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Las Escuelas Nacionales De Arte De La Habana En el límite de la arquitectura-paisaje Las Escuelas Nacionales de Arte de La Habana Escuela Técnica Superior de Arquitectura Universidad Politécnica de Madrid Departamento de Proyectos Arquitectónicos Tesis doctoral Autora: María José Pizarro Juanas, arquitecto Director: José González Gallegos, doctor arquitecto 2012 Universidad Politécnica de Madrid Escuela Técnica Superior de Arquitectura Tribunal nombrado por el Mgfco. Y Excmo. Sr. Rector de la Universidad Politécnica de Madrid, el día ................................................................. Presidente D. Vocal D. Vocal D. Vocal D. Secretario D. Realizado el acto de defensa y lectura de Tesis En el límite de la arquitectura- paisaje. Las Escuelas Nacionales de Arte de La Habana el día .................... ........................de 2012, en la Escuela Técnica Superior de Arquitectura de Madrid Califi cación: EL PRESIDENTE LOS VOCALES EL SECRETARIO A Mara, Álvaro y Óscar Indice 10 AGRADECIMIENTOS 12 RESUMEN 15 INTRODUCCIÓN 23 CRONOLOGÍA Capítulo I. HISTORIA DE UN ENCARGO: UNA ACADEMIA DE LAS ARTES PARA LOS HIJOS DE LOS TRABAJADORES 33 • UNA PARTIDA DE GOLF EN EL HAVANA COUNTRY CLUB. ENERO 1961 45 • UN VIAJE FORMATIVO. 1950ͳ1961 47 La Habana. 1950 53 Venecia. 1951 63 Milán. 1952 67 Caracas. 1957 73 La Habana. 1960 77 • LAS PREEXISTENCIAS CULTURALES: LA HABANA 1900ͳ1961 79 La Habana de principios de siglo 85 La Habana moderna. Entre la tradición y la modernidad 95 La Habana de los primeros años de la revolución Capítulo II. LOS PRINCIPIOS INTEGRADORES: PAISAJE, MATERIALIDAD Y SISTEMA CONSTRUCTIVO 105 • LA CONSTRUCCIÓN DE UN PAISAJE PARA LA REVOLUCIÓN 107 I. De la naturaleza al paisaje: el arquitecto paisajista 121 Del paisaje público al paisaje social: Olmsted y Burle-Marx 131 Del paisaje cultural a la búsqueda de la idenƟ dad nacional 145 II. El paisaje de la revolución: las Escuelas Nacionales de Arte 147 Transformación del paisaje: del Havana Country Club a Cu- banacán 157 Porro, Garaƫ y GoƩ ardi: arquitectos en el paisaje 191 • CINCO ARQUITECTURAS, UNA TÉCNICA CONSTRUCTIVA 195 I. El renacimiento de la bóveda tabicada. Expresividad de un sistema 205 Guastavino system: construcción cohesiva 213 Bóvedas tabicadas modernas: de Gaudí a Eladio Dieste 227 II. Estructuras revolucionarias: las bóvedas de las Escuelas Na- cionales de Arte Capítulo III. PROCESO Y MATERIALIZACIÓN: LA ACADEMIA DE LAS ARTES 253 • SÍNTESIS DEL MÉTODO PROYECTUAL. 255 E. N. Rogers y la preesistenza ambientale 267 La Arquitectura como espacio didácƟ co 275 • LA ACADEMIA DE LAS ARTES 283 Ricardo Porro: Escuela de Artes PlásƟ cas. Escuela de Danza Moderna 305 ViƩ orio Garaƫ : Escuela de Ballet. Escuela de Música 327 Roberto GoƩ ardi: Escuela de Artes DramáƟ cas 345 CONCLUSIONES ANEXOS 357 • DOCUMENTACIÓN GRÁFICA 359 Escuelas Nacionales de Arte 373 Archivo ViƩ orio Garaƫ . Escuela de Ballet 403 • ENTREVISTAS 405 ViƩ orio Garaƫ . Enero 2012 421 Ricardo Porro. Enero 2012 437 Roberto GoƩ ardi. Marzo 2012 449 • ESCRITOS SELECCIONADOS 451 Textos de Ricardo Porro 471 Textos de ViƩ orio Garaƫ 475 Textos de Roberto GoƩ ardi 485 Textos sobre las Escuelas Nacionales de Arte 509 • DOCUMENTALES SELECCIONADOS 511 Next Time it Rains. Felipe Dulzaides. 1999-2010 517 Unfi nished Spaces. Alysa Nahmias y Benjamin Murray. 2011 551 Un sueño a mitad. Francesco Apolloni. ARCI. 2012 577 BIBLIOGRAFÍA 585 • ANEXOS BIBLIOGRÁFICOS agradecimientos A Eduardo Luis Rodríguez, arquitecto y director de la revista Arquitectura Cuba, por descubrirme las Escuelas Nacionales de Arte y adentrarme en la fascinante arquitectura cubana de los años 50 y 60. A Javier de Cárdenas por su apoyo desde mis Ɵ empos de estudiante y por proporcionarme el contacto que me facilitó el acceso tanto a insƟ tuciones como a personalidades relevantes en la ciudad de La Habana: Orestes del CasƟ llo. Orestes ha sido mi llave maestra en La Habana, como arquitecto de la Ofi cina del Historiador de la Ciudad y perfecto conocedor de la arquitectu- ra cubana, docente de Facultad de Arquitectura y compañero de Ricardo Porro, ViƩ orio Garaƫ y Roberto GoƩ ardi, con quien comparte una gran amistad. En La Habana, debo expresar mi agradecimiento a Ada Esther Portero, profesora Ɵ tular del Departamento de Tecnología de la Facultad de Arqui- tectura del InsƟ tuto Superior Politécnico José Antonio Echeverría, por su apoyo logísƟ co durante mi estancia en La Habana. A Juan de las Cuevas por abrirme las puertas no sólo de su casa sino de su inmenso archivo personal que me aportó información histórica de gran valor documental. En la Ofi cina del Historiador de la Ciudad a René GuƟ érrez Maidata y Ma- ría Cleofás por sus tesƟ monios y permiƟ rme el acceso a los archivos de la ofi cina, donde encontré una valiosa información. A ViƩ orio Garaƫ , por recibirme en su casa de Milán en Año Nuevo, com- parƟ r sus recuerdos y sus esclarecedoras explicaciones. El estudio de su archivo me posibilitó una mejor comprensión de las Escuelas de Ballet y Música y sobre todo, conocer la fascinante personalidad de su creador. A Ricardo Porro y Elena por atenderme en su casa de París y darme la oportunidad de entrar en su mundo arơ sƟ co y ayudarme a entender la carga simbólica de su arquitectura. A Roberto GoƩ ardi por su hospitalidad, por acompañarme en la visita a las escuelas y recibirme después en su casa para descubrir su visión ínƟ ma de una arquitectura llena de maƟ ces. A los tres, gracias por mantener su espíritu jovial y comparƟ r conmigo unos recuerdos tan vivos a pesar del Ɵ empo transcurrido. También debo agradecer a todo el personal de la Biblioteca de la ETSAM, en Madrid, de la Biblioteca Dulce Chacón en la UEM, del RIBA en Londres y de la Avery Library (Columbia University) en Nueva York, especialmente a su anƟ gua directora Ángela Giral. A todos ellos gracias por el apoyo en mi labor de búsqueda bibliográfi ca. A Darío Gazapo, amigo y excelente docente que despertó en mí una nueva sensibilidad hacia el paisaje cuya huella permanecerá siempre. A Pepe González Gallegos por sus consejos y por confi ar que alguna vez acabaría esta tesis. A Esther Pizarro por su paciencia y atenta lectura de esta tesis. A mi familia, especialmente a mis hijos, Álvaro y Mara, por haberles nega- do parte del Ɵ empo que una madre debe dedicar a sus hijos. A Óscar, por estar siempre ahí. Abstract It´s been 50 years since the world witnessed the triumph of one of the last revolu ons of the twen eth-century, starring a group of bearded men who descended from the mountains of Cuba and who would end up overthrowing the Ba sta regime. Ricardo Porro was a Cuban architect exiled for his revolu onary ideals. Vi orio Gara and Roberto Go ardi were Italian immigrant architects. The three coincided in the eff ervescent city of Caracas in the late 50´s within the circle of friends of Carlos Raul de Villanueva, who had at that me, fi nished one of his most signifi cant works, the City University of Caracas. United by a common circle of friends, they would soon receive their dream assignment: an Academy of Art for the children of workers in the revolu onary Havana. The idea was directly based on the triumphant ideologist of the revolu on: Fidel Castro and Che Guevara. All schools had to represent the image of the new society. They would immediately depart for Havana. The year was 1961 and they had only a few months to plan and carry out the project. The schools were offi cially opened in 1965 without having been completed. The set was located in the Golf Course Country Club of Havana. The lands- cape of the golf course and the understanding of the place, by the three architects, was the origin of the projects. Ini ally, they worked with some common principles that condi oned its architectural answer and gave the group the homogeneity of a single project: the integra on with the landsca- pe, the same construc on system and a single material. This research analyzes the condi ons used by the three architects in order to inves gate the responses from the point of view of architectural design. Resumen Han pasado más de 50 años desde que el mundo contempló el triunfo de una de las úlƟ mas revoluciones del siglo XX, protagonizada por un grupo de barbudos que descendían de la sierra de Cuba y que acabaría con el derrocamiento del régimen de BaƟ sta. Ricardo Porro era un arquitecto cubano exiliado por sus ideales revolucio- narios. ViƩ orio Garaƫ y Roberto GoƩ ardi eran arquitectos italianos emi- grantes. Los tres coincidieron en la efervescente Caracas de fi nales de los años 50 en torno a la fi gura de Carlos Raúl de Villanueva que terminaba en esa época una de sus obras más signifi caƟ vas, la Ciudad Universitaria de Caracas. Unidos por un círculo común de amistades pronto recibirán el en- cargo soñado: una Academia de las Artes para los hijos de los trabajadores en La Habana revolucionaria. La idea parơ a directamente de los ideólogos triunfantes de la revolución: Fidel Castro y el Che Guevara. El conjunto de las escuelas tenía que representar la imagen de la nueva sociedad. Inmediatamente parƟ rán rumbo a La Habana. Corría el año 1961 y dispo- nían de unos pocos meses para proyectar y ejecutar las obras. Las escuelas fueron ofi cialmente inauguradas en 1965 sin haberse concluido. El conjunto se ubicó en el campo de golf del Country Club de La Habana. El paisaje del campo de golf y el entendimiento del lugar, por parte de los tres arquitectos, fue el origen de los proyectos. Trabajaron inicialmente con unas premisas comunes que condicionaron su respuesta arquitectó- nica y le dieron al conjunto la homogeneidad de un único proyecto: la integración con el paisaje, un mismo sistema construcƟ vo y un único ma- terial.
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