Buildings | Page 53 | Images of Old Hawaiʻi

June 9, 2016 by Peter T Young Leave a Comment

Dillingham Transportation Building

In 1889, after devoting twenty years to the hardware business, Benjamin Franklin (Frank) Dillingham created the O‘ahu Railroad and Land Company (OR&L.) This company was primarily responsible for the development of the 160-mile O‘ahu Railroad.

Through these rail interests, the corporation became involved with the development of the various sugarcane plantations along its route, and later expanded its cane activities to the islands of Kauai, Maui and Hawai‘i with the McBryde, Kihei, Puna and Ola‘a Sugar Companies. (NPS)

Ultimately OR&L sublet land, partnered on several sugar operations and/or hauled cane from Ewa Plantation Company, Honolulu Sugar Company in ‘Aiea, O‘ahu Sugar in Waipahu, Waianae Sugar Company, Waialua Agriculture Company and Kahuku Plantation Company, as well as pineapples for Dole.

By the early-1900s, the expanded railway cut across the island, serving several sugar and pineapple plantations, and the popular Haleʻiwa Hotel. They even included a “Kodak Camera Train” (associated with the Hula Show) for Sunday trips to Hale‘iwa for picture-taking.

When the hotel opened on August 5, 1899, guests were conveyed from the railway terminal over the Anahulu stream to fourteen luxurious suites, each had a bath with hot-and-cold running water. Dillingham died April 7, 1918 (aged 73.)

Built in 1929, in memory of Dillingham by his son Walter Francis Dillingham, the 4-story Dillingham Transportation Building carries the ‘transportation building’ because at that time the Dillingham family was concerned with various types of transportation to and around Hawaii.

Walter founded the Hawaiian Dredging Company (later Dillingham Construction) and ran the O‘ahu Railway and Land Company founded by his father.

The building was designed in an Italian Renaissance Revival by architect Lincoln Rogers of Los Angeles, who also designed the Hawaii State Art Museum (1928.)

“Lincoln Rogers, architect of the building, in choosing a style of architecture generally called ‘Mediterranean’ with Italian Renaissance as the guiding principle, found a motif ideally suited to a semi-tropic city surrounded by sparkling seas and green-clad mountains.” (Honolulu)

The Dillingham Transportation Building is Italian Renaissance concrete and concrete block structure with three connected wings, and is a good example of the Mediterranean revival style applied to a commercial structure.

The first story round arched arcade, upper story quoins and the low pitched, tile, hipped roof, well convey the style. The Mediterranean and Spanish mission revival styles enjoyed tremendous popularity in Hawaii during the twenties.

These styles, the closest European equivalents to tropical design, were considered to be the most appropriate forms for Hawaii’s climate with their arcades providing a sense of airy openness.

The Dillingham Transportation Building is one of a number of downtown buildings to employ these styles, and is the most imposing of the Mediterranean revival buildings in the area. (NPS)

The structure has a Spanish tile hip roof, and below the eave there is a frescoed decoration. The entrance lobby features Art Deco patterns of variously colored marbles and bricks. (Historic Hawai‘i)

You will note nautical references above the door arches and along the outside walls of the building – noting ships, sailors and twisted rope patterns (even over the elevators.)

The Dillingham Transportation Building shares arcade space with the nearby Pacific Guardian Building, whose street address is ‘through’ the Dillingham lobby. (Star-Bulletin)

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Dillingham Transportation Building

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June 3, 2016 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.

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May 26, 2016 by Peter T Young Leave a Comment

Robin’s Egg Blue Chamber

‘Iolani Palace (Io is the Hawaiian hawk, a bird that flies higher than all the rest, and ‘lani’ denotes heavenly, royal or exalted) was the official residence of both King Kalākaua and Queen Lili‘uokalani.

Construction was completed in 1882; in December of that year King Kalākaua and Queen Kapi‘olani took up residence in their new home. The second floor had their private suites.

After the overthrow of the monarchy, ‘Iolani Palace became the government headquarters (Executive Building) for the Provisional Government, Republic, and then the Territory of Hawai‘i. The private apartment of Kalākaua, and later Liliʻuokalani, was used as the Governor’s office.

In 1904, after the appointment of Mr. Carter as Territorial governor, the office of the Governor was redecorated.

“The Governor’s office is being renovated so as to restore some of the old royal splendor. There is to be a touch of robin’s egg blue on the walls and the little crowns on the ceiling are to have their red insertions painted brighter.”

“It is even proposed to bring up the gilded chairs of state from the old throne room and set them around. Unhappily the throne itself has gone to the museum but it may be brought back for special occasions. When finished, the executive chamber of Hawaii will make that of the United States look like thirty cents.” (Pacific Commercial Advertiser, July 8, 1904)

“Ernest Parker, the talented young Hawaiian artist, has taken the supervision of the work of renovating the Governor’s office in the Capitol.”

“Already the walls and ceiling have received the first coat of tinting in robin’s egg blue, with the stucco work of the ceiling relieved in gold. The crowns with crimson velvet insertions in the ceiling have also been retouched and look gorgeous.”

“Acting Governor Atkinson is earnestly studying the question of furniture for the renovated executive chamber. It is his idea to make that the show room of the Capitol and, as part of the scheme, to transfer the gilded chairs from the old throne room, now the hall of the House of Representatives, to the Governor’s official apartment.”

“(M)ostly every visitor to Honolulu of any consequence calls on the Governor, and in Mr. Atkinson’s opinion the executive chamber ought to be the most impressive, in artistic appearance and elegant comfort, of any apartment in the building.”

“One of the last things Governor Carter spoke about, on leaving the Capitol before sailing for the mainland, was the proposed renovation of his office quarters.” (Pacific Commercial Advertiser, July 8, 1904)

Originally, the walls were described as being untinted. The Governor’s office, apparently, became quite famous as the Robin’s Egg Blue Chamber, and remained with this décor into the administration of Governor Frear.

“The ‘robin’s egg blue’ room at the Capitol which is the private room of Governor Carter has been surveyed by many a critical art eye relative to the hanging of oil paintings upon the walls, and yesterday results were apparent.”

“Lying on the floor were the big life-size portraits in oils of King Kaiakaua and Queen Liliuokalanl. These are to be hung on the mauka wall, one on other side of the entrance leading from the secretary’s chamber.”

“The other portraits to adorn the walls will be that of King Kamehameha I, which will hang just over the Governor’s desk. Another will be the fine portrait of Kamehameha IV. A portrait of Princess Kaiulani will also have a place in the chamber. The room may be called ‘the blue room.’” (Pacific Commercial Advertiser, July 27, 1904)

“Although Carter no longer holds down the lid in the Robin’s Egg Blue Chamber, he is still very much in evidence around the Executive offices. Indeed, he is there most of the time.”

“With his coat off and attired in a shirt which was probably bought during his reign to match the color of the walls of the famous Robin’s Egg Blue, he spends nearly all day at the long table in the Secretary’s office working on his final report to the President.” (Evening Bulletin, February 26, 1907)

In 1910 the following account appears in a newspaper under the heading – “Historical Tint of Executive Mansion Vanishes into the Dim Past.”

“The famous robin’s-egg-blue chamber has faded into the past. The chamber is still there – but the robin’s-egg-blue is gone…..”

“That famous tint disappeared yesterday under the vigorous efforts of a gang of workmen who invaded the royal chamber and washed the color from the wall.”

“It had to go for when the Governor, immediately upon his return from his eastern trip, moved into the quarters heretofore occupied by the secretary of the Territory, and took with him the immense portraits of kings and queens of a bygone regime, a hideous fact was made apparent.”

“It was literally hideous.”

“The removal of the great portraits disclosed the shocking fact that only a part of the room was robin’s egg blue. The rest, that part hidden behind the canvases, was green and just imagine the combination of grass green and robin’s egg blue!”

“It actually hurt the eyes of Secretary Mott-Smith when he entered the chamber to take up his official abode. Mott-Smith shrieked in agony and called for men, workmen to relieve the hateful contrast. “

“They arrived in squads – and the colors began to fade. Now the room is white, the virgin color of the untinted plaster. But it is not to remain white. Mott-Smith is considering what tint shall be applied. …” (Hawaiian Gazette, January 10, 1910)

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May 12, 2016 by Peter T Young 1 Comment

‘Ulumalu

After Kāne created the spring at Kapunahou, Kanaloa suggested that they return to their home at Kōnāhuanui. They traveled through Mānoa over ‘Aihualama to the heights of Pu‘u o Mānoa (Rocky Hill) onto the plains to the land of Kulumalu (also Kaulumalu or Ka ‘Ulumalu) “the shade of the breadfruit.”

Kulumalu was oʻioʻina o nā akua, the rest temple of the gods and the place where the food for the gods was cooked. According to legends, the menehune built a fort and a temple at the top of the hill ‘Ulumalu.

A hill labeled “Ulumalu” was plotted on the 1882 Baldwin map of Mānoa Valley on the west side of Mānoa Road. This map also shows that the hill was part of Grant 4166 to Mrs. Mary Castle.

In the late-nineteenth century, the Castles (descendants of an early missionary family) built a large estate on this hill, called Puʻuhonua. (Cultural Surveys)

‘Mother’ Castle was 81 when she moved into the great house with two middle-aged daughters. Her children, who by now all had homes of their own, thought to “add to the happiness of her few remaining years by building her a beautiful home.”

The 8.16 acres had been purchased at auction on May 12, 1898, for $6,250. A government survey station on the site had already been given a name from the past, Ulumalu. Many stone walls had to be erected.

One at the mauka end was built by a young engineer named John Wilson (long-time mayor of Honolulu), on his first job in Hawaii after graduating from Stanford. (In this same year he would be engineer in charge of the first carriage road over the Nuʻuanu Pali.) (Robb & Vicars)

One of the Castle sons, George (1851-1932), recalled “there being a beautiful grove of breadfruit and ʻōhia trees where native birds congregated in great numbers. The man who planted the grove was very old and I was a boy. Sand (volcanic cinders) came down … and choked the trees.”

Another son, William (1849-1935), gave the name Puʻuhonua to the property. Pu‘u (hill or protuberance) and honua (of earth; but also meaning a place set apart for refuge and safety.) (Robb & Vicars)

“The story is told that way back in the late-nineties when the Castle brothers were building the magnificent edifice as home for their mother, Mary Castle, the Hawaiian workmen digging the foundations had their picks snatched from their hands by the Pueos (owls) and at once ceased work on the sacred spot.”

“Mr George Castle, who remembers the incident, believes that the picks struck into (an) old cave”. (Bulletin of the Pan Pacific Union, April 1925)

A large roomy barn was constructed first (“room enough for three carriages”), and here Mrs Castle with her daughters Harriet and Caroline, and Isabella Fenwick, their housekeeper, moved from the Castle homestead at Kawailoa (610 S King Street) in March 1899 while the Manoa house was being built. (Robb & Vicars)

Built as home for ‘Mother’ Castle, they moved into the big house in the early part of 1900; it was the first building in the islands in which passenger elevator was installed.

There were a porte-cochere, an entrance way, a great hall, a library (15 by 21 feet,) a music room (19 by 26), and a lanai (20 by 20). The dining room (15 by 20) had its own fireplace. And also on the ground floor were sewing room, bath, laundry, pantry, kitchen, and storage rooms.

The hydraulic elevator rose to the second floor, where there were six bedrooms, a sitting room, linen closets and one supportive bathroom. A third floor had two bedrooms (16 by 19), a third (19 by 21), and a loggia to the east. This comes to more than 6,000 square feet, without counting the balconies.

“The outlook from Puʻuhonua (high above what is now Cooper Road) has always been called the millionaires’ view, and it is, for there is probably no such view in the islands as that from the lanais of the big building.”

“Looking mauka are the mountains of Upper Manoa, Konohua Nui and Olympus, towering 3000 feet, and ever may be seen the tumbling cascades and waterfalls over the evergreen precipices. In the foreground is hedge of night blooming cereus second only to that at Punahou, and beyond the great level taro patches of the valley.”

“Looking makai is majestic Diamond Head and the shimmering water of Waikiki seen over the waving tufts of the coconut trees, some of which, it is said, Kamehameha planted with his own hands when he landed for the first time on Oahu Island to subdue and rule it.” (Bulletin of the Pan Pacific Union, April 1925)

‘Mother’ Castle’s tenure of the Manoa house was not long. She died March 13, 1907, at 88 years. The next and different life of the house and area now commenced. It became the ‘Castle Home for Children’ on May 7, 1907.

Several cottages had been built on the property, with such names as Lodge, Gables, Chalet, Lanai (in one of these lived Miss Frances Lawrence, who was superintendent of “Free Kindergarten and Children’s Aid Association” (FKCAA) for many years.)

Mrs. Harriet Castle Coleman headed the FKCAA. She died in 1924 and FKCAA was told to close the orphanage. Percy M Pond, a well-known realtor, bought the property on May 23, 1924, and put in two new streets parallel to and above Manoa Road, the top street named Puʻuhonua, the other Kaulumalu (this eventually became an extension of Ferdinand Street.)

Pond made 40 lots on 3.2 acres on the lower portion. That became called Castle Terrace. The Castle home (Pu‘uhonua) then became the research center for the Pan-Pacific Union.

Alexander Hume Ford, director of the Pan-Pacific Union (who had also organized the Outrigger Canoe Club and the Trail and Mountain Club,) intended the property is to be used solely as the home of Pan-Pacific research institute, or college of graduates to “tackle the scientific problems of the Pacific peoples, especially those of food production, protection and conservation.”

“The assistant students will, it is expected, attend the University of Hawai‘i, where they will take their degrees. Two such students from the mainland now with scientific party here, are expected to be the first of such entries in the University of Hawaii with others to follow from lands across the Pacific.” (Bulletin of the Pan Pacific Union, September 1924)

In the following 16-years the Pan-Pacific Union became a sort of early “think tank” capable of providing “perfect quiet for study, remote from disturbances, with ample room for visiting scientists to live and work.”

Many other institutions were happy to cooperate. The Bishop Museum lodged research fellows there, often for a year at a time. There was one charge for the lodgers: a visitor was expected to give at least one of the weekly public lectures.

A Junior Science Council was added. In 1933 Ford wrote that “twenty students of all races and from many localities, members of the Pan-Pacific Student’s Club who are attending the University of Hawai‘i, are occupying the barn and carriage house in a cooperative housekeeping arrangement and working out in their own way ideas which may promote happier international relations.” (Robb & Vicars)

The big house was finally torn down in 1941. The other associated structures lay empty, and gradually they disintegrated. Termites had long been a problem.

Today, 79 owners share the original and lasting wonders of the legendary area: mountain and ocean views, a cool climate, just enough rain, frequent rainbows and sun-glinted waterfalls—all that Mother Castle had come to live with and enjoy in her last years. (Robb & Vicars)

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Puuhonua and Castles on June 20, 1903-Robb&Vicars

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April 21, 2016 by Peter T Young 1 Comment

Waiʻalae Shopping Center

In the mid-1800s, beyond Honolulu’s limits there were few residences. The population was growing toward and up Nuʻuanu, but Honolulu was hemmed on the Diamond Head end by the barren plains called Kulaokahuʻa.

Kulaokahu‘a translates as “the plain of the boundary.” Kulaokahu‘a was the comparatively level ground below Makiki Valley (between the mauka fertile valleys and the makai wetlands.) This included areas such as Kaka‘ako, Kewalo, Makiki, Pawaʻa and Mōʻiliʻili.

“It was so empty that after Punahou School opened in July 1842, mothers upstairs in the mission house could see children leave that institution and begin their trek across the barren waste. Trees shunned the place; only straggling livestock inhabited it.” (Greer)

William Lunalilo ended up with most of the area known as Kaimuki through the Great Māhele (1848.) Lunalilo was born on January 31, 1835 to High Chiefess Miriam ‘Auhea Kekāuluohi (Kuhina Nui, or Premier of the Hawaiian Kingdom and niece of Kamehameha I) and High Chief Charles Kanaʻina.

In 1884, the Kaimuki land was auctioned off. The rocky terrain held little value to its new owner, Dr. Trousseau, who was a “physician to the court of King Kalākaua”. Trousseau ended up giving his land to Senator Paul Isenberg. Theodore Lansing and AV Gear later bought the Kaimuki land (in 1898.) (Lee)

In 1887, Daniel Paul Rice Isenberg (Paulo Liʻiliʻi) (son of the Paul Isenberg, one of the founders of H. Hackfeld & Co. (Amfac) and one of the organizers of the Līhuʻe Sugar plantation) invested a large part of his inheritance in the development of a 3,000-acre ranch at Waiʻalae, Oʻahu.

In 1898, Kaimuki was still the barren, rocky and red-dirt land filled with panini, kiawe, and lantana. However, Lansing, a real estate agent, thought it was a great place to build a high class residential district. Initially, sales were slow.

But in 1900, the Chinatown fire forced folks to find places for new homes and businesses – many came to Kaimuki. This eventually led to the construction of the Lēʻahi Hospital (1901.) This and other activity in the area destroyed and/or displaced the landscape.

Kaimuki was envisioned as a suburb, where the residents could commute to Honolulu each day for work. To do this, transportation needed to be improved.

In 1888, the animal-powered tramcar service of Hawaiian Tramways ran track from downtown to Waikīkī. In 1900, the Tramway was taken over by the Honolulu Rapid Transit & Land Co (HRT.) That year, an electric trolley (tram line) was put into operation in Honolulu.

In town, in addition to service to the core Honolulu communities, HRT expanded to serve other opportunities. In the fall of 1901, a line was also sent up into central Mānoa. In 1902, a tram line was built to connect Waikīkī and downtown Honolulu.

The new Mānoa trolley opened the valley to development and rushed it into the expansive new century. In particular, it would help to sell a very new hilltop subdivision, “College Hills,” and also expand an unplanned little “village” along the only other road, East Mānoa. (Bouslog)

A little farther out, in Kaimuki, roads were built by the developers to connect the homes with Waiʻalae Avenue. The biggest boost to popularity occurred in 1903, when the Waiʻalae Avenue electric streetcar began service to Kapahulu and Koko Head Avenue.

As the automobile gained popularity and suburbs towards Koko Head were constructed, Waiʻalae Avenue was solidified as a major throughfare that boomed with business. (HHF)

Then, in 1927, the Territorial Hotel Co., as part of a promotional program to develop luxury travel trade to Hawaiʻi on the mother company’s Matson Navigation Co. cruise ships, built the Royal Hawaiian Hotel … and with it the Waiʻalae Golf Course.

The Golf Course was opened for play on February 1, 1927. In July 1927, the Isenberg ranch home near the mouth of Wai‘alae stream became the club house for the Wai‘alae Golf Course.

By the 1930s, the beachfront along Kahala Avenue was being developed with homes, while farming continued in other areas. In 1938, more than 50 pig farms were operating in the vicinity of Farmers Road and Kahala Avenues.

Residents of the area, citing an increase in rats and mice at Kahala, petitioned the territorial board of health to remove the pig farms (Honolulu Advertiser, December 20, 1938).

More houses were built.

Then, in 1954, the first phase of the Waiʻalae Shopping Center was built along Waiʻalae Avenue (designed by Victor Gruen – Walker Moody was awarded a $435,000 contract to build it.)

The three part plan called for covered courts between the three buildings and covered walks to the three parking areas. The center was anchored by Liberty House and a Piggly Wiggly supermarket (which later became Star Market.)

In 1957, a $1.2 million expansion began at Waiʻalae; Woolworth opened its first Hawaiʻi store there in 1958. Another new tenant, Waiʻalae Bowl opened that year, as well.

In 1967, construction to double the size of the Waiʻalae Shopping Center began, giving the center a total of 320,000-square feet of leasable space with fifty to sixty tenants, and 1,500 parking spaces.

Rather than the open-air, covered walkways, it was enclosed as a mall and air conditioned; all but a few stores opened on to the mall, rather than to the outside of the mall. It was the first of this type to open in Hawaiʻi. (They renamed it Kahala Mall.) (Mason)

At the time, Ala Moana Center was reported to be the largest mall in the world under single ownership and the provision of air conditioning at the Waiʻalae mall was a way to compete with the larger shopping center. (Mason)

On March 31, 2006, a flood hit the mall. Water affected an estimated 60 of 90-mall businesses, and knocked down two movie auditorium walls.

Kahala Mall is now comprised of approximately 464,000 square feet of gross leasable area. The mall houses 101 retail shops, entertainment venues and restaurants (including CVS/Longs Drugs, Whole Foods Market, Claire’s, Apple Store, Banana Republic, Macy’s, Ross Dress for Less, Starbucks, Jamba Juice, Radio Shack, Gamestop, Chili’s, California Pizza Kitchen and Consolidated Theatres.) (ksbe)

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