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 WaikÄ«kÄ«, 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 âIolani Palace and the hidden labs of the federal governmentâs most diverse seed farmâ 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.
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14 LETTER From the Developer
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PALM is published exclusively for:
The MacNaughton Group & Kobayashi Group
16
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.
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23
In Focus
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A manifold group of independent Hawaiâi filmmakers are expanding the islandsâ cinematic persona with stories that push against popular postcard notions of island living.
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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 âWorkers Leaving the LumiÚre Factory.â Sortie des Usines LumiÚre à Lyon lacks any aspect of a narrativeâit 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
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representation of non-Western culturesâan egregious offender being films set in Hawaiâi that perpetuate clichés like grass shacks, uneducated natives, and any number of unfortunate tropes that continually paint Hawaiâi as a paradisiacal backdrop lacking depth or trauma. In over a century of cinemaâs growth as a medium, the inability of nonHawaiian filmmakers to portray Hawaiâi and its cultures as three-dimensional have limited their narratives, rendering them bland and, oftentimes, predictable.
However, Hawaiian filmmakersâ narratives are as vibrantly diverse as they are compelling.
âWhatâs remarkable about this moment in time is that I donât believe there is a singular narrative being perpetuated locally,â says Alika Maikau, the co-director of Mauka to Makai. In his short film, Maikau and co-director Jonah Okano send their lead charactersâtwo cousins who have recently become involved in drugtraffickingâon a dangerous journey from KÄneâohe 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.
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In another short film, KÄlewa, directed by Hawaiâi 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 Hawaiâi, with the astronautâs family; more specifically, his strained relationship with his father. âKÄlewa is very much a story about making things right with the people we love, because we never know what might happen tomorrow,â Viernes says. KÄlewa 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. âI do believe many local filmmakers tend to lean towards telling dramatic fictional stories that reflect what life is like here in Hawaiâi from our perspective,â remarks Viernes, ârather than what has been typically portrayed in movies from Hollywood.â
There is no singular narrative shared by Hawaiâiâs 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 Hawaiâi.
The involvement of narcotics in Mauka to Makai is also a departure from popular cultureâs idea of what a film about Hawaiâi would entail, and a setting that would alienate most viewers whoâve grown accustomed to Hawaiâiâs 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 âauthenticallyâ 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. âI grew up in KÄneâohe, with the characters in this story,â 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
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30 A ARTS Filmmakers PALM
Mitchel Viernes, the director and screenwriter of KÄlewa , 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 Hawaiâi deserves, the filmmakers of Hawaiâi are getting it doneâand theyâre 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 Makaiâs drug-fueled tragedy, KÄlewaâs beautifully surreal landscapes, or the strained idealistic facade of Waikiki
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There is no singular narrative shared by Hawaiâiâs filmmakers. It is the inherent authenticity and the unyielding sincerity of their perspectives that unifies the directors and their films.
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There has never been a better time to dine in WaikÄ«kÄ«. 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 Japanâs 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 Oâahu 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 WaikÄ«kÄ«âs culinary scene.
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36
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B BUSINESS Waikīkī Dining
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From Mahina & Sunâs to Dukes Lane Market and Eatery, the common thread of these new restaurants is that they are not the restaurateursâ 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 Nanaâs Green Tea, which Frank Clark, the CEO of Waikiki Yokocho, calls the âStarbucks of green tea;â 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. âRestaurants are all kind of maxed out in Japan,â he says. âTheyâve hit their peak with 650 stores, 150 stores. Their
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38 PALM
B BUSINESS Waikīkī Dining
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.â
But Japanese companies are not the only ones expanding into Hawaiâi. 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 Hawaiâi include Stripsteak by Michael Mina and Roy Yamaguchiâs Eating House 1849, both of which are housed in the gleaming, glitzy new International Market Place. Over at The Surfjack, a boutique hotel, KaimukÄ«âs Ed Kenney established his first restaurant in WaikÄ«kÄ«, Mahina and Sunâs.
The common thread of almost all the new restaurants is that they are not the restaurateursâ 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.
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PALM 40 B BUSINESS Waikīkī Dining
AN ARTFUL LIFE
FAVORITE ARTIST: Richard Diebenkorn. An artistâs 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. Itâs a really great feeling. ARTIST / ART DEALER
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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 WaikÄ«kÄ« 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 WaikÄ«kÄ« 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. âFood is very popular,â he says. âYou can see it popping up all over the world in the form of restaurants and food halls.â
Developers may be attracted to food as a growing market, but they are also fleeing a shrinking one. âThe reason why people are looking at restaurants now is because the retail market is much softer in WaikÄ«kÄ« [than it once was],â Clark says. In a world where so much can be bought online, âpeople are looking at dining options.â
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 restaurantsâor even other food hallsâwould be opening at the same time. âItâs probably oversaturated,â 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 âwith an influx of 60 to 70 restaurants opening at once [on Oâahu], we experienced the delays in permitting.â He also pushed back Yokochoâs opening so that its unveiling wouldnât be at the same time as those of The Street, Dukes Lane, and Shirokiyaâs Japan Village Walk food court at Ala Moana Center. âWe didnât want to be in the middle,â he says, âbecause no one remembers the middle guy.â
In addition to permitting delays, the biggest problem all the restaurants face is a labor shortage, exacerbated by the influx of new businesses. With Honoluluâs 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 Hawaiâi residents. Itâs a higher number than he anticipated, but he attributes it to Yokochoâs affordable and authentic Japanese food.
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Breakfast at Mahina and Sunâs at The Surfjack Hotel and Swim Club, where chef Ed Kenney established his first restaurant in WaikÄ«kÄ«. 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 Hawaiâi 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 doesnât 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.
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44 B BUSINESS Waikīkī Dining PALM
Plants for Posterity
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46 B BUSINESS Prosperic Plants PALM
Within the barrack walls of a military base on Oâahu is the United States Department of Defenseâs only seed bank. The team behind it has been tasked with a beautiful challenge.
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When Hurricane Lane threatened to hit Oâahu, 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 speciesâsome that exist nowhere elseâ remained stored in refrigerators and a freezer set to minus 80 degrees Celsius. Facing the threat of disastrous flooding and wind, the keepers of Noahâs Ark of Hawaiâiâs endangered plants waited nervously.
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The Oâahu 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 Hawaiâi.
Barracks
This team belongs to the Oâahu Army Natural Resources Program, which has been tasked with collecting, preserving, and propagating endangered species found on Army lands in Hawaiâi. 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 Defenseâs only seed bank.
Hawaiâi 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, âcompared to mainland standards and even global standards,â Kawelo says. âMainland things are endangered when 50,000 or 100,000 are left. Here, weâre lucky if we have five.â Now with the establishment of the Army Natural Resources Programâs 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, âNothing is more priceless and more worthy of preservation than the rich array of animal life with which our country has been blessed.â 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 Oâahu was initiated to conserve those found on training lands in Hawaiâi. While it endeavors to preserve endangered animals and insects, including the âelepaio 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 hÄhÄ, 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 Hawaiâi; by 2003, they were all dead. From saved seeds, the Army Natural Resources Program team grew new hÄhÄ and then planted them across the Waiâanae mountain range. Now, there are more than 1,500 of the trees growing in the wild.
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To protect native forests, which are home to many endangered plants and animals, the biologists control invasive speciesâslugs, pigs, rats, and other introduced plantsâthrough 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 âwhich are destined for propagation or storage, a backup collection in case of hurricane or wildfire from Army training,â 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 Waiâanae and MÄkaha.
The seed bankâs biodiversity reveals itself in just a handful of seeds: the tiny black curlicues of koâokoâolau; the bright orange-red wiliwili shaped like small kidney beans; the tufted, wispy naâenaâe. 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 âÄkia, 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 Oâahu, 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.
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Treasured Past
Text by Matthew Dekneef
Images by Michelle Mishina
Dinner invites, calling cards, and letters handwritten by Hawaiâiâs monarchs and officials.
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From royal jewelry to personal stationary, priceless items are housed in the hidden collections of âIolani Palace, some of which have never been displayed.
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In a stark white chamber of âIolani Palaceâs collections room, a gold pocket watch rests on a piece of cloth fabric. The watchâs cover is inscribed with ornate script that reads KIK, the monogram of King KalÄkaua. 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 watchâs face, an inscription reveals it belonged to Colonel Curtis Piâehu Iaukea, presented to him by Queen Kapiâolani on April 27, 1895. The glass surface of the timepiece is pristine. The clockâs hands are static, frozen in time.
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There are other never-displayed relics from Hawaiâiâs 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 âOke,â shorthand for âÅkolehao, the liquor distilled from tÄ« root that is popularly referred to today as âHawaiian moonshine.â The most impressive, if intimidating, is a Scottish Rite 33-degree sword that belonged to KalÄkaua, a reminder of his dynastyâs Freemason associations.
But the pocket watch feels emblematic of all the contents vaulted away on the top floor of âIolani Palaceâartifacts that represent a bygone area, trapped in time, yet still able to surprise and share stories anew.
It turns out that identifying the objects âIolani 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, donât fit the thematic scope of whatâs 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 palaceâs 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 Hawaiâiâs monarchs during travels abroad. Local history
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and diplomatic views are discussed in an 1886 letter from KalÄkaua to Robert Walker Irwin, the Kingdom of Hawaiâiâs 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 Liliâuokalani to a friend, she extends an invitation to go fishing, and that is allâa 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 âIolani 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 contentsâpractically 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 âIolani Palace for 41 yearsââback when the Throne Room was just carpet, and thatâs it!â she recallsâand 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 makerâs 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 itemâs connection the Palace and answers that call, literally. âWhen the phone rings, I get ecstatic,â says Leona Hamano, the collection manager. âWho could be at the opposite end of the phone, right? Is it something they want to share with us or with the public?â Often, the query is not about an outright donation but rather a request to authenticate a piece in oneâs possession. âSomeone will call us because of a story their grandpa told them about something supposedly belonging to the Palace,â Cup Choy says. âTheyâre looking for information, and in the process of helping them find information, weâre developing a relationship.â
That donation process, from the initial call to an objectâs 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. âYou have to respect that they are family heirlooms and they have an emotional connection to it,â Cup Choy says, of the items not yet returned to the Palace, elsewhere in the world and still unseen. âWhen theyâre ready, it might come back.â
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66 C CULTURE Iolani Palace PALM
Canine Companions
Text
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Eunica Escalante
Images by John and Samantha Hook
68 C CULTURE Dogs PALM
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With these dashing pet portraits, Palm showcases the unique kinship between four-legged friends and their devoted owners.
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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.
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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. âHe makes us calm, because heâs always well-behaved. Thatâs the biggest thing for me,â she says. âAfter Jaden was born, Toby was so good to her. Heâs almost like an older brother. A lot of people see dogs just as animals, but truly he has a family presence.â
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SHATZI & ELSA
DAPPLED MINIATURE DACHSUNDS, 8 YEARS OLD
Lynne Kaneshiro
Executive Advisor at Premier Title and Escrow Resident of Park Lane
âI just canât live without dogs. Iâve had them since I was in high school,â Kaneshiro says. âThey are the joys of my life, really.â Originally, Kaneshiro had adopted Shatzi and picked up Elsa for friends. When her friends realized they couldnât take care of Elsa, Kaneshiro took her in as well. Now the twin daschsunds keep her company. âThey make me so happy and love me unconditionally,â she says. âWhen 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. Itâs so comfortable, and the feeling here is just warm.â
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BASENJI TERRIER, 8 YEARS OLD
Jenny Brady Real Estate Agent Resident of Hokua
âOur family had experienced a loss, and we just needed something that would help bring new life and youth into the household,â Brady says. âI was ambivalent about getting him for an apartment because we didnât know what kind of dog he would be. But he loves it here. He hasnât destroyed anything in the house since we got him.â Yaeger is named after the famous fighter pilot Chuck Yaeger. But Brady likes to say his name is short for the popular liquor JÀgermeister. âWe take him down to the dog park or around Ala Moana Beach Park,â she says. âEveryone always says heâs a lucky dogâto go from the Humane Society to living in a luxury high-rise like this.â â¢
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⢠⢠⢠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. âWe got him when he was only 2 months old. At first, I didnât like him, but my daughter really wanted to have a dog. He helps my daughter and I bond,â she says. âWeâve had a lot of laughs with him. Without him, maybe we wouldnât be able to connect as much. When we come home, heâs always happy to welcome us back. Heâs the first dog Iâve had, so heâs pretty spoiled. Even the staff here spoils him. Theyâre great because when weâre not home, the staff takes care of him.â
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PRINCESS
MALTI-POO (MALTESE-POODLE MIX), 9 YEARS OLD
Lynn Lally, and husband Jim Philanthropists
Residents of Park Lane
âSheâs a rescue animalâweâre the third owners,â Lynn says. âApparently her last owners abused her. When we got her, you could see all of her ribs and everything. But today, sheâs the most happy and loving dog.â 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. âShe brings me so much joy and comfort. I initally got a dog on my doctorâs recommendation, to take care of my blood pressure. We werenât ready to get one, but fell in love with her the first time we saw her.â
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⢠⢠RAMSAY
LABRADOODLE, 5 œ YEARS OLD
Arlene Iwamoto
Retired
Resident of Park Lane
Ramsayâs priorities are food, people, and playâin that order, says Iwamoto. âMy husband and I were interested in the labradoodle breed and heard about a breeder on Kona,â she says. âWe had someone look at the pups and bring her over. And, of course, when you see first see them, itâs hard to say no. Sheâs the bridge between my husband and me. Sheâs the glue. Itâs been a good transition for her when we moved to Park Lane. We have our own front yard, and sheâs welcome anywhere.â
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PALM D 81 ãã¶ã€ã³ PALM 81
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The
Architecture for All
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82 D DESIGN Preis PALM
The radical legacy of the architect Alfred Preis.
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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 PÄlolo 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.
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This door detail is one of the signatures of Alfred Preis, the Vienna-born architect who designed dozens of buildings throughout Hawaiâi 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 NÄhua Street in WaikÄ«kÄ«âa door with a fenestration just a few inches wide, a gash of glass. He used it again for houses in MÄnoa and Makiki Heights, and again in central PÄlolo 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 PÄlolo Stream. All were designed by Preis, who after the warâduring which he was briefly interned at Sand Island in Honolulu alongside fellow Austrians, Germans, and Japanese residentsâleft 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 todayâs 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. âPreisâ clients were, for the most part, locals,â says Laura McGuire, an architectural historian and coauthor of a forthcoming biography on Preis. âHe tended more toward a desire to make a kind of Hawaiian modernism for the people.â
Among Preisâ earliest projects was the Labor Canteen, a cafeteria and event space for members of local labor unions, which was located at the corner of KalÄkaua Avenue and Beretania Street. He also designed buildings in Hilo, LÄ«huâe, 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 OâHiggins, 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.
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86 D PALM
DESIGN Preis
Preisâ 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 âRed Vienna.â 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 Preisâ work, not only in his attention
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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 NÄhua, 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. âThat was his thing. He was committed to art in architecture,â says Jack Gillmar, a retired schoolteacher and another of the forthcoming biographyâs coauthors.
Gillmar should know. He grew up in the house on NÄhua 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.
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94 D PALM
DESIGN Preis
They trucked everything to the back of PÄlolo 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. âHe was astounded,â Jack Gillmar recalls. âHe 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.â
Gillmar remembers Alfred Preis as a quiet, selfeffacing person. âHe never made a big deal about himself or what he contributed,â Gillmar says. âBut in terms of architecture, he contributed a great deal.â Yet Preisâ legacy lay less in individual buildings and more in his advocacy for the value of good design. He championed the preservation of Hawaiâiâs natural beauty and chaired multiple committees dedicated to the protection of places like Diamond Head. In 1963, Preis became Hawaiâiâs firstever statewide planning coordinator, bringing aesthetic considerations to bear on large-scale infrastructure projects such as Queen Kaâahumanu Highway on Hawaiâi Island and the Pali Lookout on Oâahu.
In 1965, Preis helped found the Hawaiâi State Foundation for Culture and the Arts, for which he served as executive director until 1980. It was because of Preis that Hawaiâi became the first state in the nation with a statewide âperfect for artâ 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 Hawaiâiâs 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 wasâand remainsâa radical act. But that was Preis. For him, architecture was a public good, not a luxury. âHe was extremely hardworking, extremely dedicated,â Gillmar says of the man. âHe was willing to give his all for the people.â
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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.
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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.
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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.
ïŒ 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.
ï¡ Dress by Dries Van Noten, from Saks Fifth Avenue; earrings by Rachel Comey, from We Are Iconic
ï¢ 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 ãšã¹ã±ãŒã
of place that
CUL TU RE
A sense fosters the human spirit
faraway and familiar
PALM PALM E
115
Surf Safari
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Text by Jen Murphy
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Images by Ricardo Simal and courtesy of Mami Wata
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116 E ESCAPES South Africa PALM
The lineup at Muizenberg in South Africa is an exploration of surfing at its most diverse. åã¢ããªã«ããã¥ãŒãŒã³ããŒã°ã®ã©ã€ã³ãããã§ã¯ãä»ã®å°åã«ã¯ãªãå€æ§ãªãµ ãŒãã£ã³ã®ããæ¹ãèŠããŠããŸãã
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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 Surferâs Corner, one of South Africaâs most popular longboard and learnto-surf beaches. When you think of hip surf towns, places like Byron Bay, Australia; Haleâiwa, Hawaiâi; 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 âThe Berg,â as locals call it, is
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PALM
ESCAPES South Africa
Distinct and diverse are the perfect words to describe Africaâs 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 didnât scare off surfers, who flocked here to ride the clean, long lines at Surferâs Corner. Renowned South African surfboard shaper Tich Paul, one of Muizenbergâs 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 townâs 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 Tigerâs Milk have surfboard racks and shops like Lifestyle offer memberships that grant access to lockers and board storage.
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120 E PALM
ESCAPES South Africa
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 beachâs 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 Africaâs 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 Townâs Bo-Kaap neighborhood. There, a giant map pinpointing the continentâs 133 surf breaks hung on the wall as a reminder of Africaâs 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 menâs 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. âIf you remove the logos, the aesthetic of the top six surf brands all looks exactly the same,â Dutton said. âWith Mami Wata, we want to tell a story. Surfing in Africa goes much deeper than sport. Itâs about adventure and discovery.â
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 Wataâs 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.
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122 E PALM
ESCAPES South Africa
âSurfing in Africa goes much deeper than sport,â says Nick Dutton. âItâs about adventure and discovery.â
To help shift the mindset of travelers from wildlife safari to surf safari, Mami Wataâs 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 Iâm 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. Iâm 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.
âSurfing in Africa is a journey,â he told me. âIt can be challenging and raw. Itâs not like surfing in Europe or Hawaiâi. But it will definitely leave a smile on your face.â
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ESCAPES South Africa
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Images by Michelle Mishina
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126 E ESCAPES Hawaiâi Island
When the weekend calls, a languid holoholo from Honokaâa to Hawi on Hawaiâi
Islandâs northside answers with scenic sights and charming personalities along the way.
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In the 1930s, Sunday drives emerged as a popular pastime for those with automobiles. Each weekend, Sundays were reserved for pleasure drivesâones 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 havetoâs and should-doâs. 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 Honokaâa to Hawi and then back again, allowing
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128 E ESCAPES Hawaiâi Island
PALM
From farmerâs 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 HÄmÄkua Harvest Farmerâs 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 Honokaâa Town, we strolled down the main thoroughfare in a light, intermittent drizzle. Honokaâaâs 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, Grammaâs 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, Grammaâs Kitchenâs most popular menuitem. Regulars and newcomers smiled across the room at each other over full bellies. We couldnât 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 interestâa 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 otherâs emerging curls.
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130 E ESCAPES Hawaiâi Island PALM
Itâs about an hour drive between Honokaâa and Hawi and filled with soft contours of Hawaiâi Islandâs hills and valleys.
Each stop offered its own cache of stories and delights. The achingly beautiful views of PololÅ« Valley was made even more beautiful by our encounter with a gentleman selling bottled lilikoâi 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 syrupâs recipe originated from. A cup of âulu chowder bought from a roadside food truck led to a conversation with the food truckâs owner who, after some gentle coaxing, shared the tale of the soupâs 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 Honokaâa admiring the passing contour of hill and valley in the gloaming. In town, the Honokaâa Peopleâs 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 âawa bar. We made our way, too. Inside, we met the owners, a lovely couple who had fallen in loveâtwice: once with each other, and then with Honokaâa.
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PALM 132 E ESCAPES Hawaiâi Island
in 1930,
As the evening faded into night, my companion and I marveled over the dayâs 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.
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136 E ESCAPES Hawaiâi Island PALM
Built
the Honokaâa Peopleâs Theatre is an anchor of the multicultural town.
Culinary delights and
FA RE
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delectable hidden gems
PALM F 139
Globally Sourced
Text & images by IJfke Ridgley æïŒåç = ã¢ã€ãã¯ã»ãªããžãªãŒ
Illustrations by Molly Reeder ã€ã©ã¹ãã¬ãŒã·ã§ã³ : ã¢ãªãŒã»ãªãŒããŒ
Take a look at the eclectic shelves bringing far-flung flavors to Hawaiâi and get to know the charming shop owners who stock them.
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140 F FARE Grocers PALM
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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, Hawaiâi 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 canât find elsewhere. Signage with straightforward namesâAsian Grocery, India Marketâin bold letters are the only things calling your attention to these blink-and-youâll-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 Hawaiâiâs 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 islandâs best-kept secrets, known to those who seek them out because they yearn for their motherâs cooking or canât stop thinking of the foods they had on their last vacation. Quite a few are located along Beretania Street, but many locals donât even notice them or know about the troves of goodies right inside.
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142 F FARE Grocers
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 Hawaiâi in the 1970s, the shop was opened in 1976 and âwas born out of a demand from other immigrants from Southeast Asia,â says Ravy Winter, the companyâs general manager. âIt was a store to fill in the gap.â 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 clienteleââa pretty eclectic group,â according to Winterâlive 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
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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 Hawaiâi 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 Oâahu 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 itâs 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. âA lot of my customers have kids in school in California or the Southwest who have introduced their families to real Mexican food,â 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 japonesâa stemless chile from Chinaâwhen the real Mexican chile is chile guajillo, which now regularly sells out. âWhen 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,â she says.
Come for the: fresh tamales (sold every second and last Saturday of the month) and homemade guacamole.
1315 S. Beretania St., Honolulu
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1315 S. Beretania St., Honolulu
146 F FARE Grocers
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Mole Poblano
by arturo silva
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.
Tammyâs 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, âBecause they are good people!â When she emigrated to Hawaiâi 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 requestsâ âCan you get this?â âCan you cook that?ââand so her Polynesian market was born.
At Tammyâs Polynesian Market, the shelves are stocked with products imported from Samoa, Australia, and Fijiâeverything 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 Kimâs was the first, and she has become well-known in the Samoan community. Eyes twinkling, she exclaims, âAll Polynesians come to Tammyâs store.â
Come for the: pani popo, a Samoan dessert similar to a coconut sweet bun, which sell out quickly.
94-839 Farrington Hwy., Waipahu
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94-839 Farrington Hwy., Waipahu
148 F FARE Grocers
PALM
by macy khounkeo
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
1â2 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 Olayâs Thai Express, which was opened by her mother, Sandy âOlayâ Somsanith in 2011. From its location in âAiea and at farmers markets around the island, Olayâs offers classic southeast Asian fare inspired by Somsanithâs upbringing in Laos.
India Market
Russian pickles. Bulgarian feta. Vegemite and Marmite. British biscuits. India Market offers so much more than just Indian food. âI think this is the only multiethnic grocery store in Hawaiâi,â says owner Mohammed Shareen Khan. âWe try to cater to a lot of them.â Khanâs store is filled from floor to ceiling with products from around the globe, and heâs constantly testing new items or fulfilling customersâ 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 Hawaiâi 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 storeâs products has only grown as people have become more interested in healthy foods. âThese days, people are very health-conscious and watch what they eat,â says Khan. âThe products we have, not only from India but also the Middle East, are pure organic stuff. The labels donât say it, but they are organic. In other stores, you will be paying much more for organic food.â
Patrons may come for the premade vegetarian entrée or exotic spice selection, but they will be pleasantly surprised by the storeâs 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 storeâs incredible selection of chutneys.
2357 S. Beretania St., Honolulu
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150 F FARE Grocers PALM
2357 S. Beretania St., Honolulu
Ammiâs Meethi Tikya
by asad jafri
This is my motherâs 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 doesnât 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
Gracious Penthouse nestled above the treetops
Introducing Hale Moana, the premier and only remaining Grand Penthouse at Park Lane Ala Moana. Experience the comfort, privacy and security of a single-family estate and the relaxed refinement of a cosmopolitan oasis, right in the heart of Honolulu.
Hale Moana is grounded in a connection to Hawaiâi; itâs a place for life, laughter and relaxation: a solace from the busy world, a place to entertain, and the best vantage point for taking in breathtaking ocean views.
Nestled above the lush landscape, Hale Moana provides the perfect setting to capture the sun as it gently disappears into the Pacific Ocean. The expansive living spaces allow gracious entertaining while the ownerâs retreat has all the amenities to unwind after enjoying the islandâs beauty.
Understated Elegance
Hale Moana is a grand estate perched in the sky with Park Laneâs lush landscaping and resort amenities close at hand.
Redefining luxury living, the warm color palette of the stone and wood paneling pay homage to the beautiful sandy beaches in Hawaiâi while creating a striking contrast for the blue waters for which the home is named in honor of. The seamless integration of the indoors to the three exterior lanais, makes Hale Moana the perfect home to enjoy Hawaiâiâs year round temperate climate.
A Revelation
âWe want the owner to step inside the home gradually and watch as the space unfolds. The elevator to Hale Moana opens up to a private foyer. The space just inside is designed to create a pause, a chance to take a deep breath and release the cares of the day. Push the button and watch the shades rise. The lights come up, and the view is revealed. Then, you exhale.â
David Oldroyd, principal with ODADA
Personalized Service, Elegantly Presented
To Park Your Car or Arrange Transportation PARCEL DELIVERY And Acceptance. All Day / Every Day CONCIERGE
For Daily Needs, Large or Small
SECURE STORAGE
For Beach Gear, Seasonal Items and Everything Else
BEACH SERVICES
Transportation, Setup and Takedown of Beach Gear
GLOBAL COMMUNITY
Multilingual Residential Services Team
EXPERT PLANNING
Special-Event Coordination and Barbecue-Cabana Preparation
24-HOUR SECURITY
For Real Peace â and Peace of Mind
RESIDENCE CARE
Monthly Monitoring and Inspection for Offshore Owners
VALET
Disclaimer: Park Lane Ala Moana (the âProjectâ) is a proposed project that does not yet exist. It is estimated that the Project will be completed in December of 2017. All figures, facts, information and prices are approximate and subject to change at any time. All renderings, maps, site plans, photos, simulated views, floor plans, graphic images, drawings and all other information depicted in this brochure are illustrative only, and are provided to assist the purchaser in visualizing the residences and the Project and may not be accurately depicted and may be changed at any time. Photos and drawings and other visual depictions of the Project and residences contained in this brochure are artist renderings and should not be relied upon in deciding to purchase a residence. The Developer makes no guarantee, representation or warranty whatsoever that the residences depicted in this brochure will ultimately appear as shown. To the extent permitted by law, the Developer disclaims all liability that may arise out of errors or omissions in the content of this brochure, including any claims for actual or consequential damages. This is not intended to be an offering or solicitation of sale in any jurisdiction where the Project is not registered in accordance with applicable law or where such offering or solicitation would otherwise be prohibited by law. Exclusive Project Broker: Heyer & Associates, LLC. RBO-17416 | Courtesy to qualifying brokers; see project broker for details. 1288 Ala Moana Blvd. Suite 206 | Honolulu, HI 96814. Renderings by Steelblue and Matsma.