Hawaii | Zahner

Waiea Tower Parking Structure at Ward Village, Honolulu

Waiea is a residential tower and parking garage located in Honolulu, Hawaii. The building is designed by James KM Cheng Architect with WCIT and includes a Zahner-manufactured parking structure facade clad in custom perforated metal.

The design for Waiea is part of the Ward Village development in Kaka‘ako, a commercial and residential district in Honolulu. Waiea is among the first of several building projects that are redeveloping the 60 acres included in the Ward Village Masterplan. The development includes designs led by Richard Meier, Bohlin Cywinski Jackson, Solomon Cordwell Buenz and AC Martin.

“Waiea,” which translates to “water of life,” is located on an existing surface parking lot makai (ocean side) of the existing Ward Entertainment Complex and represents the only immediate development opportunity along Ala Moana Boulevard within the approved Masterplan that would not impact or force relocation of existing tenants.

Related System

Waiea at Ward Village

Waiea building parking structure facade in Honolulu, Hawaii.

Waiea tower and building parking structure facade in Honolulu, Hawaii.

The parking garage design uses ImageWall, a Zahner patented system for creating perforated metal. The designers developed a wave motif using the system, creating a perforated metal facade which pictures a wave across its surface. This motif is used throughout the building’s design, and repeated with the tower’s complex undulating glass facade.

The fabrication design also includes a custom embossed bump pattern across the surface. These indentations across the surface create both an appealing aesthetic as well as a rigidizing effect on the metal surface.

The building’s neighborhood of Kaka’ako has a deep history. It overlays elements of wahi pana (storied places), allowing the Waiea design to draw inspiration from time and place. Its design infuses cultural ideals and relationships between the ‘āina (land) and kānaka (people). The building introduces the stories of Hawaiian fishing gods Kū‘ulakai and his son ‘Ai‘ai, along with the genealogy of Kaka‘ako is woven throughout the building’s design. Its most prominent design feature is its sweeping glass facade. It is inspired by the essential life-giving role of water in Kaka‘ako’s landscape and the fishing nets used for sustenance by Hawaiians of both yesterday and today.

Detail of the Waiea facade panel hardware.

Larger perforation for ventilation hardware.

Waipolu Gallery and Studio

The Waipolu Gallery, located on the Hawaiian island of Oahu, was designed by Peter Bohlin of Bohlin Cywinski Jackson (BCJ). Built to house a privately-owned collection of post-World War II painting and sculpture, the structure offers a stunning setting for appreciating art.

Zahner fabricated the custom façade finished in Dirty Penny copper. The patinated surface will continue to evolve over time, much like the aging of the sculptures displayed within.

In 2010, Waipolu Gallery received the North American Copper in Architecture award in addition to several design awards for the work of BCJ architects.

Detail of the custom patina on copper panels for the Waipolu Gallery.

Panoramic photo of the Waipolu Gallery and Studio during construction

“The biggest challenge was to make this a great place – to be brilliant to the art for this client, in this place. I thrive on the challenge and the opportunity to make a great building and an extraordinary place. One of the great pleasures in architecture is to be able to reflect people with places and then — how to make things – how to shape them.”
— Peter Bohlin

The gallery’s proximity to the Pacific Ocean to the south and Diamond Head to the northeast afford views from the building itself, shown above (during construction).

Detail of the copper window framing for Waipolu Gallery during construction

Photo of the Waipolu Gallery facade during construction

Detail of the interior metalwork, fabricated by Zahner for the Waipolu Gallery.

“Malleability of the material was important due to the fact that the installation was occurring at a great distance from the fabrication shop and some shaping in the field was necessary,” said the project architect, Campie Ellis. “We also liked the idea that the building’s coloring would change over time, creating an evolving work or sculpture.”