<Begin Segment 5>

FK: Now I understand you're working on a memorial thing for your masters?

AB: Yeah. I actually, I finished up last June. So this was... yeah, last year I was working on a thesis design project. My site was actually over Wyatt and Weaver and it's the Nakata family's property. The Nakata family owns the Town and Country supermarket and they're looking into creating an organic farm there eventually that would supply the Town and Country Market on Bainbridge. And so I was looking at that site for some type of interpretive -- never really called it quite a memorial -- but kind of a visitors center. But a memorial to the farmers and specifically the Japanese and Filipino partnerships... that were created right around, right around the war. I just got my masters and did complete that project. But it was hypothetical.

FK: What inspired you... what inspired you want to head in that direction for your thesis?

AB: My grandpfather, actually. I'll tell you the story actually. I was coming home -- this was I believe when I was living in Mexico -- and I came home. It was the summer I remember. And I thought, okay, I'll pick up the Bainbridge Review. And I read an article and it had to do with an island mother not wanting, I believe they were calling it the Leaving Our Island program or the curriculum or unit that was being taught in the middle school. I think at Woodward. Either Woodward or Sakai. And how this unit... they were spending too much time on the subject and for someone who had lived on Bainbridge Island and my grandpa's history and life here.... it hit home. And the Kitamoto family... Mama-moto was kind of like my grandma too. She was always over. So that's initially what sparked the idea, was that the island has changed so significantly and in just my lifetime. I can't imagine how my grandmas -- or the two surviving now -- for them to see the changes. I think it was just this issue of... Bainbridge is now kind of this high end destination spot for developments and everything. And I just thought it would be a great way to help preserve that. The big question was... sustainability is a big buzzword in the building, construction industry, with architects and designers. And I was trying to play with this idea of, well, is it also possible to also sustain the history of the community through this memorial or this center that I was designing. So, that's, that was the inspiration. And also Jones & Jones had designed an actual memorial for the site where the Japanese were physically taken from the island, right at the ferry dock on Taylor Road, the old ferry, ferry terminal. And so I used that as kind of the starting point for my design. I wish I had some... a map or something that I could show you. But, the memorial or the visitor center that I worked on for the Nakata property was more about the return to the land as opposed leaving the land. And so, sometime I'd like to share it with you.

FK: Sure. What, what did you want your design to say to someone who didn't know anything about what went on here?

AB: In one sentence?

FK: Take whatever you want to take.

AB: It was... it's that there was once quite a bit of farmland here. And there's a whole rich history, not just in the actual farming, but how minorities of the island made their way here and that was my, the driving force behind it. And, Wyatt and Weaver, the Nakatas' property, on Wyatt, that's the main road to get to the south end of the island. And it's also the main road to get to the Taylor memorial. And so the idea was so as you're passing to get to the Southern end... it's prime location. It's top land there where lots of developments could be. But Town and Country wanted to preserve that. So my gesture was to highlight that farmland where, when they eventually develop the organic farm, have some sort of place where you'd want to stop. Or, if you don't want to stop, and you're just passing -- again, I wish I had my models or a visual -- but the initial gesture was these rolling hills and the landscape, the manipulated landscape. The sort of symbolism in that was the rolling strawberry fields that once were so evident in a lot of the island's topography. But then also, the two sort of buildings that I had placed within these, within this landscape, was symbolic of the Japanese and the Filipino cultures and the fact that they were resting in between these sort of rolling hills is kind of this return presence in the land. It's just something figurative in the landscape that would be a permanent reminder of once, what once was, I guess you could say.

FK: You said it was hypothetical. What did, what did people that saw it think? Or was there a chance that something like that would happen?

AB: The feedback?

FK: Yeah.

AB: Well, the way it worked, or works is... all of our design projects are hypothetical. But I invited some of the Nakata family members to my thesis presentation, which is a public defense. I got quite a bit of feedback on it. The tough thing is they're not sure when it's gonna be developed or anything. But, it's a possibility to have some sort of visitor center or something along those lines when they do actually develop that land into the farm. I also have people that have heard about my project have mentioned other, other sites that are possibilities. Which is great. Anything would be wonderful to have that. And I'm just drawn to that that site on Wyatt and Weaver, for the location.

FK: What other sites were suggested to you?

AB: There's one just past Winslow Way, I think Lucy had mentioned it. I'm not quite sure where that's located. I'm sorry I don't, I don't know. I haven't been there or anything. But again, they Wyatt and Weaver site is just...

FK: So, so what did your instructors say to you about your project?

AB: Well, I worked with two professors for, gosh, six months or so. And they really, really got into it. They helped shape my education so they helped shape the design in a lot of ways with their feedback. But it wasn't just them. I went and visited John Paul and he helped me quite a bit. I met him once a month or once every other month or so. Also, I got feedback from other students of mine. Even just friends that grew up on Bainbridge too. Also from Larry Nakata, he was involved. One of my former employers was really helpful too. It was a lot of fun. Maybe if it does work out down the road, that would be great. But, just the whole process was really great.

FK: So what direction do you want to take your Masters in Architecture in?

AB: Right now I'm working for an architect in Seattle who mostly does a lot of public work. We're working on a wastewater treatment facility and I'm actually gonna start on a pumping station on Tuesday. Right now I'm just doing that for the experience I think. He was an architect that has been in Seattle for quite a while. And he actually just passed away unfortunately. He was the first African American architect in the Pacific Northwest who really established himself in the area. The type of work that they do, I really enjoy it. It's very industrial and not glamorous work, but I'm drawn to that sort of, sort of work. But then on the other hand, something along the lines of what Jones & Jones and their work... something that has more to do with memorials and museums and that sort of type of work is probably where I'll head next. I'm not too into the high end residential. I spent some time working for an architect that does a lot... has a lot of clientele in that area. And I don't, I don't think that's what for me right now. Yeah, it's fun so far, I like what I do.

<End Segment 5> - Copyright © 2007 Densho. All Rights Reserved.