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A sampling of Hawaiian buildings included in this volume, clockwise from top (photographs by Augie Salbosa): Byodo-In Temple, Royal Mausoleum (Mauna Ala), Honolulu Academy of Arts, all on Oahu, and Hamakua Joda Mission on Hawaii.
"Designing Paradise : The Allure of the Hawaiian Resort follows the history of tourist destinations in the Hawaiian Islands, the motivations that shaped their formation, and the buildings and landscapes that are the embodiments of this paradise of the Pacific. Comprehensively illustrated with drawings, ephemera, archival images, and contemporary photographs, Designing Paradise examines the most magnificent and culturally rich architecture to emerge in the Hawaiian Islands and provides insight into the essence and allure of Hawai'i. The resorts presented here are more than places of shelter or destinations; they exemplify the aloha spirit and the idyllic mythos of Hawai'i."--BOOK JACKET.
This lavishly illustrated book traces the life and work of Hart Wood (1880–1957), from his beginnings in architectural offices in Denver and San Francisco to his arrival in Hawaii in 1919 as a partner of C. W. Dickey and eventual solo career in the Islands. An outspoken leader in the development of a Hawaiian style of architecture, Wood incorporated local building traditions and materials in many of his projects and was the first in Hawaii to blend Eastern and Western architectural forms in a conscious manner. Enchanted by Hawaii’s vivid beauty and its benevolent climate, exotic flora, and cosmopolitan culture, Wood sought to capture the aura of the Islands in his architectural designs. Hart Wood’s magnificent and graceful buildings remain critical to Hawaii’s architectural legacy more than fifty years after his death: the First Church of Christ Scientist on Punahou Street, the First Chinese Church on King Street, the S & G Gump Building on Kalakaua Avenue, the Honolulu Board of Water Supply Administration Building on Beretania Street, and the Alexander & Baldwin Building on Bishop Street, as well as numerous Wood residences throughout the city.
At the forefront of the postwar phenomenon known as tropical modernism, Vladimir Ossipoff (1907-1998) won recognition as the "master of Hawaiian architecture.” Although he practiced at a time of rapid growth and social change in Hawaii, 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. This book is the first to focus on Ossipoff’s career, presenting significant new material on the architect and situating him within the tropical modernist movement and the cultural context of the Pacific region. The authors discuss how Ossipoff synthesized Eastern and Western influences, including Japanese building techniques and modern architectural principles. In particular, they demonstrate that he drew inspiration from the interplay of indoor and outdoor space as advocated by such architects as Frank Lloyd Wright, applying these to the concerns and vernacular traditions of the tropics. The result was a vibrant and glamorous architectural style, captured vividly in archival images and new photography. As the corporate projects and private residences that Ossipoff created for such clients as IBM, Punahou School, Linus Pauling, Jr., and Clare Boothe Luce surpass their fiftieth anniversaries, critical assessment of these structures, offered here by distinguished scholars in the field, will illuminate Ossipoff’s contribution to the universal challenge of making architecture that is delightfully particular to its place and durable over time.
Drawing on ten years of interviews and ethnographic and archival research, Roderick Labrador delves into the ways Filipinos in Hawai'i have balanced their pursuit of upward mobility and mainstream acceptance with a desire to keep their Filipino identity. In particular, Labrador speaks to the processes of identity making and the politics of representation among immigrant communities striving to resist marginalization in a globalized, transnational era. Critiquing the popular image of Hawai'i as a postracial paradise, he reveals how Filipino immigrants talk about their relationships to the place(s) they left and the place(s) where they've settled, and how these discourses shape their identities. He also shows how the struggle for community empowerment, identity territorialization, and the process of placing and boundary making continue to affect how minority groups construct the stories they tell about themselves, to themselves and others.
How many place names are there in the Hawaiian Islands? Even a rough estimate is impossible. Hawaiians named taro patches, rocks, trees, canoe landings, resting places in the forests, and the tiniest spots where miraculous events are believed to have taken place. And place names are far from static--names are constantly being given to new houses and buildings, streets and towns, and old names are replaced by new ones. It is essential, then, to record the names and the lore associated with them now, while Hawaiians are here to lend us their knowledge. And, whatever the fate of the Hawaiian language, the place names will endure. The first edition of Place Names of Hawaii contained only 1,125 entries. The coverage is expanded in the present edition to include about 4,000 entries, including names in English. Also, approximately 800 more names are included in this volume than appear in the second edition of the Atlas of Hawaii.
Investigating the historical tradition of Chinese architectural writing from antiquity to the twelfth century, Chinese Architecture and Metaphor reveals significant and fascinating social and cultural phenomena in the most important primary text for the study of the Chinese building tradition. Unlike previous scholarship, which has reviewed this imperially commissioned architectural manual largely as a technical work, this volume considers the Yingzao fashi’s unique literary value and explores the rich cultural implications in and behind its technical content. Utilizing a philological approach, the author pays particular attention to the traditional and contemporary architectural terminology presented in the Yingzao fashi. In examining the semantic meaning of the architectural terms used in the manual, he uncovers a systematic architectural metaphor wherein bracketing elements are likened to flowers, flowering branches, and foliage: Thus pillars with bracketing above are compared to blossoming trees. More importantly, this intriguing imagery was shared by different social groups, in particular craftsmen and literati, and craftsmen themselves employed literary knowledge in naming architectural elements. Relating these phenomena to the unprecedented flourishing of literature, the literati’s greater admiration of technical knowledge, and the higher intellectual capacity of craftsmen during the Song, Architecture and Metaphor demonstrates how the learned and “unlearned” cultures entangled in the construction of architectural knowledge in premodern China. It convincingly shows that technical language served as a faithful carrier of contemporary popular culture and aesthetic concepts. Chinese Architecture and Metaphor demonstrates a high level of engagement with a broad spectrum of sophisticated Chinese sources. It will become a classic work for all students and scholars of East Asian architecture.
A 108-meter high Eiffel Tower rises above Champs Elysées Square in Hangzhou. A Chengdu residential complex for 200,000 recreates Dorchester, England. An ersatz Queen’s Guard patrols Shanghai’s Thames Town, where pubs and statues of Winston Churchill abound. Gleaming replicas of the White House dot Chinese cities from Fuyang to Shenzhen. These examples are but a sampling of China’s most popular and startling architectural movement: the construction of monumental themed communities that replicate towns and cities in the West. Original Copies presents the first definitive chronicle of this remarkable phenomenon in which entire townships appear to have been airlifted from their historic and geographic foundations in Europe and the Americas, and spot-welded to Chinese cities. These copycat constructions are not theme parks but thriving communities where Chinese families raise children, cook dinners, and simulate the experiences of a pseudo-Orange County or Oxford. In recounting the untold and evolving story of China’s predilection for replicating the greatest architectural hits of the West, Bianca Bosker explores what this unprecedented experiment in “duplitecture” implies for the social, political, architectural, and commercial landscape of contemporary China. With her lively, authoritative narrative, the author shows us how, in subtle but important ways, these homes and public spaces shape the behavior of their residents, as they reflect the achievements, dreams, and anxieties of those who inhabit them, as well as those of their developers and designers. From Chinese philosophical perspectives on copying to twenty-first century market forces, Bosker details the factors giving rise to China’s new breed of building. Her analysis draws on insights from the world’s leading architects, critics and city planners, and on interviews with the residents of these developments.
This work offers an original insight into the profound relationship between architecture and asceticism. It convincingly traces the influences from early Indian asceticism to Zen Buddhism to the Japanese teahouse. The protagonist of the narrative is the hermit's hut. The author provides a complex narrative that stems from this simple structure, showing how the significance of the hut resonates widely and how the question of dwelling is central to ascetic imagination.
This EDM bestseller is now available in a compact paperback edition, featuring a new cover.