White Street Pier, Key West

University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange

Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work

5-2012

Reclaiming Identity: White Street Pier, Key West

Adam H. Richards University of Tennessee - Knoxville, [email protected]

Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj

Part of the Other Architecture Commons, and the Urban, Community and Regional Planning Commons

Recommended Citation Richards, Adam H., "Reclaiming Identity: White Street Pier, Key West" (2012). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1517

This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Reclaiming Identity White Street Pier, Key West

Adam Richards

College of Architecture and Design Advisor: Professor Tricia Stuth

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1890 1900 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2010 2020

m e 1890 1912 1938 1957 1969 2009

r Key West population: 18,800. Overseas Railway connects Key Railway becomes Key West International First cruise ship to set International Airport (departing

a Nearly half are of Cuban origin West to continental U.S. U.S. Highway 1 Airport constructed sail from Key West terminal) constructed

m i 1913 1927 - 1991 October 1962 est. 1977 June 2000

h Aviator Augustin Parla Pan American Airlines Cuban Missile Crisis International Maritime Boundary Elian Gonzalez affair

d First U.S. flight to Cuba. Established in Key West as air mail and passenger travel to Havana, Cuba n

u May 1995 - present day o

r Wet foot/Dry foot policy and los Balseros a Those refugees who do not reach dry land are returned to Cuba or relo-

e b c cated to other countries if they fear persecution.

e a y o p April - October 1980 n s d s Mariel Boatlifts: 125,000 refugees i An agreement between the U.S. and Cuban governments allowed Cubans to t h h leave from the small port city of Mariel. Most arrived in Key West, Florida. e s

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p e r e s m e o nc h e f for space in the image of man is place, and time in the image of man is occasion. — an o id e e r n u ti t t c y e

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i w o hip n ts relations s through i o key west ome f ce c s an p nific a , sig c ure e archite ct is ance. For th nific e vide sig fi oes not pro rst ge Existence alone d sture of living things.” Exile :: The thesis explores the link between identity and architecture and the intimate connection between memories and the places in which they are created. If man’s relationship to architecture is often to establish a sense of home, to carve memories into a place, what happens when this link to the past is severed? Separation from an architecture of home can endanger identity.

home. o return This separation is the essential struggle of the exile. In this struggle, architecture can become a ing t e is long there. H ere nor either h place. N A tension exists in the heart of the exile, dislocated from home. He is in no catalyst in the reclamation of identity.

Threshold :: In the attempt to establish ownership, we begin to draw boundaries on land to

ly a return evitab to Cu demarcate territory, in some cases even the sea. For the exile, boundaries become loaded with In b Cuba. a, fo r th m e e fro xile, can only reside in mem ile ory. x The m e Cub to leave one’s ho el the Cu in a to w ation a nd, ban-America ng hic meaning. It is a threshold that, once crossed, establishes a disconnect from home. For the desper n does not con ivi h t gh sider him er l he ou se rev y en lf ut fo lo ith an im nt to the U.S. b ng w migra to ret urn is , in m Cuban exile, this boundary is the ocean: the Straits of Florida. a ny w ay s, a p a havana rt o f t h e p as The Cuban-American :: The plight of Cuban exiles is a living history, spanning more than sixty years to date. Reasons for leaving may vary, though each resonates with enough desperation to leave one’s homeland. The project seeks to create an architectural identity for the Cuban- American, the self-imposed exile: a person who does not consider himself an immigrant to the

U.S. but living in exile from Cuba, a person who is neither here nor there.

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1890 1900 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2010 2020

m e 1890 1912 1938 1957 1969 2009

r Key West population: 18,800. Overseas Railway connects Key Railway becomes Key West International First cruise ship to set International Airport (departing

a Nearly half are of Cuban origin West to continental U.S. U.S. Highway 1 Airport constructed sail from Key West terminal) constructed

m i 1913 1927 - 1991 October 1962 est. 1977 June 2000

h Aviator Augustin Parla Pan American Airlines Cuban Missile Crisis International Maritime Boundary Elian Gonzalez affair

d First U.S. flight to Cuba. Established in Key West as air mail and passenger travel to Havana, Cuba n

u May 1995 - present day o

r Wet foot/Dry foot policy and los Balseros a Those refugees who do not reach dry land are returned to Cuba or relo-

c cated to other countries if they fear persecution.

p April - October 1980

s Mariel Boatlifts: 125,000 refugees i An agreement between the U.S. and Cuban governments allowed Cubans to h Prior to Fidel Castro’s rise to power, the stretch of ocean between the leave from the small port city of Mariel. Most arrived in Key West, Florida. s

e U.S. and Cuba could be characterized by times of commerce and travel: a t 1965 - 1973

a cultural exchange in which Havana, Key West, and Miami took on identities i Freedom Flights: 265,297 refugees r of each other. Key West rests at the center of much of the history of U.S.- p Cuba relations, especially in travel. Under the Johnson and Nixon administrations, Cubans were allowed to leave o from Varadero Beach to Miami in order to flee the Castro regime. r p Following the Revolution, Key West, because of its proximity to the isle of

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e The most significant event is perhaps the Mariel Boatlifts in 1980 during which more than 125,000 refugees fled Cuba over in the span of six Operación Pedro Pan: 14,000 children H Out of fear that the Soviet Union would seize their children, parents placed their . months, landing on Key West’s shores.

o sons and daughters on planes to Miami, Florida. b Today, Miami has become the cultural epicenter of Cuban-Americans, and

m 1 January 1959 i Havana, having slowed significantly in economic growth, is often seen l as a place of memory. Key West is primarily characterized as a tourist REVOLUTION n i destination, a place of transience. In many ways the project seeks to

s i recapture the spirit of travel and exchange for city of Key West that has

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n White Street Pier reaches out over the water, extending man’s reach e across the ocean. Built in 1960, the pier caps a main avenue of the city. Its d i unofficial moniker, according to locals, is the “unfinished highway

s i to Havana.”

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n o i t a Prior to Fidel Castro’s rise to power, the stretch of ocean between the U.S. and Cuba could be r a p e S characterized by times of commerce and travel: a cultural exchange in which Havana, Key West, y. r to is h and Miami took on identities of each other. Key West rests at the center of much of the history of U.S.-Cuba relations, especially in travel.

Following the Revolution, Key West, because of its proximity to the isle of Cuba, became (and remains today) the landing point for many refugees. The most significant event is perhaps the Mariel Boatlifts in 1980 during which more than 125,000 refugees fled Cuba over in the span of six months, landing on Key West’s shores.

Today, Miami has become the cultural epicenter of Cuban-Americans, and Havana, having slowed significantly in economic growth, is often seen as a place of memory. Key West is primarily characterized as a tourist destination, a place of transience. In many ways the project seeks to recapture the spirit of travel and exchange for city of Key West that has subsided over time.

1890 - 1959 1959 - present day present day

The era preceding the Revolution and Castro regime could be The exodus of Cuban exiles, in various manifestations Travel to Cuba is under heavy restriction, though policies are characterized by a time of travel and exchange between the U.S. characterizes movement across the Straits of Florida. Key West beginning to shift. Meanwhile, rafters continue to traverse the and Cuba. Key West, due to its location plays a prominent role in serves as an arrival point of many refugees, especially by sea. Straits, often under extreme circumstances. both air and sea travel.

to ret urn is , in m a ny w ay s, a p a rt o f t h e p as

existing pier: 55° S of E

N runway oriented North-South due to wind conditions oriented North-South runway

S wind rose for Key West

solar path for 24° latitude

dredged water depth line: 18’

view out oriented 21.5° W of S

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n o s a e R R R existing pier: 55° S of E

N White Street Pier reaches out over the water, extending man’s reach across the ocean. Built in 1960, the pier caps a main avenue of the city. Its unofficial moniker, according to locals, is the “unfinished highway to Havana.” runway oriented North-South due to wind conditions oriented North-South runway

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S wind rose for Key West

solar path for 24° latitude

dredged water depth line: 18’

view out oriented 21.5° W of S toward Cuba The architecture is a mediation of the past and the future. The marketplace along the pier recalls memories of Old Havana, through textures, smells, and sounds. The terminal evokes both a longing for home and a hope to return some day. The promenade bridge connects the pier and the terminal linking the past to the future.

Leaving home and going home are often difficult matters; to go in or out, to enter, leave, or stay, are sometimes painful alternatives. Though architecture cannot do away with this truth it can still counteract it by mitigating instead of aggravating its effects. It is human to tarry. Architecture should, I think, take more account of this. The job of the planner is to provide a built homecoming for all, to sustain a feeling of belonging - hence, to evolve an architecture of place - a setting for each subsequent occasion, determined or spontaneous.

Aldo van Eyck, “The Medicine of Reciprocity, Tentatively Illustrated” 01 : the marketplace

The marketplace along the pier taps into stories of Old Havana, capturing the smells, textures, and colors of memory.

:: Market kiosks stand along the northeastern edge, catching the morning light. The sun rises and the business day begins. Textures of canvas and wood wrap the kiosks, as artisans and craftsmen lift the rolled doors and display their goods. Smells of fruit, flowers, and fresh food fill the air.

:: The trolley paces by in a rhythmic pattern, carrying people to and from the terminal offshore.

:: Vines of hibiscus and white roses climb metal latticework, providing a screened threshold between the commerce of the market and the leisure of the promenade.

01 : the marketplace

The marketplace along the pier taps into stories of Old Havana, capturing the smells, textures, and colors of memory.

:: The trolley paces by in a rhythmic pattern, carrying people to and from the terminal offshore.

:: Vines of hibiscus and white roses climb metal latticework, providing a screened threshold between the commerce of the market and the leisure of the promenade.

I cultivate a white rose In July as in January For the sincere friend Who gives me his hand frankly And for the cruel person who tears out the heart with which I live I cultivate neither nettles not thorns: I cultivate a white rose.

José Martí, “Cultivo una Rosa Blanca” 02 : the view from shore

The promenade carves into the existing pier, marking the beginning of a curve that extends out to the terminal offshore.

:: Pieces of the existing pier have been carved out and extend the boundary of the space, recalling the monolithic Malecón sea wall of Havana. Rather than a boardwalk that hugs the shoreline, the promenade runs perpendicular away from shore, not only to connect to the terminal, but in a symbolic gesture of reaching.

:: The line of curved wooden boardwalk sweeps out to sea, creating a collective view to the west, sunset. It allows people to occupy the water’s edge, dangling feet over the edge or jumping into the waves.

02 : the view from shore

The sunsets: forget it, no competition. Nothing could compare to the sight of that glowing red disk being swallowed by the turquoise sea and the tangerine light bathing everything, making all of creation glow as if from The promenade carves into the existing pier, marking the beginning of a curve waves, splashing against the wall of the Malecón, splashing, leaping over it to  ood the road, lapping, lapping, lapping endlessly, eternally. Even in the worst of storms the waves that extends out to the terminal offshore. were always a lover’s caress, an untiring embrace, an endless shower of kisses.

Carlos Eire, Waiting for Snow in Havana :: Pieces of the existing pier have been carved out and extend the boundary of the space, recalling the monolithic Malecón sea wall of Havana. Rather than a boardwalk that hugs the shoreline, the promenade runs perpendicular away from shore, not only to connect to the terminal, but in a symbolic gesture of reaching.

The cafe overlooking a plaza caps the pier. Architecture becomes a stage, a setting for occasions.

:: The cafe is about the everyday experience, for the morning espresso or the evening mojito. Situated on the elevated promenade, it acts as a walk up counter on the side of pedestrian movement. The other side attaches to an enclosed space, creating an environment of stasis that is about viewing the plaza below or looking out to sea.

:: The plaza is a setting for occasion--festivals and concerts--both planned and spontaneous. A ramp wraps the space allowing access to the promenade level 03 : a place for occasion but also serves to focus attention on the center, where anything from a formal quinceañera or an impromptu musical performance can take place.

The cafe overlooking a plaza caps the pier. Architecture becomes a stage, a setting for occasions.

Coffee must be as strong as love, as black as ink and as hot :: The cafe is about the everyday experience, for the morning espresso or the as the devil. evening mojito. Situated on the elevated promenade, it acts as a walk up counter Blanche de Baralt, 1931 on the side of pedestrian movement. The other side attaches to an enclosed “Make sure we have enough coffee ready to brew,” he tells them while he looks over the glass case facing the street, space, creating an environment of stasis that is about viewing the plaza below or taking a visual inventory of the variety of cigars displayed: H. Upmanns, check. Cohibas, check. Behind him, rows of premeasured coffee grounds are laid out in front of the looking out to sea. espresso machine. The guarapo crusher is pressing away at stalks of sugarcane with the sound of the crackling  re,  lling pitcher after pitcher to ensure the staff need only to pour the sweet yellow-green nectar over ice. :: The plaza is a setting for occasion--festivals and concerts--both planned and Carlos Frias, Take Me With You spontaneous. A ramp wraps the space allowing access to the promenade level but also serves to focus attention on the center, where anything from a formal quinceañera or an impromptu musical performance can take place. 04 : across sea and land

A softly curving bridge stretches across the sea. The eye follows its sweeping arc as it leaves the pier and connects to the terminal in the distance.

:: The curve not only mediates the angle of the existing pier to a north-south orientation more appropriate for the airport runway, but its position begins to encapsulate views to the east and to the west, sunrise and sunset.

:: Built as an inhabitable truss, the trolley runs beneath the pedestrian path, which is covered in areas with bright canvas overhead and vine-covered metal work to shade the walkway. 04 : across sea and land

A softly curving bridge stretches across the sea. The eye follows its sweeping arc as it leaves the pier and connects to the terminal in the distance.

The airport and ferry terminal longs to recapture the spirit of travel and exchange that once existed across the Straits of Florida.

:: Pulled away from shore to reach necessary water depths, the terminal and runway mark a significant trajectory across the ocean, extending man’s reach even further; a symbolic gesture of an attempt to re-link the two nations.

:: Passengers arrive and depart on airplanes and ferries, recognizing the connection of water and sky between the U.S. and Cuba. The departure lounges of the air terminal line the eastern edge, sharing a roof line that extends across 05 : arrival and departure the open-air plaza and ferry terminal.

The airport and ferry terminal longs to recapture the spirit of travel and exchange that once existed across the Straits of Florida.

:: Passengers arrive and depart on airplanes and ferries, recognizing the connection of water and sky between the U.S. and Cuba. The departure lounges of the air terminal line the eastern edge, sharing a roof line that extends across the open-air plaza and ferry terminal. 06 : a view toward home

A tension exists in the heart of the exile; he is longing to return home. His eyes are fixed on something that is far off in the distance.

:: The public plaza extends, reaching beyond the departure lounges and waiting gates of the terminal. Skeletal frames continue the line of the terminal, drawing one’s gaze further to the west, to Cuba.

:: What does it mean to sit and watch the sunset? For many Cuban-Americans, this is a connection to home, knowing that their relatives 90 miles across the ocean may be watching the same sun set.

06 : a view toward home

A tension exists in the heart of the exile; he is longing to return home. His eyes are fixed on something that is far off in the distance.

:: What does it mean to sit and watch the sunset? For many Cuban-Americans, this is a connection to home, knowing that their relatives 90 miles across the ocean may be watching the same sun set.

:: The ethereal nature of sunrise and sunset evokes a sense of temporality about the present, a threshold marking the passing or the beginning of the day. If the sunrise is about the promise of a new day, then sunset captures a sense of Tony and I boarded the plane at sunset, looking over our shoulders. We could see our family off in the distance, longing for tomorrow. A hope for a brighter future. through the glass. Not darkly, but clearly, even in twilight. The last thing I saw before I died that day was my mother waving her cane and my father standing next to her, with his hands in his pockets.

Carlos Eire, Waiting for Snow in Havana How far we all come. How far we all come away from ourselves. So far, so much between, you can never go home again. You can go home, it’s good to go home, but you can never really get all the way home again in your life.

James Agee, A Death in the Family

Inevitably a return to Cuba, for the exile, can only reside in memory. The Cuba to which they long to return, is in many ways, gone. Instead, the exile is seeking freedom to own space, to act willfully and carve memories into it. In essence, the mark of exile, once overcome, may become simply a part of the past. As one Cuban exile eloquently writes, the mark of exile is nothing more than a “luminous scar.” (Learning to Die in Miami, Carlos Eire)