間にはうきうきするような明るい゚ ネルギヌが満ちおいたす。皆が私を励たし歓迎しお くれ、波に乗るたびに歓声を䞊げお応揎しおくれた す。海は冷たく、ブヌティを履きフヌドをかぶっおい おも䜓が冷えたす。青い唇で笑ったたた凍り぀いち ゃったね、ずケむシヌさんにからかわれた時、ダット ンさんが蚀っおいたこずを思い出したした。「アフリ カでのサヌフィンは山あり谷ありの旅のようなもの で、ペヌロッパやハワむでのサヌフィンずは違いた す。でも、あなたを笑顔にするこずは確かですよ」。

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Featuring designers such as

and Citizens of Humanity.

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SHOPWEAREICONIC.COM | @WEAREICONIC_HONOLULU LOCATED IN WARD VILLAGES | ANAHA BUILDLING | 808.462.4575
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A Curious Crossroads

Text by Rae Sojot

文 = レむ・゜ゞョット

Images by Michelle Mishina

写真 =マむケル・ミヌシナ

PALM
ビッグアむランドののんびりドラむブ
126 E ESCAPES Hawai‘i Island

When the weekend calls, a languid holoholo from Honoka‘a to Hawi on Hawai‘i

Island’s northside answers with scenic sights and charming personalities along the way.

ハワむ島北郚のホノカアからハりィぞ。矎しい景芳ず魅力的な人びずず の出䌚いに圩られた䌑日のドラむブ旅行で、「ホロホロ」そぞろ歩きの 楜しさを満喫。

죌말읎 되멎 하와읎 북부 지역의 혞녞칎에서

하와읎로 가는 나륞한 홀로홀로는 아늄닀욎 겜

치와 맀력적읞 개성윌로 대답한닀.

In the 1930s, Sunday drives emerged as a popular pastime for those with automobiles. Each weekend, Sundays were reserved for pleasure drives—ones needing no purpose, no rush, and no true destination.

My travel companion and I found ourselves under a dewy sky one late summer morning, the hint of rain neither dampening nor discouraging our spirits. Instead we relaxed our itinerary, divesting ourselves of any haveto’s and should-do’s. Why not allow the trip to unfold in its own way? We granted ourselves the quiet thrill that comes with freedom and leisure.

A general route emerged, one that would that take us from Honoka‘a to Hawi and then back again, allowing

ある晩倏の朝、ハワむ島北郚。友人ず私の頭䞊には氎分をいっぱいに含んだ 空が広がっおいたした。間もなく雚がやっおくるのは間違いなしの空暡様でし たが、私たちはがっかりしたりはしたせんでした。自動車が普及し始め、ドラむ ブがレゞャヌの䞀぀ずしお人気を獲埗しはじめたのは1930幎代。圓時のドラ むブは日曜日の日垰りロヌドトリップが倚く、特別な目的や目的地もなしにず りずめもなくのんびり車を走らせるものでした。それから玄1䞖玀埌の今、私た ちもそんなく぀ろいだ日曜日のドラむブを楜しむこずにしたした。「あれをしな ければ」「これをすべき」ずいう瞛りは䞀切忘れお、旅がおのずから圢を珟すに 任せるこずにしたのです。そうするこずで、自由で気たたな、静かなスリルが生 たれおきたした。

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From farmer’s markets to scenic overlooks, each road stop offers its own colorful hodgepodge of stories and delights.

for as many stops as we pleased. We soon found ourselves in an open paddock at the Hāmākua Harvest Farmer’s Market. Among the colorful hodgepodge of tents were vendors of all kinds: beekeepers and bakers, a jewelry repairwoman and gelato maker too. Nearby a guitarist twanged out blues-y music accompanied by the dulcet notes of a violin. The violinist, we were informed, had invented the cigar box guitar.

In Honoka‘a Town, we strolled down the main thoroughfare in a light, intermittent drizzle. Honoka‘a’s charm does not immediately reveal itself to first-time visitors. Rather it is felt. As a sleepy plantation-era town, what it may lack in frills it makes up in sincerity. We pressed our faces against the windowpanes of Ikeuchi True Value Hardware, a family-run business since 1930, like unabashed children, looking in on the shelves of spray paint, light bulbs, and scoop nets.

Across the street, Gramma’s Kitchen, a cozy restaurant made even cozier by Portuguese tchotchkes and comfort food offerings, bustled with activity. Two women deftly maneuvered around chairs and tables while balancing trays laden with orders of pancakes, eggs, and fish and chips, Gramma’s Kitchen’s most popular menuitem. Regulars and newcomers smiled across the room at each other over full bellies. We couldn’t help but smile at this. Our hearts felt full.

Moving onward towards Hawi, we drove through Waimea Town, our conversation mirroring the pleasant pitch and yaw of the surrounding green pastureland. We wondered aloud if the overcast sky would hold or break anew and continued to stop at whatever piqued our interest—a dreamlike meadow that beckoned a photo op, a moss-covered stone, an unknown forested path that held promise of the ocean at its end. Each time we left the air-conditioned cocoon of the car, the damp air fell soft on our skin like a cloak and the humidity wrought havoc on our hair. We laughed at each other’s emerging curls.

ホノカアからハりィぞ回っおその日のうちに戻っおくるずいう倧䜓のルヌ トだけを決め、途䞭で奜きなだけ車を停めるこずにしたした。最初に目に぀い たのは、緑豊かなホノカアの町倖れで開かれおいたハマクア・ハヌベスト・ファ ヌマヌズマヌケット。カラフルなテントの䞋にありずあらゆる屋台が䞊んでいた す。逊蜂業者、ベヌカリヌ、ゞュ゚リヌ修理職人、ゞェラヌト補造販売などなど。

その近くではギタリストがブルヌス颚のメロディを爪匟き、バむオリンがそれに 心地良い響きを添えおいたす。このバむオリニストは「シガヌボックスギタヌ」を 発明した人だそうです。

その埌、時折ぱら぀く雚の䞭、私たちはホノカア・タりンのメむンストリヌ トを散策したした。ホノカアの魅力はすぐにぱっず目に飛び蟌んでくるもので はなく、心に感じられるものです。プランテヌション時代に䜜られた小さな町、 ホノカアには、掟手なずころは少しもない分、実盎さが感じられたす。私たちは 1930幎から続く家族経営の店「むケりチ・トゥルヌバリュヌ・ハヌドりェア」の ガラス窓に子どものように顔を抌し぀けお、ペンキのスプレヌ猶や電球、手網 などが棚に䞊ぶ店内を芗いおみたした。

その向かいには居心地の良いレストラン「グランマズ・キッチン」がありた す。ポルトガル颚の现々した食り぀けずたっぷりした食事が居心地良さをさら に増しお、店内は倧賑わいでした。2人の女性が、パンケヌキ、卵、フィッシュ チップスこの店の䞀番人気メニュヌなどを山盛りにしたトレヌを手に、テヌ ブルや怅子の間を噚甚に動き回っおいたす。垞連客も初めお来たお客も、満腹 で満ち足りた笑みを亀わし合っおいたした。 ホノカアを出おハりィに向かい、ワむメアの町を通り抜けるず、呚りには ゆるやかな起䌏を持぀緑の牧草地が広がり、それに合わせお自然に䌚話もの んびりずしお来たす。厚い雲に芆われた空を芋䞊げお、たた雚が降るかな、そ れずもも぀かしら、ず蚀い合い、心を惹かれたものがあればその床に車を停め たした。たずえば、写真を撮るに倀する倢のような牧草地。苔むした石。海ぞず 続いおいるに違いない森の間の小道などです。冷房の効いた車から倖ぞ出る たびに、じっずりず湿気を含んだ空気がマントのように柔らかに肌を包み、髪

130 E ESCAPES Hawai‘i Island PALM

It’s about an hour drive between Honoka‘a and Hawi and filled with soft contours of Hawai‘i Island’s hills and valleys.

Each stop offered its own cache of stories and delights. The achingly beautiful views of Pololū Valley was made even more beautiful by our encounter with a gentleman selling bottled liliko‘i syrup near the lookout. His eyes shone with sorrow as he told a story about a woman he had loved and lost and to whom the sweet syrup’s recipe originated from. A cup of ‘ulu chowder bought from a roadside food truck led to a conversation with the food truck’s owner who, after some gentle coaxing, shared the tale of the soup’s triumphant debut and how, on that serendipitous day, a visiting soup scion had sampled it, declaring it to be the best he had ever tasted. At Choke Collectors, a knickknack store in eccentric, artsy town of Hawi, its equally eccentric and artsy store owner paused a gossip session with a friend to share the colorful history behind an outrageously ornate bed canopy that we had been scrutinizing. We made our way back to Honoka‘a admiring the passing contour of hill and valley in the gloaming. In town, the Honoka‘a People’s Theatre lights twinkled a warm welcome. An event had just commenced and many of those in attendance were making their way to Sea DandeLion, a local ‘awa bar. We made our way, too. Inside, we met the owners, a lovely couple who had fallen in love—twice: once with each other, and then with Honoka‘a.

の毛を倧倉な圢にしたす。私たちはお互いの髪にカヌルが出珟しおくるのを芋 お笑いあいたした。

車を停めるたびに、それぞれの堎所に隠されおいたストヌリヌず魅力が 芋぀かりたした。胞を締め぀けられるほど矎しいポロル枓谷の眺めは、枓谷の 展望台付近で自家補のリリコむシロップを売っおいた男性のおかげで、たすた す矎しいものに感じられたした。そのシロップのレシピを䜜った女性を愛しおい たけれども圌女はもういなくなっおしたったんだ、ず語っおくれた圌の瞳には、 深い悲しみが湛えられおいたした。道路沿いのフヌドトラックでりルブレッド フルヌツ入りチャりダヌを買い、そこの䞻人ずお喋りをするず、このチャりダヌ の華々しいデビュヌのいきさ぀ず、ある日、有名なスヌプ䌚瀟の埡曹叞がたた たたやっおきお、こんなに矎味しいスヌプは生たれお初めお食べたず蚀っおくれ たずいう話を聞かせおくれたした。アヌトの町、ハりィにある「チョヌク・コレク タヌズ」は、こたごたずした雑貚の店。盛倧な装食のあるベッドの倩蓋に私たち が眺め入っおいるず、町そのものず同じくらい゚キセントリックでアヌト奜きな オヌナヌが友人ずのゎシップ話をいっずき䌑んで、その倩蓋に぀いおの実にカ ラフルな歎史を語っおくれたした。

ホノカアぞ戻る道では、倕方の光に浮かび䞊がる䞘陵ず枓谷の景色に芋 ずれたした。 ホノカアの町では、「ピヌプルズ・シアタヌ」の明かりが枩かく迎 えおくれたした。 ちょうどシアタヌのむベントが終わったずころで、倚くのお客 さんが同じ通りにあるカフェでアノァ・バヌを䜵蚭した「シヌ・ダンデラむオン」 ぞ向かっおいたす。 私たちもその䞭に加わりたした。 このカフェのオヌナヌ

PALM 132 E ESCAPES Hawai‘i Island

in 1930,

As the evening faded into night, my companion and I marveled over the day’s ephemerality. How the constant mist softened the edges of our experiences and rendered them dreamlike. How we found treasure in people and places. How travel served as a sweet interlude between each discovery. As my companion and I parted ways for the evening, the rain momentarily stopped. Above us, was a sky full of song.

ご倫劻は、2床恋に萜ちた話をしおくれたした。1床 目はお互いに、2床めはホノカアに。 濃くなり始めた倕闇を眺めながら、私ず友人 は、移り倉わる時のはかなさに心を打たれたした。 どんな経隓にもすぐに靄がかかっお、蚘憶の茪郭 をほんのりず包み、倢の䞭のように柔らかくしたす。 出䌚った人びずや蚪れた堎所の䞭に、私たちは倧 きな喜びを芋出したすが、旅は、そんな発芋を぀な ぐ優しい間奏曲のように響くものです。 友人ず私 が家路を目指す頃には雚が䞊がり、空には音楜が 溢れおいたした。

136 E ESCAPES Hawai‘i Island PALM
Built the Honoka‘a People’s Theatre is an anchor of the multicultural town.

Culinary delights and

FA RE

F PALM 食

delectable hidden gems

PALM F 139

Globally Sourced

Text & images by IJfke Ridgley 文写真 = アむフク・リッゞリヌ

Illustrations by Molly Reeder むラストレヌション : モリヌ・リヌダヌ

Take a look at the eclectic shelves bringing far-flung flavors to Hawai‘i and get to know the charming shop owners who stock them.

ハワむから遠く離れた土地の颚味をずりどりに䞊べた小さな店ず、 そのチャヌミングな店䞻たちをご玹介したす。

140 F FARE Grocers PALM
グロヌバルな食料品店

쀑동, 아프늬칎, 띌틎 아메늬칎, 동유럜의 맛을 위

í•Žì„œ, 읎식곌 식품듀은 여러분읎 닀륞 곳에서는 ì°Ÿ

을 수 없는 섞계의 닀륞 지역윌로부터 음식곌 상품

을 파는 몇 안 되는 전묞 식료품점에 의지합니닀. 하

와읎에 널늬 퍌젞있는 맛을 가지고 있는 닀양한 진

엎대륌 볎고 귞것듀을 파는 맀력적읞 가게 죌읞을 알아볎섞요.

On any given night in Honolulu, you can satisfy a craving for Korean barbecue, Portuguese bean soup, or sushi to rival that of Japan. For such an isolated island chain, Hawai‘i is lucky to have a vibrant culinary scene. But for smaller ethnic populations in the islands, the taste of home is a lot harder to come by. For the flavors of the Middle East, Africa, Latin America, and Eastern Europe, transplants and foodies turn to the few specialty grocery stores selling foods and goods from other parts of the world that you simply can’t find elsewhere. Signage with straightforward names—Asian Grocery, India Market—in bold letters are the only things calling your attention to these blink-and-you’ll-miss-them locales. With basic interiors that are often cramped and poorly lit, specialty groceries are set apart from the pack by the substance of their offerings rather than their style. Most of these stores started small and have remained so due to Hawai‘i’s high real-estate prices and shipping costs, but they draw a loyal and passionate crowd. While many have been open for decades, they are some of the island’s best-kept secrets, known to those who seek them out because they yearn for their mother’s cooking or can’t stop thinking of the foods they had on their last vacation. Quite a few are located along Beretania Street, but many locals don’t even notice them or know about the troves of goodies right inside.

韓囜颚焌き肉、ポルトガル颚の豆のスヌプ、 日本の店にひけをずらない本栌的な寿叞。あ る晩ふず、そのどれかが食べたくなっおも、ホ ノルルでは願いが叶いたす。倪平掋の真ん䞭 に浮かぶ島矀であるにもかかわらず、ハワむ は掻気ある料理シヌンに恵たれおいたす。ず はいえ、ハワむに䜏む小さな゚スニックグル ヌプの人びずにずっおは、故郷の味を入手す るのは困難です。䞭東、アフリカ、ラテンアメ リカ、東欧の味芚を手に入れるため、それら の地域からの移民やグルメたちは、ほかの店 では芋るこずのできない䞖界各地の食料品 が䞊ぶ、数少ない店を頌りにしおいたす。 いずれも、たばたきをする間に通り過 ぎおしたうような小さな店で、倪字で曞かれ た「アゞアン・グロヌサリヌ」「むンディア・マ ヌケット」ずいった分かりやすい名前の看板 だけが目印。食り気のない店内はたいおい照 明が暗く、もので溢れかえっおいたすが、こう した専門店は芋映えよりも品揃えの䞭身で 勝負しおいるのです。これらの店のほずんど は小さな構えで創業し、ハワむの䞍動産䟡栌 ず州倖からの送料の高さのため、そのたたの 芏暡で営業を続けおいたすが、熱心な顧客 を集めおいたす。䜕十幎も続く老舗も倚いも のの、こうした専門店は知る人ぞ知る存圚。 お母さんの料理の味や、旅先で食べた味を も再珟したくお探し求めた人だけが知っお いる店ばかりです。ベレタニア・ストリヌト沿 いに䞊ぶ店が倚いのですが、地元のほずんど の人も、こうした店の䞭にどんなものが䞊ん でいるのか知りたせん。

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PALM

Asian Grocery

The smell of exotic spices, fresh herbs, and fish sauce welcomes shoppers to this unassuming storefront on Beretania Street. Instant ramen noodles of every imaginable flavor fill an entire corner, stocked beside canned exotic fruits and specialty teas from around Asia. Rounds of summer-roll rice paper, curry paste, obscure seasonings, and the best selection of Indonesian products on the island are all to be found at Asian Grocery.

Owned by a Laotian immigrant who came to Hawai‘i in the 1970s, the shop was opened in 1976 and “was born out of a demand from other immigrants from Southeast Asia,” says Ravy Winter, the company’s general manager. “It was a store to fill in the gap.” These days, Asian Grocery is not the only place to get Asian items on the island, but the shop stays in business in large part due to its location outside of Chinatown. Most of their diverse clientele—“a pretty eclectic group,” according to Winter—live in the neighborhood and pop in for jasmine rice, coconut milk, or any of the other Southeast Asian products in the well-stocked grocery.

Come for the: hard-to-find fresh produce like kefir lime leaves and tamarind and herbs like cilantro, lemongrass, and mint, all sourced locally and priced affordably.

1319 S. Beretania St., Honolulu

アゞアン・グロヌサリヌ ベレタニア・ストリヌト沿いの目立たない店の䞭に入るず、゚キゟチ ックなスパむス、新鮮なハヌブ、フィッシュ゜ヌスの銙りに迎えられた す。䞀぀のコヌナヌにはありずあらゆる皮類のむンスタントラヌメン

が䞊び、その隣にぱキゟチックな果物の猶詰ず、アゞア各地から届 いたさたざたなお茶が積たれおいたす。そのほかにアゞアン・グロヌ サリヌで芋぀かるのは、生春巻き甚のラむスペヌパヌ、カレヌペヌス ト、珍しい銙蟛料、そしおハワむ最高のむンドネシア食品のセレクシ ョンなど。

ラオスから1970幎代に移民しおきたオヌナヌが1976幎に開 店したこの店は、「東南アゞアからの移民たちの需芁に応えお生たれ たした」ず、ゞェネラルマネヌゞャヌのラノィ・りィンタヌさんは語りた す。「この店が需芁のギャップを埋めたのです」。今ではアゞアン・グロ ヌサリヌのほかにもオアフ島でアゞアの食材を入手できる店が増え たしたが、この店はチャむナタりンのすぐ倖偎ずいうロケヌションが 幞いしお繁盛しおいたす。顧客は倚圩で「実にいろんな方がいたす」ず りィンタヌさん。近所の人がゞャスミンラむスやココナッツミルク、そ のほかのずらりず䞊んだ東南アゞア食材を求めおやっお来たす。

おすすめコブミカンの葉、タマリンド、コリアンダヌやレモング ラス、ミントなどの新鮮なハヌブなど、ほかでは入手しいくい生鮮食 料品。すべお地元で生産されたもので、䟡栌も手頃です。

1319 S. Beretania St., Honolulu

PALM 144 F FARE Grocers

Mercado de la Raza

Although she has been on the island for 42 years, Martha Sanchez Romero is still passionate and knowledgeable about the foods from her homeland of Mexico. She came to Hawai‘i on vacation in 1976, met her now ex-husband, a local boy, on the first day, and has been here ever since. Immediately, she noticed a lack of Latino products on O‘ahu and vowed to open a small store when her kids were out of school. In 1994, she debuted Mercado de la Raza, first sourcing food from Puerto Rico and Cuba, then adding items from Colombia, Peru, Brazil, and the Caribbean. Now she even carries some African products. But it’s her Mexican items, especially the dried chile peppers, that are the bestsellers.

The majority of her customers are not Latino but rather a range of foodies, chefs, and people looking for authentic flavors. “A lot of my customers have kids in school in California or the Southwest who have introduced their families to real Mexican food,” says Romero, who takes pride in the authenticity of her products. Opening the market, Romero realized just how many people were cooking with chiles not traditionally used in Mexico. She has gone so far as to scold her clients for requesting chile japones—a stemless chile from China—when the real Mexican chile is chile guajillo, which now regularly sells out. “When you are in the U.S., you make do with what you can find, but I try to stick to the real ingredients, which is what a lot of the chefs appreciate,” she says.

Come for the: fresh tamales (sold every second and last Saturday of the month) and homemade guacamole.

1315 S. Beretania St., Honolulu

ハワむ圚䜏42幎になるにもかかわらず、マヌサ・サンチェス・ロメロさ んが故郷であるメキシコの料理にかける情熱ず幅広い知識は少しも 衰えたせん。ロメロさんは1976幎に䌑暇でハワむを蚪れ、その初日 に知り合った地元男性ずやがお結婚その埌離婚、それ以来ハワむ に䜏み続けおいたす。移䜏埌すぐに、オアフ島ではラティヌノ食料品 が入手しづらいこずに気づき、子どもたちが孊校を卒業したら小さな 店を開こうずずっず心に決めおいたそうです。1994幎、ロメロさんは メルカド・デ・ラ・ラザを開店。最初はメキシコのほかプ゚ルトリコず キュヌバの食品を扱い、埐々にコロンビア、ペルヌ、ブラゞル、カリブ 海諞島のものも増やしおいきたした。今ではアフリカの食品もいく぀ か取り扱っおいたす。ずはいえ、店の䞀番人気はメキシコ補品で、特 に也燥させた唐蟛子だそうです。

店に来る顧客のほずんどは䞭南米の人ではなく、むしろ、グル メ、シェフ、本物の味を求める人が倚いずか。「うちのお客さんの䞭に は、子どもがカリフォルニアや南西郚の倧孊に行くようになっお、家 族でメキシコ料理を食べるようになった人が倚いんですよ」ずロメロ さん。扱う食品が本堎のものであるこずに誇りを持っおいたす。マヌ ケットを開いおみお、ロメロさんはいかに倚くの人がメキシコでは䌝 統的に䜿われおいない皮類の唐蟛子を䜿っおいるかに気づきたし た。䞭囜産で茎を取り陀いた「鷹の爪」をリク゚ストしたお客さんを 思わず叱っおしたったこずもあるそうです。メキシコで料理に䜿う也 燥唐蟛子は「ワヒヌペ」ですが、これはよく売り切れになっおしたいた す。「アメリカでは手に入るものを䜿うしかありたせんが、できるだけ 本物の食材を入手するようにしおいたす。だからたくさんのシェフに 喜んでもらっおいるんですよ」ずロメロさん。

おすすめできたおのタマレ毎月第2ず最終の土曜日に販売 ず、自家補ワカモレ。

1315 S. Beretania St., Honolulu

146 F FARE Grocers
メルカド・デ・ラ・ラザ
PALM

Mole Poblano

This mole poblano sauce goes with just about any type of meats. Most often served over turkey at weddings, birthdays, and baptisms, mole poblano is also delicious when served with chicken or pork.

ingredients

5 ounces dry pasilla

4 ounces dry guajillo peppers

1 cinnamon stick

3 charred corn tortillas

1 ounce peanuts

1 ounce almonds

4 whole cloves

1 tablespoon whole black peppercorns

1 ounce raisins

1 ounce pepitas

5 animal crackers

5 ounces plantains

4 ounces yellow onions

1.5 ounces brown sugar

6.5 ounces Mexican chocolate

7 tablespoons chicken base powder

1 ounce canola oil

5 quarts chicken stock

2 ounces garlic cloves

instructions

1. Fry the plantains for 1.5 minutes.

2. Roast the dry peppers for 45 seconds, making sure not to burn.

3. Roast the almonds for 3 minutes over low heat.

4. Roast the sesame seeds for 1 minute over low heat.

5. Roast the garlic cloves and the cinnamon stick for 3 minutes over low heat.

6. Char the tortillas, making sure they are slightly dark in color.

7. Roast the black peppercorns 30 seconds to release aroma.

8. In a large pot, add the chicken stock and bring to a boil.

9. Place all ingredients except the Mexican chocolate and the oil in a large mixing bowl. Allow everything to hydrate and soften in the hot stock for 30 minutes.

10. Blend all the ingredients until it becomes a smooth purée.

11. Place a large pot over high heat. Add the oil and the mole purée. Reduce the heat to low.

12. Add the Mexican chocolate in pieces and mix well until dissolved. Simmer for 45 to 50 min.

and knowledge of food has been passed down from his

Arturo Silva, the chef de cuisine at Buho Catina y Cocina in Waikīkī, has been in the restaurant business for more than 16 years. His experience mom, Josefina Hernandez.

Tammy’s Polynesian Market

When asked why she opened a Polynesian grocery, considering that she is from Korea, Tammy Kim, the charming owner of the Waipahu market, replied, “Because they are good people!” When she emigrated to Hawai‘i from Korea 40 years ago, Kim knew she wanted to open her own store. Three years later, she debuted a small convenience mart on Farrington Highway. Soon her many Samoan customers were making requests— “Can you get this?” “Can you cook that?”—and so her Polynesian market was born.

At Tammy’s Polynesian Market, the shelves are stocked with products imported from Samoa, Australia, and Fiji—everything from canned coconut milk and mackerel to faux Samoan shell bracelets and plastic tiare flower pins. But what people line up for is the prepared food. Steaming trays of Samoan sausage in gravy, octopus in coconut, and lamb-neck curry are prepared onsite daily by the staff of Polynesian cooks and bakers Kim has hired to make sure her customers get an authentic taste of home. Taro and breadfruit are bestsellers, whether baked or boiled or covered in a tapioca sauce, as is the pineapple pie shaped like a calzone that is displayed by the checkout counter. Over the years, other Polynesian markets have opened and closed, but Kim’s was the first, and she has become well-known in the Samoan community. Eyes twinkling, she exclaims, “All Polynesians come to Tammy’s store.”

Come for the: pani popo, a Samoan dessert similar to a coconut sweet bun, which sell out quickly.

94-839 Farrington Hwy., Waipahu

タミヌズ・ポリネシアン・マヌケット 韓囜出身なのに、このワむパフのポリネシア食料品店を開店した理 由を聞かれるず、チャヌミングなオヌナヌ、タミヌ・キムさんは、「だっ おポリネシアの人たちは良い人たちなんですもの」ず答えたす。キ ムさんは40幎前に韓囜からハワむに居䜏したずきから、自分の店を 持ちたいず思っおいたそうです。その3幎埌、ファヌリントン・ハむりェ む沿いに小さなコンビニ゚ンスストアをオヌプンしたした。そしおすぐ に、サモア系のお客さんから「これを入荷しおくれない」「これを料 理しおくれない」ずいったリク゚ストを受けるようになり、ポリネシア ン・マヌケットが生たれたずいうわけです。

店内の棚は、サモア、オヌストラリア、フィゞヌから取り寄せた補 品でいっぱいです。ココナッツミルクの猶、鯖、サモアの暡造貝殻の ブレスレット、プラスチック補のティアレの花が぀いたヘアピン。䞭で もお客さんが列をなすのは、自家補の食品です。グレヌビヌを添えた サモア颚゜ヌセヌゞ、ココナッツに茉せた蛞、子矊の銖肉のカレヌな ど、毎日店内で䜜る料理が提䟛されおいたす。顧客が故郷の本物の 味を楜しめるよう、キムさんはポリネシア人の料理人ずパン職人を雇 っおいたす。䞀番良く売れるのは、タロずブレッドフルヌツ焌いたり、 茹でたり、タピオカ゜ヌスをかけお食したすず、レゞのそばの棚に食 っおある、カルゟヌネのような圢のパむナップルパむ。過去にもほかの ポリネシア食料品店が開店しおは閉店しおいきたしたが、キムさんの 店は最初の店であり、キムさんはサモア瀟䌚でも良く知られた存圚 です。「ポリネシアの人たちはみんな、タミヌの店に来おくれるんです よ」ずキムさんは目を茝かせたす。

おすすめサモアのデザヌトでココナッツ颚味の甘いパン、「パ ニポポ」。あっずいう間に売り切れおしたいたす。

94-839 Farrington Hwy., Waipahu

148 F FARE Grocers
PALM

Khao thom is a very special treat my family prepares for Thak Baht (blessings and alms offering), which are held at Wat Lao Sithammaram (Lao Buddhist Temple) once a month.

ingredients

1 cup sticky rice, soaked overnight

1 13.5-ounce can Chaokoh coconut milk

1⁄2 cup sugar

20 pieces large banana leaves, cut into rectangles

1 pinch salt

5 ripe apple bananas, peeled, halved lengthwise

instructions

1. In a deep pan, add coconut milk, sugar, drained rice and salt. Simmer and cook it for 10 minutes, until coconut milk gets absorbed and the rice becomes sticky and thick.

2. Transfer the rice onto a plate and let it cool for 10 to 15 minutes.

3. To soften the banana leafs, steam for 5 minutes. Lay one leaf on cutting board and place 1 tablespoon of cooled rice in center of the leaf. Flatten the rice out in a rectangular shape and add one banana piece in the center of the rice.

4. Fold the banana leaves like a parcel and bind with string. Repeat with remaining banana leaves, banana, and rice.

5. Bring steamer to boil. Place khao thom in steamer. Reduce to medium-low heat. Cover and steam for 45 minutes. Take out and let cool for 10 to 15 minutes and enjoy!

Macy is the owner of the familyrun Olay’s Thai Express, which was opened by her mother, Sandy “Olay” Somsanith in 2011. From its location in ‘Aiea and at farmers markets around the island, Olay’s offers classic southeast Asian fare inspired by Somsanith’s upbringing in Laos.

India Market

Russian pickles. Bulgarian feta. Vegemite and Marmite. British biscuits. India Market offers so much more than just Indian food. “I think this is the only multiethnic grocery store in Hawai‘i,” says owner Mohammed Shareen Khan. “We try to cater to a lot of them.” Khan’s store is filled from floor to ceiling with products from around the globe, and he’s constantly testing new items or fulfilling customers’ requests. Nothing stays on the shelf for more than two weeks due to high demand, he says.

Ethnically Indian but born and raised in Fiji, Khan has been living in Hawai‘i for 43 years. When he retired from United Airlines, he saw a demand for specialty products and, after a lengthy search, opened India Market 15 years ago. The demand for the store’s products has only grown as people have become more interested in healthy foods. “These days, people are very health-conscious and watch what they eat,” says Khan. “The products we have, not only from India but also the Middle East, are pure organic stuff. The labels don’t say it, but they are organic. In other stores, you will be paying much more for organic food.”

Patrons may come for the premade vegetarian entrée or exotic spice selection, but they will be pleasantly surprised by the store’s selection of flours, high-quality teas from around the world, wide varieties of basmati rice, and more than 60 kinds of pickles. Come for the: homemade vegetarian samosas, which pair perfectly with the store’s incredible selection of chutneys.

2357 S. Beretania St., Honolulu

むンディア・マヌケット ロシアのピクルス。ブルガリアのフェタチヌズ。ベゞマむトずマヌマむ ト。英囜のビスケット。むンディア・マヌケットには、むンドの食材以倖 にも実に豊富なものが溢れおいたす。「うちは、ハワむで唯䞀の、本圓 にマルチ゚スニックな食料品店だず思いたす」ず、オヌナヌのモハメ ド・シャリヌン・カヌンさんは胞を匵りたす。「いろんな囜の人たちに ご利甚いただきたいず思っおいるんです」。カヌンさんの店は、䞖界䞭 から届いた食料品で床から倩井たで埋め尜くされおいたす。顧客の リク゚ストに応えお、垞に新しいアむテムを入荷しおみおいるずか。ず おも需芁が高いので、どんなものも2週間以䞊棚に残っおいるこずは ないそうです。

カヌンさんはむンド系ですが、フィゞヌ島で生たれ育ち、ハワ むに䜏んで43幎になりたす。ナナむテッド航空の仕事を匕退した埌 で、こうした各囜の特別な食料品の需芁に気づき、慎重にリサヌチ を重ねおから15幎前にむンディア・マヌケットを開店したした。健 康食品ぞの関心が高たるに぀れ、カヌンさんの店で扱う食品の需 芁も高たる䞀方です。「近頃、みんな健康にずおも気を぀かっお、食 べるものにも気を぀けおいたすからね。むンドからのものも、䞭東か らのものも、うちで扱っおいるのはみんなオヌガニックのものばかり です。ラベルには曞いおないけど、オヌガニックなんですよ。ほかの 店では、皆さんオヌガニック食品にもっず高い倀段を払っおいるで しょう」ずカヌンさん。

ベゞタリアンの加工食品、゚キゟチックなスパむスなどのほか、 さたざたな粉類や䞖界䞭から取り寄せた高品質なお茶、豊富な皮類 のバスマティラむス、そしお60皮類を超えるピクルスも、この店の顧 客を喜ばせおいたす。

おすすめ店で䜜っおいる自家補ベゞタリアンサモサず、驚くほ ど皮類の倚いチャツネの組み合わせ。

150 F FARE Grocers PALM
2357 S. Beretania St., Honolulu

Ammi’s Meethi Tikya

This is my mother’s recipe of sweet fried South Asian bread/cookies made at significant times of the year and shared with family and community.

ingredients

5 cups all-purpose flour

1 cup sooji (semolina)

2 cups sugar

1 cup dried shredded coconut

1 stick butter

Milk as needed for kneading Oil for deep frying (canola or any vegetable oil)

instructions

1. Combine and mix the ingredients together. Knead with a little bit of milk or use a food processor. Make sure the consistency doesn’t get too sticky.

2. Roll out the dough and cut it into circles (you can use a cookie cutter, glass or cup).

3. Heat oil in a wok or electric fryer and deep fry in oil until golden brown. Let cool. Your tikyas should be golden brown when done, crispy on the outside and soft on the inside.

Asad Jafri is the associate curator of public programs at Shangri La Center for Islamic Arts and Culture.
1.808.380.1226 www.parklanealamoana.com HALE MOANA 4 Bedrooms | 4.5 Bathrooms | 6,273 S.F. Interior | 845 S.F. Lanais THE GRAND PENTHOUSES

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