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Redalyc.LOS PAISAJES CULTURALES DEL CARIBE Arquitectura y Urbanismo ISSN: 0258-591X [email protected] Instituto Superior Politécnico José Antonio Echeverría Cuba RIGOL, ISABEL LOS PAISAJES CULTURALES DEL CARIBE Arquitectura y Urbanismo, vol. XXX, núm. 2-3, 2009, pp. 13-20 Instituto Superior Politécnico José Antonio Echeverría Ciudad de La Habana, Cuba Disponible en: http://www.redalyc.org/articulo.oa?id=376839857003 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto CON CRITERIO/ PAISAJES CULTURALES Arquitertura y Urbanismo. Vol. XXX, No. 2-3/2009 LOS PAISAJES CULTURALES DEL CARIBE ISABEL RIGOL Los paisajes culturales son grandes contenedores patrimoniales que muestran la interacción entre el hombre y la naturaleza. El Caribe posee innumerables ejemplos entre aquellos que fueron diseñados, los orgánicamente evolucionados y los asociativos. Dos paisajes culturales cubanos se inscriben en la Lista del Patrimonio Mundial: El Valle de Viñales y las plantaciones cafetaleras franco haitianas de la Sierra Maestra. El Valle de los Ingenios, testimonio de la industria azucarera decimonónica –inscrito en 1989, junto con el centro histórico de Trinidad– no aparece Museo Etno Histórico de Montaña, Escambray. registrado como paisaje cultural. Otros –algunos de ellos con potencial valor universal LOS PAISAJES CULTURALES excepcional– se encuentran hoy en peligro. Dentro del reconocimiento del legado caribeño, es imprescindible valorar Palabras clave: Caribe, patrimonio, paisaje. los paisajes culturales que constituyen “tal vez la parte menos divulgada y menos entendida de este patrimonio…”1 Su abundancia, excepcionalidad Cultural landscapes are large heritage y capacidad de representar los valores del mundo caribe, sumados a los containers which show the interaction between peligros que afrontan, justifican un análisis detallado. man and nature. There are numerous En los tiempos actuales, los alcances del paisaje cultural se han debatido Caribbean examples among the designed, como parte de un proceso que abarca desde 1992 hasta la fecha.2 organically evolved or associative categories. Definitivamente, en 1992, el Comité de Patrimonio Mundial de la UNESCO Two Cuban cultural landscapes have been en su reunión de Santa Fe, Nuevo México, aprobó esta categoría.3 Los inscribed in the World Heritage List: Viñales Lineamientos Operativos para la Aplicación de la Convención de Patrimonio Valley and the French Haitian Coffee Plantations Mundial, los describen del siguiente modo: in the Sierra Maestra. The Valley of the Sugar Los paisajes culturales representan la obra combinada de la naturaleza Mills, a testimony of the 19th century sugar y el hombre definida en el artículo número 1 de la Convención. Los industry in Cuba _though inscribed together mismos ilustran la evolución de la sociedad y los asentamientos with Trinidad Historic Centre in 1989_ was not humanos en el transcurso del tiempo, bajo la influencia de las registered as a cultural landscape. Others restricciones físicas (o) las oportunidades presentadas por su _some of them with a potential outstanding ambiente natural y de las sucesivas fuerzas sociales, económicas y universal value– are currently threatened. culturales, tanto internas como externas.4 Key words: Caribbean, heritage, landscape. Los paisajes culturales con frecuencia reflejan técnicas específicas de uso sostenible de la tierra, teniendo en cuenta las características y límites del ambiente natural en el que están establecidos, y una relación espiritual específica con la naturaleza. ISABEL RIGOL SAVIO: Arquitecta. Doctora en 1 Ciencias Técnicas. Profesora Titular. Facultad de Isabel Rigol: “Cultural Landscapes in the Caribbean”. En The Cultural Heritage of the Caribbean and the World Heritage Convention. Ed. du CTHS. UNESCO, París, 2000. pp. 259-276. Arquitectura, Instituto Superior Politécnico José 2 Desde los años veinte del siglo pasado el geógrafo estadounidense Carl O. Sauer se había Antonio Echeverría, CUJAE, Ciudad de La Habana, preocupado por la “morfología del paisaje” y la “geografía cultural” abordando los impactos Cuba. Especialista en Patrimonio Cultural. Frecuente humanos en el medio, la construcción de lo que él definió como paisaje cultural y su relación con consultora de organismos internacionales. las formas de vida de las distintas culturas, explicando cómo esos paisajes culturales se creaban a partir de formas superpuestas al paisaje natural. E-mail: [email protected] 3 16mo Período de Sesiones del Comité de Patrimonio Mundial de la UNESCO, Santa Fe, Nuevo México, 1992. 4 Lineamientos operativos para la aplicación de la convención de Patrimonio Mundial, UNESCO, Recibido: mayo 2008 Aceptado: enero 2009 París, 2005. CON CRITERIO/ PAISAJES CULTURALES La protección de los paisajes culturales puede contribuir a las técnicas modernas de uso sostenible de la tierra y puede mantener o mejorar los valores naturales en el paisaje. La existencia continuada de formas tradicionales de uso de la tierra da soporte a la diversidad biológica en muchas regiones en el mundo. La protección de los paisajes culturales tradicionales es, por tanto, útil en el mantenimiento de la diversidad biológica.5 Los mencionados Lineamientos Operativos clasificaron los paisajes culturales de acuerdo con las siguientes tipologías: (a) El paisaje claramente definido, diseñado y creado intencionalmente por el hombre, que es el que más fácilmente se identifica. En esta categoría se incluyen los jardines y espacios de parques construidos por razones estéticas, que con frecuencia (aunque no siempre) están relacionados con edificios y conjuntos monumentales religiosos o de otro tipo. (b) El paisaje orgánicamente evolutivo. Este es el resultado de un imperativo inicialmente social, económico, administrativo y(o) religioso y ha llegado a su forma actual en asociación con su ambiente natural y como respuesta al mismo. Tales paisajes reflejan el proceso de evolución en sus características morfológicas y sus componentes. Se El Valle de Viñales en Pinar del Río. dividen en dos subcategorías: 1. El paisaje reliquia (o fósil) es aquel cuyo proceso evolutivo se detuvo en algún momento pasado, bien de manera abrupta o durante un período. Sus características distintivas, sin embargo, son visibles aún en forma material. 2. El paisaje continuo es el que retiene un papel social activo en la sociedad contemporánea, estrechamente asociado con la forma tradicional de vida, y cuyo proceso evolutivo está todavía en curso. Al mismo tiempo, exhibe evidencias materiales significativas de esta evolución en el transcurso del tiempo. (c) El paisaje cultural asociativo. Se justifica en virtud de las fuertes asociaciones religiosas, artísticas o culturales del elemento natural más que en la evidencia cultural, que puede ser insignificante o incluso inexistente.6 LA DIVERSIDAD DE LOS PAISAJES CARIBEÑOS Los jardines botánicos La presencia de paisajes diseñados es sorprendente en el Caribe. Se encuentran, por ejemplo, numerosos jardines botánicos cuyos orígenes se remontan mayormente al siglo XIX bajo la influencia de las metrópolis colonialistas europeas y de intereses científicos estimulados por la riqueza de la vegetación tropical caribeña.7 Jardín Botánico Atkins en Cienfuegos. El Jardín Castleton fundado en 1862 cerca de Kingston, que mantenía estrechos contactos con los Kew Gardens de Inglaterra, es uno de los más relevantes. También en Jamaica, se encuentran otros jardines botánicos como Cinchona, fundado en 1868 a más de 1 500 m sobre el nivel del mar en Saint Andrew. En Barbados, los Jardines Botánicos de Andrómeda creados en 1954 cuentan con especies variadas y únicas; el Jardín Botánico Atkins en Cienfuegos, Cuba, fue fundado en 1901 como Estación Botánica de la Universidad de Harvard para la investigación tropical y de la caña de azúcar. Otros ejemplos cubanos son el Orquideario de Soroa en Pinar del Río, la Estación Botánica de Santiago de las Vegas, los jardines de la Casa Schultess proyectados por el famoso paisajista brasileño Ricardo Burle Marx en La Habana en los años cincuenta8 o el Jardín Botánico Nacional de La Habana, una gigantesca obra de la década de los setenta.Descuellan también otros jardines en Guadalupe, Saint Kitts y Nevis o Dominica. Muchas viejas plantaciones también incluyen paisajes creados para el placer estético. Orquideario de Soroa. 14 Arquitectura y Urbanismo I. RIGOL Mamiku Estate, en la costa este de Santa Lucía, es un complejo de hermosos jardines, bosques y baños medicinales. En la Plantación Soufriere de Santa Lucía, con 2000 acres de tierra, se encuentran un jardín botánico, cascadas y baños medicinales del siglo XVIII.9 El cultivo de plantas medicinales –una significativa tradición caribeña– se ha mantenido y difundido promoviendo la aparición de gran cantidad de jardines destinados a este fin. Un caso muy singular es el de los sand gardens de las Islas Caimán, ornamentados con caracolas y otros elementos del mar, motivados por la naturaleza marítima de estos territorios. Paisajes fósiles o arqueológicos Los paisajes fósiles o arqueológicos se presentan de forma extraordina- riamente abundante en virtud de la economía histórica de plantación en el Caribe. Se destaca la gran cantidad de antiguos paisajes azucareros originados por el hecho de que las mejores tierras caribeñas se dedicaron al cultivo
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