Jorge Perez-Lopez

MAPPING CUBA’S TWENTIETH-CENTURY ARCHITECTURE Josef Asteinza1 A place without a past has no future. TWENTIETH-CENTURY ARCHITECTURE IN CUBA That Cuba is frozen in time is a commonplace that The greatest expansion of Cuban cities, Havana in the casual visitor often expresses. Of course, what we particular, occurred in the early 20th century, during observe and respond to is not stillness but the differ- a period of intense experimentation in the arts that ence in movement—the vector and velocity of also occurred in architecture. From the mid 1920s change—between worlds separated for a half centu- through the mid 1960s, this search, attuned to inter- ry. Everything changes, even Cuba, and whatever il- national movements and drawing from the essential lusion of frozenness there may have been is already elements of Cuban architecture, resulted in highly melting away with the recent thaw in US-Cuban re- original buildings. Eduardo Luis Rodríguez, in the lations. introduction to his architectural guide to this period, writes, “For the first time in its history, Cuba’s na- The functioning relics that predate the Cold War tional architecture was viewed in terms of richness embargo, like the automobiles and appliances, readi- and quality as good as or better to that being prac- ly capture the visitor’s attention, but the greatest ticed in other, more developed countries.”2 A few of source of this seemingly timeless panorama is Cuba’s the architectural leaders include Eugenio Batista, extraordinary architecture, five centuries of building Mario Romañach, Aquiles Capablanca, Max Borges, that constitute some of the earliest post-Columbian Emilio del Junco, Manuel Gutiérrez, Ricardo Porro, settlements in the Americas as well as an exceptional Frank Martínez, and Nicolás Quintana. They were Modernist legacy comparable to parallel achieve- part of a creative generation in the 1940s and 1950s. ments in Brazil, Mexico and Venezuela. Their work embodied an international progressive spirit, which represents some of the most iconic im- The present essay provides a brief overview of the images of Cuba—landmarks of the built environment. portance of twentieth-century architecture in Cuba They define the place. and its current conditions. It follows with a brief out- Nicolás Quintana is also the subject of a documenta- line of the mapping project: its origin, existing sourc- ry film which the author is producing. A distin- es, recent mapping efforts by others, and its potential guished architect, Quintana was also an urban plan- applications. The exercise focuses specifically on the ner who thought about the design of cities neighborhood of El Vedado in Havana, rather than throughout his career. He lectured extensively on the the entire island. history of the physical development of Havana. This 1. The present paper was jointly presented by Josef Asteinza and Vivian Garcia. Vivian Garcia produced the maps in the presentation and provided an overview on mapping methods. 2. Rodriguez, Havana Guide, p vii. 110 Mapping Cuba’s Twentieth-Century Architecture Table 1. List of Master Plans for the City of THE MAPPING PROJECT Havana Maps in the broadest sense are the spatialization of YEAR PLAN knowledge. They vary in type and form for every- 1850 Carillo de Albornoz thing that can be graphically represented. In the last 1922 Montoulieu few decades, the rise of digital cartography has revo- 1925 Martínez Inclán lutionized mapmaking. 1926 Forestier 1944 San Martín GIS is a computer system capable of assembling, 1951 Cañas Abril 1958 Sert et al. storing, manipulating and displaying data according 1963 M. González et al. to their location.3 Dynamic mapping allows different 1971 Baquero et al. sets of information to be gathered, updated and dis- 1984 Rey et al. played for specific purpose. Cross-analyses can reveal 1990 A. García et al. powerful, insightful connections and inform deci- history is documented in the historic master plans for sion-making. A GIS map can include points, lines, the city (Table 1), the product of a restless attempt shapes, and images as well as spatial and non-spatial by the city to redefine itself—to assess the past and data. The spatial elements can represent site loca- look ahead—and make itself contemporary. In the tions, streets, city blocks, and satellite images. The 1950s Quintana participated in the International non-spatial data can include in the case of architec- Congresses on Modern Architecture (CIAM IX and tural conservation, for example: name of the archi- CIAM X), and served as director of planning for Va- tect, engineers and contractors; year of construction radero and Trinidad. Afterward he worked on urban and construction type; original and current use; and existing condition and conservation cost. development projects in Puerto Rico and Venezuela. His last major project, Havana and its Landscapes, a Two common GIS platforms are QGIS, a free and collaboration with landscape architect Juan Antonio open-source software of the Open Source Geospatial Bueno, engaged students, professionals and the pub- Foundation, and ArcGIS, a suite of proprietary GIS lic to think about Cuban cities, particularly Havana, software products produced by Environmental Sys- as living, contemporary places, which is to say places tems Research Institute (ESRI), a private company. with a past and with a future. Specific to the international conservation field is Arches, an open source web- and geospatially-based In order to bring the architectural history of Havana information system to inventory and manage heri- and Quintana’s works to life in film, the production tage sites. Launched in 2010, the project is a collabo- team began considering digital technologies to repro- ration between the Getty Conservation Institute and duce and interpret buildings and urban plans. These the World Monuments Fund. technologies comprise geographical information sys- Although a model is not a map in the strictest sense, tems (GIS), three-dimensional modeling and other it is important to note that the Group for the Com- digital tools. Thus began the collaboration between prehensive Planning of the Capital in Havana devel- the author and Vivian García, a GIS specialist and oped a model of the entire city at the scale of 1:1000, co-presenter at the 2016 ASCE Conference on July which was housed in a building in the suburb of Mi- 28, 2016. From the outset it became evident that the ramar. This model, begun in 1987 and opened to the effort required for the narrow scope of the film proj- public in 1995, was an inspiration for a digital model ect has broader applications for documenting and for the film project. Made of cedar cigar boxes and conserving the historic fabric of the twentieth-centu- other materials, it shows the entire 144 km2 city in ry city. 144 m2, and is considered the third largest urban 3. Wilford, Mapmakers, p 418. 111 Cuba in Transition • ASCE 2016 Map 1. Havana, Location of Select Buildings of the Modern Movement in the National Register, by Architect Source: Docomomo Cuba. Produced by Vivian Garcia. Map 2. Havana, Location of Select Buildings of the Modern Movement in the National Register, by Year Source: Docomomo Cuba. Produced by Vivian Garcia. scale model, after the ones in New York and Shang- historic period in which each building was hai. With its color-coding system to represent the constructed—reddish-brown for Colonial build- 112 Mapping Cuba’s Twentieth-Century Architecture ings, ochre for those built between Independence cernible, along a few neighborhoods, mostly in the and the Revolution, and ivory for those built after western part of the city, within El Vedado. 1959— it functions like a thematic map. MAPPING OF HISTORIC BUILDINGS IN EL Some of the spatial data used in this project derive in VEDADO part from digitized plans used in Quintana’s Havana and its Landscapes. In Cuba, there are government The author decided to concentrate on El Vedado for sources in agencies and departments such as the of- several reasons. El Vedado is more than a menagerie fice of the city historian, the department of physical of buildings; the urban ensemble that is El Vedado is planning and Docomomo Cuba. Docomomo is a more than the sum of its parts. It has a rich selection non-profit organization founded in 1988 at the of twentieth-century buildings representing not only Technical University in the Netherlands. With 69 the Modern Movement but also other movements chapters and 3,000 members in Africa, America, that preceded it. A neighborhood west of Old Hava- Asia, Europe and the Pacific, it is dedicated to pro- na, El Vedado consists of around 150 hectares of or- moting awareness and protection of the architectural thogonally arranged blocks each one hundred meters heritage of the Modern Movement. Docomomo square (Map 3). It was laid out in 1859, contempo- Cuba has been especially active in documenting and rary with similar extramural urban developments in conserving the Cuban Modern Movement, a period Barcelona, Vienna and Paris. By the 1950s, it had be- that includes some of the finest works built in Cuba. come the de facto center of the city, with La Rampa By definition Docomomo material is limited to the (23rd Street) as its main thoroughfare connecting the Modern Movement. Docomomo Cuba maintains a university at the top of the hill, at nearby L and San national register of Modern Movement buildings Lázaro Streets, to hotels and commercial establish- which provided much of the source material in the ments frequented by tourists and locals alike. Its lo- present map, including the selection of buildings and cation on the convex sweep of the Malecón, its com- their locations. Architectural guides, such as María fortable, generous layout of broad streets, parks and Elena Martín’s Havana, Cuba, an architectural guide landscaped medians, and its architectural heritage or the aforementioned guide by Eduardo Luis Rodrí- contribute to its appeal.

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