Vladimir Ossipoff

November 1, 2017 by Peter T Young 1 Comment

Liljestrand

Howard Liljestrand was born in Iowa in 1911. The child of medical missionaries, he was raised in Sichuan, China. He graduated from Harvard Medical School and met his wife, Helen Betty Horner, at the Woods Hole Oceanographic Institute in Cape Cod.

In 1937, Betty and Howard Liljestrand arrived in Hawaii as honeymooners and medical missionaries en route to China – they came to Hawaii so Howard could complete his residency at Queens Hospital.

The two had planned to return to China, but the country’s growing political tensions of the coming Communist revolution delayed and, ultimately, diverted them and kept them in the Islands. He worked at a plantation hospital near Pearl Harbor, where the couple raised four kids. (Quill)

When Howard and Betty Liljestrand decided to move from their Plantation Style cottage in Aiea to a neighborhood closer to Honolulu.

Knowing that they wanted to build a house, the Liljestrands spent a decade looking for the ideal plot of land. It was on a hike in the rain forest on Tantalus that they decided that this was where they wanted to build their home.

While hiking they met George Coulter sitting on his porch watching the sunset. They struck up a casual conversation, telling George about their desire to move to the mountain. Realizing how much they loved it, George offered to sell them a portion of his land.

The Liljestrands purchased 2.5 acres from Coulter in 1946: a 2 acre square parcel on one side of Coulter’s house lot, and a half acre parcel on the other side that was just below a ridge-line overlooking the city. The half-acre parcel didn’t have the entire view they wanted, the other side of the ridge was conservation land owned by the Territory of Hawaii.

They made an even trade with the Territory; they would deed the 2 acre square parcel to the Territory for conservation land in exchange for the half acre parcel on the other side of the ridge-line from their own. This secured the view of the city that they wanted, and created the house lot for their new home. (NPS)

Given their lifestyle, they had an extensive list of programmatic needs. First and foremost, the wanted a home of unusual quality and livability. They firmly believed in the ‘emotional power of architecture to give meaning to life’ and pursued a ‘spirit lifting’ quality in their home. (Penick; Pace Setter Homes)

They wanted “morning sun in the kitchen, no morning sun in the bedroom (Howard was a late sleeper), a single loaded corridor, views from every room, no rooms as passageways, lots of storage, a front door easily and naturally accessible, places where work can be left out, and a circular drive.” (Liljestrand House)

They hired Vladimir Ossipoff to design their 6,700-square-foot dream house, with Betty, who was clearly ahead of her time, serving as general contractor. The Liljestrands moved into the house, which was nearly complete, in 1952. (Quill)

The house has an irregular H-shaped floor plan, with one wing set at a 45 degree angle, instead of perpendicular to the middle wing. The house is constructed of redwood which throughout has been managed with a variety of treatments to fit the feeling and flow of the floor plan. (NPS)

The house is set far off the street, down a private road with a security gate. The road services two residences, and divides after 50 yards or so, with the left driveway leading to the Liljestrand property.

Ossipoff designed the house to showcase the view from the ridge. The house was situated on the ridge to extend the view from Diamond Head in one direction to the airport in the other.

The natural beauty around the house was an important element incorporated into the design. The use of floor to ceiling windows and walls that slide away, entirely open the house to the outside world. The long driveway and forested area provide privacy.

Between 1946 and 1965, House Beautiful named 17 Pace Setter houses for the post–World War II years. The Liljestrand House was selected in 1958, commanding the cover and 53 pages of the magazine.

The Pace Setters were not designated to impress the fine-arts world but to translate high design for a postwar nuclear family. Frank Lloyd Wright’s houses could be too dark, and Le Corbusier’s roofs leaked, but the Pace Setters were livable. (Departures)

The Liljestrand House typifies a romantic vision of midcentury life, with a kitchen that includes work stations for flower arranging, sewing, typing and gift wrapping.

The living and dining rooms have an open plan for parties, with conversational seating areas for intimacy. Recreational activities are relegated to the downstairs – with billiards, Ping-Pong, movie screenings and a kidney-shaped pool outside.

The house builds on aspects of previous Hawaiian architecture, the low, simple front façade draws from earlier Craftsman and the vernacular Plantation Style of houses. Ossipoff’s vision embraces key concepts of life in Hawaii, such as the expansion of the living area to include the outdoors. (NPS)

Almost fifty years after its publication in House Beautiful, the Liljestrand House appeared in Western Interiors and Design, on the cover of Metropolis, and in the book, The Hawaiian House Now.

In 2007 and 2008, respectively, The Liljestrand House was listed on the Hawaii State and the United States National Registers of Historic Places.

In 2009, the Liljestrand House received a Preservation Award from the Historic Hawaii Foundation. In a letter to the Liljestrand Family the Historic Foundation called the house “one of the most, if not the most, intact historic structures in the state.”

They also recognized that the furniture, built-in interiors, and contents – all designed or selected by the architect – remain in original condition; the architectural source materials – notes, memos, letters, drawings, materials lists, invoices, and even the building permit – exist; and that film and photos of the construction exist.

The Liljestrand family has created the Liljestrand Foundation. The mission of the Foundation is to preserve the house and to make that preservation purposeful by opening the house to the public for tours and for charitable, cultural, and educational activities. (Liljestrand House)

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February 25, 2016 by Peter T Young Leave a Comment

Winne Units

“These halls, this learning environment, launched the academic careers of tens of thousands of Punahou students.” (Punahou President Jim Scott – speaking at an event at the Mary Persis Winne Elementary Units)

The Mary Persis Winne Elementary Units, built between 1950 and 1955, were designed by the renowned architect Vladimir Ossipoff.

Ossipoff was a prominent architect in the Islands, working between the 1930s and 1990s. He was recognized locally, nationally and internationally for his designs. He is best known for his contribution to the development of the Hawaiian Modern movement.

This style is characterized by the work of architects who “subscribed to the general modernity of the International Style while attempting to integrate the cultural and topographical character of the (Hawaiian) region.” (Sakamoto)

This very frequently included an attempt to integrate the interior of buildings with the outdoors, and minimizing the dividing line between the building and the site.

In 1954, Ossipoff told the Star Bulletin, “Modern facilities comparable to contemporary Mainland school construction can be built for considerably less in Hawai‘i.” He was referring to the construction of the Winne Units.

Back then cost of construction averaged $15 per square foot nationally, the first phase of the Winne Units was built for $8.27 per square foot. In the article, Ossipoff credited the lack of heating and insulation as factors in the lower costs. (Leong, Punahou)

But, there were other cost savings.

According to Shaver F. “Jack” Stubbart who was a teacher of Mechanical Drawing, Industrial Arts (1948-1965) and the Superintendent of Buildings and Grounds (1965-1982.) The Navy offered, and Punahou accepted, surplus heart redwood water tanks that were milled for use in the construction. (Gartley, Punahou74)

The first of three building phases originally contained Damon Library, with its own working fireplace that children could gather around for storytelling, replicating the fireside tales of centuries past. Then-Junior School Principal Donald Reber called it the “living room of the school.”

Reber and his faculty worked closely with Ossipoff to create a complex of elementary school buildings that departed sharply from the idea of the traditional school building (with its self-contained, enclosed environment where seats and desks were often fixed to the floor.)

Two design principles, “unity with the outdoors” and “adaptability to progress,” shaped what the elementary school became: a place that felt safe, where it was hard to say where the classroom stopped and the rest of the world began.

The first phase of this new elementary school inspired a new term: it wasn’t a building or a hall, but a “unit” – the Mary Persis Winne Elementary Units, a name that eventually extended to include the entire complex.

Phases two and three followed, incorporating improvements suggested by the faculty who had taught in the first wings (such as bug-proof lunchbox storage.)

The Winne Units housed 25-classrooms in 9-single story wings that radiate from the main entrance that accommodated 625 students (K through 5.) The units are structure by steel-pipe columns and steel I-beams. (Support facilities/offices were included.) (Sakamoto)

The office became a daily gathering place for teachers in the days before there were phones and computers in every classroom, and the intercom system meant that not only could every classroom hear a speaker in the office, but the office could hear what was going on in the classrooms.

Each class had reversible blackboards, its own lanai with a wall of sliding doors and its own garden. (Lanais were used as classroom extensions for messy or outdoor work, where students practiced art on easels.)

Born in 1876 in Carson City, Nevada, Miss Mary Persis Winne had ties Punahou as the granddaughter of Reverend Asa and Lucy Goodale Thurston.

The Thurstons were in the Pioneer Company of American Protestant missionaries to the Hawaiian Islands, arriving in Kailua-Kona on the Thaddeus in 1820.

Winne came to Punahou as a second grade teacher in 1898, and rose to become the principal of the then newly formed Punahou Elementary School in 1918.

The Winnes lived in the old Mcintosh house on Nuʻuanu near Judd Street. Miss Jane Winne has charge of the chorus singing at Punahou, and Mr. James Winne is with Alexander & Baldwin. (HMCS, 1917)

Miss Winne was the first Punahou faculty member to serve 25 years. By the time she retired in 1941 she had served generations of Punahou students for 42 years.

“At no time did I ever see her overlook the emotional, spiritual or academic needs of individual children. She embraced the best in modern philosophies and practices, giving freely of herself ….”

“Hours meant nothing to her when dealing with both parents and children. In return she received the greatest loyalty from people of all ages or races that I have ever witnessed.”

During her tenure Miss Winne was instrumental in introducing the best of new educational methods. Of particular interest was the implementation of new practices for teaching children to read and write.

Miss Anna Gillingham and Miss Bessie Stillman, recognized experts from New York, were brought to the school to train teachers and provide remedial tutoring to students. It was from these efforts that pioneering contributions were made in the treatment of dyslexia.

Punahou is replacing the Winne Units with new facilities for grades 2-5. Re-use Hawai‘i has been contracted to lead the deconstruction of the Mary Persis Winne Elementary Units where the buildings will be taken apart using hand-tools so that over 70% of the interior and exterior materials can be recovered. Lots of information here is from Punahou, Leong and Gartley.)

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Opening ceremony for the Winne Units, held in April of 1950 with then-Junior School Principal Donald Reber-Punahou

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January 20, 2016 by Peter T Young 1 Comment

Ossipoff Meets Mid-19th Century

The Walter Irving Henderson House in Kona was featured in a 1958 edition of Sunset Magazine – they said, “The house is small but takes care of a large number of guests without crowding.”

It is a combination of classics – the first floor structure was built, circa 1864, as a small church or meeting house; in 1953, the deteriorated church was renovated and the second floor was added, for use as a beach house.

The first-floor stone walls were part of the original Kahului Church building, and were constructed in a style that was typical of the Kona District in the mid-19th century.

Lava rock was a plentiful raw building material in Kona, while other construction materials such as wood were not as readily available. Once missionaries arrived, and began to build permanent houses of worship, they found that building with stone was the most economical and expeditious means of constructing what they needed.

These buildings were constructed with local lava rock held together with lime mortar produced with coral, typically burned on site. In some cases, the stones used came from local heiau. (It is not known if that was the case here, though there are records of heiau nearby.)

It is also not known who built the Kahului Church. One of the most well-known builders of Kona’s nineteenth century stone churches was the Reverend John D Paris, an American Board of Commissioners for Foreign Missions Protestant missionary who was first in charge of the mission’s Kaʻū area, and then the North Kona area.

Many church buildings constructed in the Kona area are attributed to Paris; however this is thought to be a former Catholic church.

The first floor stone walls were constructed circa 1864 when the land was granted to Kapae in Royal Land Grant #2961, and the Kahului Church building is believed to have been constructed.

It is likely that the readily available lava rock building material allowed the missionaries to build in a similar style to Paris. For example, this type of construction was also used in the larger St. Michael’s Catholic Church in Kailua town.

An 1892 map shows Kahului Church, along with a nearby structure labeled “Makuakane” (which translates approximately to “father” in English, giving a strong indication that this was likely a Catholic priest’s house.)

The structure was modified from the original one-story church form to its existing two-story appearance in 1953; the entire second floor and interior of the first floor were designed by celebrated local architect Vladimir Ossipoff.

Ossipoff’s design for the Henderson House was innovative, and created an extremely unique house that, though it does not look like most of his other work, nonetheless embodies the majority of his aesthetic and philosophy of design.

The main portion of the first floor of the house is one large open room, and has a scored, finished concrete floor, painted plastered walls, and an open beamed ceiling that exposes the floorboards of the second floor.

The thick stone walls create deep niches at the door and window openings; the center-opening doors and shutters installed do not extend beyond the width of the walls.

The property perimeter has a dry stack rock wall, dating possibly to the early- to mid-1800s. This was when a government commission began requiring formal property boundaries be erected by the year 1862.

Walls of this type, comprised of stones fitted together without mortar to hold them in place, had commonly been constructed in pre-contact times for a variety of uses.

As early as Kamehameha I in the 1820s, dry-stack walls were used in the Kona area as barriers to prevent wandering cattle. As ranching grew in the later part of the nineteenth century, more walls were needed to contain the growing number of cattle.

In Kona building and repairing dry-stack stone walls was common until the 1930s, but diminished throughout the Territory of Hawaii with the greater availability of alternate materials for walls and fences at that time.

The house was recently reviewed for listing on the State Register of Historic Places and the National Register. (Most of the information here is from Jones, NPS.)

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Henderson House

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November 25, 2015 by Peter T Young 2 Comments

“An architect has to be a bit of a sociologist, lawyer and psychologist. He has to know human nature.” (Vladimir Ossipoff)

Vladimir Ossipoff was a prominent architect in the Islands, working between the 1930s and 1990s. He was recognized locally, nationally and internationally for his designs. He is best known for his contribution to the development of the Hawaiian Modern movement.

This very frequently included an attempt to integrate the interior of buildings with the outdoors, and minimizing the dividing line between the building and the site.

Ossipoff was born in Russia on November 25, 1907 and moved with his family to Japan, where his father was a military attaché in Tokyo during the post Russo-Japanese War period. The family remained in Japan during the Russian revolutionary period, and Ossipoff attended school in Tokyo and Yokohama.

In 1923, Ossipoff and his mother and siblings moved to Berkeley, California where he graduated from Berkeley High School in 1926. He continued on to the University of California at Berkeley, studying architecture. He earned a Bachelor’s in Architecture in 1931, and after losing his first job out of school due to the Great Depression, sailed for Honolulu the same year.

Within a few months of taking up residence in Honolulu, he found work with the architect Charles W Dickey working on the Immigration Station at Honolulu Harbor. He worked as in-house designer for developer Theo H. Davies, designing more than twenty-five residences between 1932 and 1935, before opening his own firm in early 1936.

His early work included mainly upscale homes with Hawaiian elements, though he sometimes included International Style or Modern influences, and still more infrequently designed strict interpretations of these styles.

The 1937 Ossipoff-designed, four-acre Boettcher Estate site on Kailua Beach was acquired by the City and County of Honolulu in 1978. It was restored and is now part of the Kalama Beach Park.

During World War II, Ossipoff worked for the government, with the Contractors, Pacific Naval Air Bases and quickly reopened his office at the end of the war.

About 1947-48, Ossipoff and several other Honolulu architects associated as Fisk, Johnson, Ossipoff and Preis, Associated Architects, combining the resources of their offices in order to obtain large commissions.

The association split up gradually, around 1952-53, as the members withdrew to work on their own projects. In 1956-57, Ossipoff expanded his office, hiring several younger architects, including Sidney Snyder, Jr., Alan Rowland and Gregory Goetz, and in 1973, the firm was incorporated as Ossipoff, Snyder, Rowland and Goetz.

Between the end of the World War II and the 1970s, Ossipoff produced most of the Hawaiian Modern design that he is known for today, and became a leading figure in the Hawaiian Modern movement.

Although he practiced at a time of rapid growth and social change in Hawai`i, Ossipoff criticized large-scale development and advocated environmentally sensitive designs, developing a distinctive form of architecture appropriate to the lush topography, light and microclimates of the Hawaiian Islands.

Ossipoff’s inspiration was Hawaiian architecture, in particular the lanai, an open-sided, freestanding and lightly-roofed structure usually buffered from the weather by foliage. His use of a shaded lanai as the primary living area, created an inviting indoor-outdoor space around an intimate garden. (NY Times)

The adaptation of Modernist building forms to Hawaiian living conditions was to become more pronounced in Ossipoff’s later buildings, and also eventually evolve into his signature style.

Ossipoff’s design employs deep overhangs, carefully oriented windows and vents to create a naturally ventilated structure that is permeable to the powerful Pacific trade winds yet protected from rain and excessive sunlight. (NY Times)

His design values were consistent with recommendations made nearly three decades earlier by the American cultural critic Lewis Mumford in his report “Whither Honolulu” (1938) which was commissioned by the city’s Parks Department.

Mumford cautioned that while much of Honolulu’s natural virtues had “… already been spoilt. More disastrous results may follow unless steps are taken at once to conserve Honolulu’s peculiar advantages such as its connections to the ocean and to create buildings which take full advantage of the balmy trade winds and exceptional foliage that are unique to Hawaiʻi.” (DAM)

His work has been featured in local, national, and international publications, and he won numerous local design awards. Ossipoff served, two times, as president of the Hawaiʻi chapter of the American Institute of Architects (AIA), and also served as the AIA’s northwest regional director in 1972 – the first architect from Hawaiʻi to do so.

He was asked to serve as a visiting critic at the Cornell University School of Architecture, and as a juror for the Sunset magazine Home Design Awards in 1959. In 1964, he chaired the jury for the Mount Olympus International Design. (Lots of information here is from Jones, NPS.)

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