Buildings | Images of Old Hawaiʻi

November 1, 2026 by Peter T Young Leave a Comment

Koa House

In 1840, John Joseph Halstead sailed to Hawai‘i on a whaling ship bringing with him from New York carpentry and cabinet-makings skills. He set up a shop in Lāhainā. (Martin) He was said to be the first man to put up a frame house in Lāhainā.

With the news of the discovery of gold in California in 1848, came orders from San Francisco merchants for Irish potatoes and other food supplies for those heading to the gold fields.

Halstead did not join the pioneers of 1849; He moved over to Kalepolepo, along the Kihei shoreline, with his family and shortly thereafter built a new house for himself. (Wilcox)

It was a large Pennsylvania Dutch style house made entirely of koa, built next to the south wall of Koʻieʻie Loko I‘a (fishpond) (also called Kalepolepo Fishpond.)

Halstead’s three story house/store was nicknamed the ‘Koa House.’ With the mullet-filled fishpond, the Koa House became a popular retreat for Hawaiian royalty such as Kamehameha III, IV, V and Lunalilo. (Starr)

No one remembers the actual date of construction of Koa House, but the fact that King Liholiho (Kamehameha IV), visited Kalepolepo on a royal tour immediately after accession to the throne in the fall of 1854, and stayed overnight as the guest of Halstead, its owner, is proof it was built before that time. (Wilcox)

Its timbers were from saw mills in East Makawao and from Kula, partly hewn and whip-sawed by hand Into shape, for labor was cheap In the good old days. Also pine and other material brought around Cape Horn by early traders.

When finished the first floor was fitted up with koa wood counters and shelves, and used for a store. The upper floors were used for living quarters. Many of the larger pieces of furniture were made of koa wood by Halstead himself. (Wilcox)

He opened a trading station on the lower floor. Whalers came ashore to buy fresh produce that was brought in by the farmers via the Kalepolepo Road.

He promoted the Irish potato industry in Kula, which even then was a thriving industry for provisioning whale ships in their seasonal voyages after whales.

At Halstead’s Kalepolepo Store a cartload of potatoes – thirty to forty bags – could readily be exchanged for a bolt of silk or other provisions.

During the Irish potato boom of those days any native farmer with an acre or two of potatoes would sell his crop, and as soon as he received payment in fifty-dollar gold pieces he would hurry off to the nearest store to buy a silk dress for his wife or a broadcloth suit for himself.

Halstead held his share of the Irish potato trade against more promising cash offers made by his business rivals. So lively was the competition that LL Torbert of ʻUlupalakua conceived the idea of an Irish potato corner.

He sent out his men and bought up all the Irish potatoes in sight, paying as high as five dollars for a bag of potatoes, a fabulous price for those days when native labor was plentiful at twenty-five cents a day.

Having cornered all the potatoes to be had, he shipped about $20,000 worth by the bark Josephine for San Francisco. The bark proved leaky, water got into the potato-filled holds and rotted them so that on arrival at San Francisco not enough good potatoes were left in the cargo to pay the freight bill.

At that time Kalepolepo was a thriving village, with two churches, a Mormon church where George Cannon or Walter Murray Gibson expounded the Christian doctrines of Joseph Smith against Christian Calvinism as preached by the Reverend Green and David Malo.

Reportedly, Halstead’s old house at Kalepolepo was Rev Green’s granary during the wheat boom of the 1850s and early-1860s, when the upper Makawao country from Maliko to Waiohuli was cropped to wheat.

Possibly some wheat may have been shipped from Kalepolepo in those days, for from early times to the late-1860s it was a shipping port for Wailuku and Kula. Halstead had one or two big warehouses standing makai of his residence.

In the late sixties the Irish potato trade had become unimportant and later ceased altogether. In 1876, Halstead closed his store and moved to ʻUlupalakua, where he died eleven years later, May 3, 1887. (Wilcox)

The koa house remained standing until it was burned down in 1946 by the Kihei Yacht Club. (NPS) (Lots of information here is from NPS and Wilcox.)

John Joseph Halstead-Koa House-Paradise of the Pacific-1921

October 28, 2026 by Peter T Young 1 Comment

Arthur L Andrews Outdoor Theatre

Cornell-educated core faculty was brought in during the early days of the College of Hawai‘i to help build a foundation for the University of Hawai‘i’s future.

One such was Arthur Lynn Andrews; He was born in 1871 in McLean, New York and received a MA and his doctorate from Cornell University.

When he arrived in the islands in 1910, he first joined the College of Agriculture and Mechanic as an English professor. College classes were held in a remodeled residence in the backyard of a high school at Beretania and Victoria; the entire student enrollment was 17.

Andrews was active in all aspects of university life. He did not play football but is said to have introduced the famous Statue of Liberty feint play to island teams.

In 1913, he produced the University’s first play, “The Revolving Wedge,” and engaged students in playwriting. He organized the first campus newspaper and the first annual, sang in the glee club and played third base on the baseball team. (UH)

Andrews became the first Dean of the College of Arts and Science, when the College of Hawai‘i was transformed into the University in 1920.

Debate was once a major part of the university. Andrews founded the debate and forensics program in 1924, modeling it after the world famous Oxford Union.

He then became Dean of Faculties from 1930 until 1936, when he retired. From 1941 to 1943, he was a member of the board of Regents. (NPS)

Construction of the Manoa Campus almost stopped during the great depression in the 1930s. Exceptions were projects for which the Federal Emergency Relief Administration (FERA – under the ‘New Deal’) provided the manpower.

One such project at the University was an Outdoor Theater. The University provided $5,213 (cost of materials) and $50,000 was provided by the FERA.

The Outdoor Theatre was designed by Ralph Fishbourne and Professor Arthur R. Keller served as the consulting engineer. The landscape designer was a noted UH graduate and landscape architect in Hawaiʻi, Richard Tongg.

The structure was designed with a 5,500 person seating capacity with some of the stone material for the seating coming from Fort Ruger.

The approximate size of the space is 200 feet wide by 300 feet long. The curve of the Outdoor Theatre portion has a sweeping 60-foot radius. The Outdoor Theatre seating is partially sunken into the ground, with the stage area set below grade. The 25 foot by 35 foot concrete surface at the center of the raised stage gives way to lawn, used as an extension of the formal stage.

It opened on June 20, 1935. Originally the structure was called Andrews Amphitheatre (named after Andrews,) but President Gregg Sinclair renamed it “Arthur L. Andrews Outdoor Theatre” in an attempt to use the proper descriptive vocabulary, since ‘Amphitheatre’ refers to a structure that wraps all of the way around the stage.

The graduating class of 1935 was the first to hold commencement ceremonies in the Outdoor Theatre. The theatre was dedicated at the Annual Commencement on June 12, 1945, to Dr Andrews who had died a month earlier.

In the 1970s there was discussion of adding a retractable roof in order to guarantee dry events, but these ideas were terminated in favor of keeping the garden design preserved and open to daylighting. Andrews served as a venue for graduation ceremonies, speeches, and concerts.

The University has two programs dedicated to Andrews: Arthur Lynn Andrews Distinguished Visiting Professor of Asian Studies to promote Asian and Pacific studies at UH through the selection of outstanding visiting professors each year and Arthur Lynn Andrews Award for Fiction awarded to the top entry from undergraduate and graduate students – entries not to exceed 10,000 words. (UH)

October 17, 2026 by Peter T Young Leave a Comment

The Artist and the Architect

The artist, known as ‘Palani’ among his Hawaiian friends, was named a ‘Living Treasure’ for his paintings and murals showing Hawai‘i’s culture; the architect was identified as “the man who changed the face of the Pacific”. They got together in 1956.

Let’s look back …

The artist, Louis Henri Jean Charlot, descended from “sundry exotic ancestors,” was born in Paris. His father, Henri, was a French businessman; Anna, his mother, an artist and a devout Catholic, was the daughter of Louis Goupil, a native of Mexico City.

Also living in Paris was Jean Charlot’s great-uncle, Eugène Goupil, a collector of Mexican works of art. Jean, who began to draw around age two, grew up surrounded by pre-Hispanic antiquities. (Thompson)

In his teens, Charlot had become one of a Catholic group that called itself Gilde Notre-Dame (“Parisian adolescents (who) used to gather in a crypt”) made up of sculptors, stained glass makers, embroiderers and decorators.

“My life in France was on the whole rational, national, obeying this often heard dictum that a Frenchman is a man who ignores geography. There were though, simultaneously, un-French elements at work. Russian, sephardim, Aztec ancestors, warmed my blood to adventure.” (Charlot; Thompson)

After a Mexican trip, in 1928, Charlot and his mother moved to New York where he rented a small apartment on the top floor of 42 Union Square from the artist Morris Kantor. The apartment was unheated, which probably contributed to the death of his mother from pneumonia in January, 1929.

On a brief trip to Mexico in 1931, Charlot met his future wife, Dorothy Zohmah Day. During a visit to Zohmah in Los Angeles in 1933, Charlot met the printer Lynton R Kistler and produced Picture Book, “a repertory of motifs I had used up to then.” Returning to New York, teaching and lecturing occupied much of Charlot’s time.

In May 1939, Jean Charlot and Zohmah Day were married in San Francisco. “It was a long courtship,” commented Charlot. “Eight years. We were always in different places”.

The years from 1941-44 were spent as artist-in-residence at the University of Georgia, Athens, and instructor in art history at the University of California, Berkeley and artist-in-residence at Smith College in Northampton, Massachusetts. (Thompson)

Then he had a chance to come to Hawaiʻi – and he stayed. An invitation to create a fresco at the University of Hawai’i, Manoa, brought Charlot to Honolulu in 1949 where he painted Relation of Man and Nature in Old Hawai’i at Bachman Hall.

He accepted a position as professor of art at the University, and Hawai’i became the Charlot family’s permanent home. Attracted to the culture of the native Hawaiian, just as he had been interested in the folk aspects of the residents of rural France and the indigenous peoples of Mexico, he studied Hawaiian history, customs and religion, and learned the Hawaiian language.

From 1949 to 1979 Charlot created almost six hundred easel paintings, several hundred prints, and thirty-six works of art in public places in fresco, ceramic tile and sculpture. He taught summer sessions at several schools. (Thompson)

The architect, George James ‘Pete’ Wimberly, was born on January 16, 1915 in Ellensburg, Washington. He earned a bachelor’s degree in architecture in 1937 from the University of Washington.

He served as a draftsman/designer in Seattle, Los Angeles and Phoenix, and in 1940 was in a civil service position as “journeyman architect doing naval work at Pearl Harbor.”

“At the end of World War II, there was a great backlog demand for buildings of all sorts. During the four years of war, only essential or defense-oriented projects were allowed.”

“Most of the architects at the time were not hurting because they were all doing defense work, either as private practitioners or as direct employees of the Armed Forces. (W)hen V-J Day was announced, I left the Navy Yard and never went back, except to pick up my pay check.” (Wimberly; WATG)

“I had an agreement with Howard (Loren) Cook (who was working on Tripler Hospital) that I would set up an office and we would split the take, his salary and my fees 50/50.”

“Fortunately, there was a great deal of work out there. Furthermore, I had the fortune to know Gardner Dailey on the mainland. He selected me as the local architect for the remodelling of the Royal Hawaiian Hotel. (1946) … With this prestigious commission, we suddenly had credentials and were able to pick up other worthy jobs.” (Wimberly; WATG)

The artist and the architect got together in the design and construction of Charlot’s ‘dream house.’

It was part of the expansion of KahaIa in the 1950s. Before the expansion, Kahala was used mostly for beach homes along the shore, with another row of houses on the mauka side of Kahala Avenue. Bishop Estate opened up the balance of the area for residential and related development.

In recognition of his work in Hawaiian culture, Bishop Estate gave Charlot one of the first choices of the new lots. He picked the end lot of the three on the little appendix to Kahala Avenue, fronting the Wai‘alae Golf Course, the house sits on a flat lot bordered by the golf course on the north and a canal on the west.

The house was completed in 1958 as a true collaboration between Charlot and Wimberly. Charlot’s art and therefore his dream house had to fit its site. Wimberly also emphasized a ‘sense of place’ in his architecture and went on to build many structures that exuded this appropriateness to the lifestyle and climate of Hawai‘i.

Fitting into Hawai‘i’s lifestyle and climate is demonstrated in its open plan (the master bedroom overlooking the living room, only bedrooms and bathrooms are fully walled in,) blurred definition between the interior and exterior (the built-in dining table that connects to the exterior …

… the two story height glazed sections that connect to the lanai area, and the lanai with the same flooring material as the drawing room), incorporation of native arts (mural, petroglyph tiles), use of native materials (hapu’u) and siting by tradewinds. The house is an intensely personal one, yet a characteristic of Charlot’s art is its emphasis on appropriateness. (NPS)

It had a uniquely artistic flair, incorporating the openness and lanais of island homes with the vertical emphasis of traditional French rural ‘architecture and the brick floors and back courtyards of Mexican houses. (NPS)

Here, Charlot conducted most of his work in this house and more particularly in his 2nd floor studio. This was the final period of Charlot’s life, when he reached the peak of his artistic powers and was able to synthesize the esthetics of Europe, Mexico and Pacific Islands, the places he lived and influenced his art. His career spanned these places. Charlot remained active as an artist and a scholar until his death on March 20, 1979.

Wimberly also went on the great things. He invented a style of resort architecture that was creative, exotic and imaginative. His landmark projects helped define Hawai‘i tourism and created a Hawai‘i-based business designing resorts around the world.

Wimberly “established himself as perhaps the most successful resort architect in the world” and that his “Honolulu-based firm of Wimberly Allison Tong & Goo (also known as WATG) designed many of the Pacific Rim’s pace-setting hotels and is the world’s largest ‘niche’ architecture firm, specializing in the $4-trillion-dollar travel industry.” (Honolulu Weekly) Wimberly died December 30, 1995.

Follow Peter T Young on Facebook

Follow Peter T Young on Google+

Follow Peter T Young on LinkedIn

Follow Peter T Young on Blogger

October 15, 2026 by Peter T Young 1 Comment

Objets d’art

Honolulu’s first neon sign flickered to life on February 19, 1929, with the opening of Gump’s Waikiki an antiques and home furnishing store. (Honolulu) The third oldest structure in Waikiki, Gump’s was one of the first retail shops in Waikiki.

S & G Gump was founded in San Francisco in 1861 as a mirror and frame shop by Solomon Gump and his brother, Gustav. It later sold mouldings, gilded cornices and European artwork to those recently made wealthy from the California Gold Rush.

With the beginning of a new century, the Gump brothers handed over the reins to Solomon’s son, Alfred Livingston Gump. Soon thereafter, the San Francisco earthquake of 1906 forced AL, as he was known, to rebuild and restock the store.

He looked to the Far East for new inspiration, sending buyers to Japan and China to find exotic rugs, porcelain, silks, bronzes and jade. Among the most prized acquisitions, a Ch’ing Dynasty gilded wood Buddha, still gazes serenely over the first floor of Gump’s. It remains the largest of its kind outside of a museum.

By the 1920s, San Francisco was roaring right along with the rest. Gump’s and The City had become intertwined – the store synonymous with San Francisco in its elegance, worldly style and maverick spirit. (Gumps)

Back in the Islands, as tourism began to develop in the 1920s and 30s, people saw commercial possibilities for Waikiki. One of the most endearing was the Honolulu branch of S&G Gump Company of San Francisco.

Asian design elements were beginning to influence architecture in Hawai‘i, and the merging of these motifs and Western forms became visible in the Gump Building, as well as the Alexander & Baldwin Building on Bishop Street in Downtown Honolulu and the Honolulu Museum of Art.

In 1927, Hawai’i architect Hart Wood was commissioned to design this new outpost perfectly located between the Far East and the West.

The store opened in 1929, across the street from the recently completed Royal Hawaiian Hotel, to cater to the affluent traveler and Honolulu elite. It carried an aura of class and provided products from around the world to Hawai’i’s doorstep, presenting tourists and residents with an ornately appointed atmosphere filled with ancient and modern objet d’art. (Oahu Publications)

In Mr. Wood’s work there is a notable lack of the garishness, over-ornamentation and ‘weirdness’ too often loosely associated with Oriental architecture. His roofs curve, it is true, but only slightly; colored tiles are used, but in a restrained manner.

“The insertion of a grill of plaster in a plain stucco wall, the design and size being in walls are of stucco, quite plain, the roofs of tile, the whole effect one of substantial simplicity. The only difference lies in the details of ornamentation, mostly about the doors and windows.”

“One of the more noticeable of these decorative details is found in the designs of iron grill work, leaded windows, balcony railings and like places. Chinese designs are geometrical, mostly coordinated squares keeping with the medium, offers one of the most charming forms of decoration imaginable.”

“The introduction of color by the use of tiles is interesting also, not only in tiling for the roof, but inset in the walls as decoration. Where wood is used, natural teak is preferred, and the pillars are simply slender round columns with a characteristic cross bar treatment at the top.”

“An outstanding example of such a building is the branch shop at Waikiki of the S & G Gump Company of San Francisco. It is of two story, concrete construction of pleasing design.”

“The walls are of white stucco, the gutters, leaders and leader heads are of antique copper verde, and the plaster grills as mentioned before, it proves a particularly effective way to use this form of decoration.”

“Gateway openings in the walls are of quaint and unusual design, one of them being a ‘moon gate’ which is shown in one of the illustrations. The circle motif appears again in one of the slightly curving roof of imperial blue tiles.”

“This brilliant blue is a favorite roof color in China and one that blends well with the blue of the sub-tropical sky. No other colors than this blue, jade and white appeal in the building, except the dark teakwood pillars of the entrance and railings of the several balconies.”

“A white plaster wall incloses three courtyards, and these walls are pierced by windows of the shop. All the windows show the geometrical design in the shape of the panes or in grills. Balcony railings are also geometrical.” (The Architect & Engineer, October 1929)

Back then, it was a two-story white building standing virtually alone on Kalākaua Avenue. It is an example of the architecture of Hawai‘i’s pre-War territorial period, 1898-1941, when the sugar and pineapple industries were operating at full tilt.

A number of distinctive buildings were constructed during those years, adapting features of Asian, Mediterranean or European styles that suited Hawai‘i’s tropical climate, including large openings to catch the trade winds, wide eaves and often a double-pitched hipped roof.

The first commercial perfume successfully made in Hawaiʻi from local island flowers (pikake, pink plumeria and fern lei – each sold in hand-carved wooden bottles) was introduced in January 1935 at the Gump’s store in Waikiki. (Schmitt)

If the Gump family had a vision of the potential for shopping along Kalākaua Avenue, they were decades ahead of their time. Even in the 1950s and early 1960s, Kalākaua Avenue was not a center of high-end retail sales.

February 24, 1951 Gump’s announced it will close its Waikiki store after 25 years of business in Honolulu. The store was closed to settle the estate of AL Gump.

It was not until the 1980s, with the arrival of waves of visitors from Japan, that a significant number of other high-end shops, comparable to Gump’s, sprang up in Waikīkī.

In fact, the Gump building in Waikīkī was converted into a McDonald’s restaurant (in the 1970s or 1980s.) With the boom that began in the late-1980s, it was sold in 1991 to a corporate affiliate of high-end retailer Louis Vuitton Malletier of Paris, refurbished and, in 1992, rededicated to retail. (Kelley)

September 11, 2026 by Peter T Young 1 Comment

Aloha Tower

Coral doesn’t grow in freshwater. So, where a stream enters a coastal area, there is typically no coral growth at that point – and, as the freshwater runs out into the ocean, a coral-less channel is created.

In its natural state, thanks to Nuʻuanu Stream, Honolulu Harbor originally was a deep embayment formed by the outflow of Nuʻuanu Stream creating an opening in the shallow coral reef along the south shore of Oʻahu.

Honolulu Harbor (it was earlier known as Kuloloia) was entered by the first foreigner, Captain William Brown of the English ship Butterworth, in 1794.

They called the harbor “Fair Haven” which may be a rough translation of the Hawaiian name Honolulu (it was also sometimes called Brown’s Harbor.) The name Honolulu (meaning “sheltered bay” – with numerous variations in spelling) soon came into use.

Boats either anchored off-shore, or they were pulled into the harbor (this was done with canoes; or, it meant men and/or oxen pulled them in.) It might take eight double canoes with 16-20 men each, working in the pre-dawn calm when winds and currents were slow.

A few years after, in 1825, the first pier in the harbor was improvised by sinking a ship’s hull near the present Pier 12 site. As Honolulu developed and grew, lots of changes happened, including along its waterfront. What is now known as Queen Street used to be the water’s edge.

Between 1857 and 1870, the coral block walls of the dismantled Fort edged and filled about 22-acres of reef and tideland, forming the “Esplanade” or “Ainahou,” between Fort and Merchant Streets.

In 1904, the area around South Street from King to Queen Streets was filled in. The Hawaiʻi Department of Public Works reported that “considerable filling (was) required” for the extension of Queen Street, from South Street to Ward Avenue, which would “greatly relieve the district of Kewalo in the wet season.”

With the opening of the Panama Canal in 1914 and anticipated increased trans-Pacific shipping, government and business planned to further enlarge Honolulu Harbor by dredging Kalihi Channel and Kapālama Basin.

Even in today’s high-tech environment with tools and toys with satellite support, the simple illumination from a known point continues to serve as a navigational aid, as well as warn mariners of hazardous areas.

Carl W Winstedt and the National Construction Company began construction on the Aloha Tower in 1924. The project took a year and a half to complete.

Aloha Tower was reportedly competed in late-May 1926 and opened to the public on September 11, 1926; at 10 stories and 184-feet, 2-inches tall it was the tallest building in the Territory (and remained such for the next forty years.) (LRB)

It has 4 clocks, each face 12 feet in diameter (by far the biggest clock in the Territory of Hawai‘i and one of the largest in the United States at the time) and facing different directions, were made of bronze and weighed 7 tons each.

“Large public clocks first appeared in the 1840s and 1850s. In 1842, James Hunnewell presented Kawaiahaʻo Church with the large church clock on the gallery wall below the new organ.”

The public clock served the functional purpose of telling passers-by the time. But it also served as a village landmark, a reference point, and a symbol of civic pride. Indeed, public clocks were something of a status symbol for a community, a sign that a town had reached a certain level of prosperity, that there was action there.

If a ship or person was too far away to read the clock, two other means of time synchronization were provided. A time ball was lowered to the bottom of the forty-foot mast atop the tower each day at noon, and the blast of a siren was sounded at 7 am, noon and 4 pm.

Aloha Tower was built as a control tower for the Honolulu harbormaster and a lighthouse as part of a modern freight and passenger terminal at piers 8, 9 and 10.

In addition, it provided offices for the harbor master, pilots and customs officials. The eleventh floor of the tower served as a lookout for the harbor pilots, with balconies on all four sides.

In the day (pre-1959 trans-Pacific jetliner service,) the method of travel to Hawai‘i was by ship. Aloha Tower welcomed cruise passengers/visitors to the islands.

When the attack on Pearl Harbor came on December 7, 1941, Coast Guardsmen took up defensive positions around Aloha Tower and protected it from being occupied.

The Aloha Tower received little damage during the bombing of Pearl Harbor, but shortly thereafter, it was camouflaged with brown and green paint, and its light was extinguished for the remainder of the war.

Pre- and during WW II, the tower had been secretly a control facility for military convoy shipping for the Pacific Theater of Operations.

The military took control of the facility and painted it camouflage to minimize detection. (In 1947, the green camouflage paint was sandblasted from the tower and the brilliant white paint replaced.)

By the late 1960s, tall buildings were crowding the tower, and the Coast Guard decided to discontinue the beacon atop the Aloha Tower and install one on a 220-foot television tower.

This navigational aid served until 1975, when the present Honolulu Harbor Light was established on a metal pole at the end of Pier 2.

Owned by the State of Hawai’i, the Aloha Tower was renovated in 1994, at no cost to taxpayers, by the developer of the adjacent Aloha Tower Marketplace. There have been subsequent recent renovations.