M U S E U M S and Heritage

NUMBER 8 2012 2 Editorial

3 Contribution of museums to development

7 The museum´s mission

12 The adaptation of historical buildings for future cultural uses

16 Museum, cultural center or both?

Inauguración del taller© UNESCO 20 Objectives of a museum: education, research, and leisure

22 Impact of cultural institutions on local development

28 Palacio del Segundo Cabo: an intercultural bridge in Havana

34 State of the National Pantheon Museum

Dome ©OHCH,2010 in Haiti, MUPANAH

36 National Museum of Fine Arts in Cuba. The Building of Universal Art

38 The museum evolution and its adaptation 45 Conclusions

47 Collaborators

Guggenheim Museum in Bilbao. Architect Frank Gehry

EDITORIAL TEAM UNESCO ACKNOWLEDGEMENTS CULTURE AND DEVELOPMENT 8 UNESCO REGIONAL KINSTONG OFFICE Embajada de Noruega EDITION: Begoña Guzmán OFFICE FOR CULTURE IN Himalchuli Gurung en Cuba ART DIRECTOR: Arnulfo Espinosa LATIN AMERICA AND THE [email protected] CARIBBEAN, HAVANA, CUBA www.unesco.org.cu Herman van Hooff, CONTACT Fernando Brugman, UNESCO LA HABANA Gilda Betancourt, www.unesco.org.cu • www.lacult.org • [email protected] Begoña Guzmán, Calle Calzada No. 551, entre C y D, Vedado, La Habana. CP 10400 Elsa Martín

Telef.: +537 833 3438, 832 2840, 832 7741, 832 7638. Fax: +537 833 3144 Cabo Segundo del Palacio © Arnulfo Espinosa, 2012

CULTURE AND DEVELOPMENT IS A PERIODIC MAGAZINE PUBLISHED BY THE UNESCO REGIONAL OFFICE FOR CULTURE IN LATIN AMERICA AND THE CARIBBEAN SINCE 2000. THE MAGAZINE IS A SPACE FOR REFLEC- TION, EXCHANGES AND DISSEMINATION OF IDEAS, AND ISSUES DEALING WITH CULTURE AS A PRIORITY ELEMENT FOR THE COMPREHENSIVE DEVELOPMENT OF PEOPLES AND COMMUNITIES IN OUR REGION. THE DIGITAL VERSION OF THIS MAGAZINE IS AVAILABLE, BOTH IN SPANISH AND ENGLISH, AT: WWW.UNESCO.ORG.CU/CULTURAYDESARROLLO/INDEX.ASP. THIS ISSUE NO, 8, DEVOTED TO MUSEUMS AND HERITAGE, ENCOMPASSES IDEAS, EXPERIENCES AND EXCHANGES FROM THE TRANSFORMATION OF HISTORICAL BUILDINGS IN MUSEUMS: CULTURAL, EDUCATIONAL AND DEVELOPMENTAL MANAGEMENT WORKSHOP JOINTLY ORGANIZED BY THE UNESCO OFFICE IN HAVANA AND THE CUBAN AUTHORITIES AND HELD IN HAVANA ON DECEMBER 5 TO 7, 2011 Articles signed express their authors´ criteria and shall in no way entail a commitment by UNESCO. Images, unless otherwise indicated, have been provided by authors themselves who are accountable for the same. CULTURE AND DEVELOPMENT • No 8 • YEAR 2012

Contribution Herman van Hooff

Director Regional Office for Culture in Latin America of Museums to and the Caribbean Development

his Culture and Development special issue Experts and participants to the workshop discus- Fernando Brugman deals with museums and cultural centers sed topics related to decision-making actors in Program Specialist and Culture Team Coordinator UNESCO Regional Office for Culture in Latin America and the Caribbean Havana, Cuba T as spaces to pass on cultural values, thus charge of creating a museum, the suitability of the preserving and disseminating heritage, provi- building, the need for a physical collection, the ding knowledge about other cultures, promoting use of museum-oriented technology, the activities cultural diversity and reinforcing both involve- to be conducted together with exhibits, and the ment and identity of their communities, with due impact on local development. Likewise, they sha- regard to the fact that they constitute, moreover, red the strengths and weaknesses of Caribbean assets of the cultural sector contributing to inves- cultural institutions and agreed on the need to tment, economic benefits and job generation. establish closer relations and better training on museums, thus recognizing that meetings of this In December 2011, taking this idea as a starting sort can improve both aspects. point, the UNESCO Regional Office for Culture in Latin America and the Caribbean in Havana, with This issue summarizes the thematic sessions the support of the Norwegian Embassy in Cuba, and their respective debates and conclusions. It and the collaboration of the Office of the Histo- also provides the case study of an international rian of the City of Havana, the National Council cooperation initiative developed by the Office of Cultural Heritage, and the UNESCO Cuban of the Historian of the City of Havana together National Commission, organized, in Old Havana, with UNESCO and the European Union aimed at the Transformation of Historical Buildings into refurbishing the Palacio del Segundo Cabo, ex- Museums: Cultural, Educational and Develop- ponent of the Cuban baroque in Old Havana, for mental Management Workshop which brought its future use as a cultural meeting place between together museum and heritage experts from Latin Cuba and Europe. America, the Caribbean and Europe, in order to examine and debate the challenge represented by We appreciate the active participation of experts refurbishing historical buildings which will be and attendants to the workshop, as well as their turned into a museum or cultural center, as well valuable contributions to the debate on museums as their preservation, while complying with the and heritage in which the involvement of these Facade rehabilitation education, research and leisure functions associa- institutions in the comprehensive development works at the Palacio ted with such an institution. of peoples and communities is especially signi- ith the purpose of exchanging ideas, discussing and providing experi- del Segundo Cabo, Old ficant at a time in which old models are being ences on the current status of refurbishing old buildings to be re-used Havana. Multilateral W cooperation project Though this is not a new issue, and we frequently questioned and culture emerges as a key factor for for cultural purposes and their subsequent management in the Latin American between UNESCO, the have to deal with refurbishing old buildings development policies. Office of the Historian that will be devoted to a cultural use, not always and Caribbean region, the UNESCO Regional Office for Culture in Latin Ameri- of the City of Havana, and the European actions match the abovementioned interest, that ca and the Caribbean in Havana, with the support of the Norwegian Embassy in Union to work on the is, to preserve the building and comply with its restoration of the build- museological functions and mission. Cuba, and the collaboration of the Office of the Historian of the City of Havana ing, its conception and transformation into a (OHCH), the National Council of Cultural Heritage, and the UNESCO Cuban Na- cultural center. ©OHCH tional Commission, and the National Museum of Fine Arts organized the Trans- formation of Historical Buildings into Museums: Cultural, Educational and De- velopmental Management Workshop, in Old Havana, on December 5 to 7, 2011. 4 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Fernando Brugman • Contribution of Museums to Development 5

Cultural infrastructures and their contribution to should be guaranteed. Likewise, the preservation cultural processes guiding the building, construc- development of the building should prevail over the use of the tion and reforms (which is the basis to determine Within the cultural sector, museums play an museum with a specific mission. its authenticity), then the building will neither important role in the transmission of knowledge, comply with its objective nor its mission. The chal- learning and understanding of cultural identities. A monument´s value is determined not only by lenge is to determine how its use as a cultural in- The International Council of Museums (ICOM) de- the abovementioned criteria, namely, its geniality, stitution can benefit the building preservation and fines the museum as a non-profitable, permanent outstanding value, exceptional nature, authenticity how the building can be efficiently used to achieve institution in the service of society and opened or integrity but, above all, by its value as a symbol the museum´s mission. to the public, which acquires, preserves, studies, transmitting a complexity of knowledge resulting exhibits and disseminates the tangible and intan- in its construction. From the financial viewpoint, Today, at a time in which unfortunate measures gible heritage of Mankind for study, education and the current market value of such a building, or are being taken to reduce the financial crisis recreation purposes. (2007). whatever is left of it, might be not only below its impact, cost-benefit analysis is important, as well symbolic value, but also below the aggregated as showing that social and economic development In a museum, accomplishment of research, value of the investment already made since its is based not only on cultural products, but on education and leisure objectives depends on the construction and maintenance to this date. cultural processes as well. Thanks to their use as precise definition of its mission and the adequate museums, the preservation and management of management of the institution in correspondence On many occasions, especially when historical historical buildings can contribute, in a significant with the internationally agreed deontological code urban areas are restored, some monumental build- way, to local social and economic development for museums. The museum´s mission defines the ings are selected as ideal spaces to house a mu- since, due to their high symbolic value, both the knowledge to be transmitted and valued. The suc- seum due to their size and emblematic nature. The building and the collection on display are ideal Experts and participants cessful achievement of this mission will depend on reason for this is usually associated with the need means for the synthetic acquisition and transmis- to the workshop visiting display of the adequate collection, as well as the to collect the funds needed to refurbish the build- sion of knowledge. restoration works at correct management of collections and means to ing that is transmitting, by itself, certain knowl- the Palacio del Segundo Cabo (Old Havana). transmit them. edge and, even more important, a sense of identity El taller, organizado por la Regional de Cultura ©UNESCO and pride within the community. The building para América Latina y el Caribe de la UNESCO The museum conveys its mission through many should also be seen as a product of outstanding en La Habana, con el apoyo de la Embajada de ways, namely, research tools, educational activi- quality belonging to the society that can attract Noruega en Cuba, y en colaboración con la Ofi- ties, organization of exhibition spaces and use of visitors and contribute to local development due to cina del Historiador de la Ciudad de La Habana state-of-the-art information and communication its impact on the historical urban area. (OHCH), el Consejo Nacional de Patrimonio technologies. Besides, the location of museums, either in open spaces or buildings, can also play a In many cases, refurbishment forms part of a significant role in the way information is transmit- larger plan for the restoration and management of ted. Location is often determined in keeping with a historical center. In these cases, the restoration Transformation of Historical Buildings into Museum: Cultural, the objectives and mission of the museum to be objective is not only to convey the mission of the founded. In some other cases, existing buildings museum, but also to improve the preservation sta- Educational and Developmental Management Workshop are adapted to house a museum. tus and its own value, as well as that of the histori- cal area. This new use of the museum or cultural Havana, December 5-7, 2011 When an open space or a building is built to house institution will help preserving its symbolic and a museum, the place should comply with the architectural value. museum´s objectives and mission for a given time. The workshop, organized by Barbados, Costa Rica, Cuba, The promotion of research, education and leisure The building intervention has three purposes: the UNESCO Regional Office Haiti, Italy, Jamaica and the objectives, as well as the use of technologies, should for Culture in Latin America Dominican Republic. be foreseen in the museum installation and building - its preservation, and the Caribbean in Havana, plan. However, if the mission varies or the collection with the support of the Nor- Among them, participants is enlarged, both the space and the technology should - education and research, and wegian Embassy in Cuba, and included representatives from be adapted to the new demands of the museum. the collaboration of the Office international museology insti- - leisure for the local population and tourists of the Historian of the City of tutions such as ILAM Founda- When an existing space or building is adapted to through activities conducted by the museum and Havana (OHCH), the National tion (Latin American Institute house a museum, space organization and means its architectural value. Council of Cultural Heritage, of Museums and Parks) and to be used will depend on multiple factors, not the UNESCO Cuban National Goppion. The meeting was Working session only on its mission. For example, the inclusion of a However, the connection between these objectives Commission and the National also attended by officials from during the workshop. building in the list of safeguarded cultural heritage is not always evident. Restrictions associated with Museum of Fine Arts, was at- Cuban cultural institutions ©UNESCO must guarantee that the value of the building in- the building refurbishment are aimed at preserv- tended by museology, museog- and experts from the UNESCO cluded in the list is not adversely affected by its use ing and enhancing its historical value, which could raphy, architecture and cul- Regional Office for Culture in as a museum. At the same time, when a building is be in conflict with the museum´s mission. In fact, if tural management experts from Latin America and the Carib- adapted as a museum, its preservation and value the museum´s mission is not closely related to the Aruba, Antigua and Barbuda, bean 6 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012

DEBATE I

In the Forefront, Jason Ramsay, expert from the Jamaican Museum of History and Ethnog- raphy. Next to him, The Museum´s Mission del Georgina DeCarli, president of the Latin American Institute of Museums. ©UNESCO

Jason Ramsay, Fernando Brugman, Kevin Farmer, Arthur The general objective of the The workshop agenda included historical building to be trans- Reginald Murphy, and workshop was to identify and five thematic debates, and each formed into a cultural space. . Arthur Reginald Murphy Kevin Farmer Luckner Christophe Director of the Nelson´s Dockyard Museum (Antigua and Barbuda) Assistant Director of the Barbados Museum & Historical Society (Barbados) during a guided tour debate challenges faced by an theme was introduced and to the Building of institution when refurbishing a chaired by an expert and a rap- During the first tour, the OHCH Universal Art in the historical building to be re-used porteur. The working sessions team opened the doors of the National Museum of Fine Arts (Havana, as a museum or cultural center were characterized by questions Palacio del Segundo Cabo, in Cuba). ©UNESCO and to guarantee the build- to be answered by participants Old Havana, which is being ing preservation as the main so as to reach collective conclu- restored for its future transfor- museum´s mission, through sions. mation into a cultural center. education, research and lei- sure1. The working sessions and de- The second tour to the Building bates included: of Universal Art in the Na- As outlined, the main objectives tional Museum of Fine Arts was are: I. Who, how and when to de- magnificently guided by archi- fine a museum´s mission. tect José Linares, in charge of - To promote a dialogue II. The adaptation of his- refurbishing and rehabilitating between experts from the torical buildings for future works of this building for its Caribbean and other regions cultural uses. future use as a museum. in order to exchange knowl- III. Museum, cultural center edge and experiences, identify or both. Analysis of its con- Following you will find the strengths and weaknesses tent. papers and debates of each Musée Lalique © P.O. and improve museums in IV. Objectives of a museum: thematic session, several case Deschamps general. education, research and studies from Cuba and Haiti, - To study the heritage and leisure. and the workshop conclusions. Introduction cultural infrastructure impact V. Cultural institutions and To conclude, a brief historical The first thematic session was chaired by Arthur on the community develop- their impact on local develop- analysis on the evolution of Reginald Murphy, Director of the Nelson´s Dock- - Should the mission define the needs of the ment. ment. museums and their adaptation yard Museum, and Kevin Farmer, Assistant Director museum before its restoration? - To analyze the Palacio del as historical buildings. of the Barbados Museum & Historical Society, acted Segundo Cabo2, located in the Besides the working sessions, as rapporteur. - Being realistic, can we afford to make a Arms Square in Old Havana, participants and experts to the choice or are we forced to accept a starting as a case study during the workshop enjoyed two guided The debate dealt with the potential conflict between point? workshop and support the cultural tours where they were the museum´s mission and the need to refurbish cultural conception of the able to witness the refurbish- and preserve the building that will house the mu- - Should the museum´s mission determine the OHCH. ing process and outcome of a seum. Therefore, discussions included the adequate building’s value as a heritage property? time to define the mission, who will be the decision- maker, the suitability of such a decision, and the - Should the building determine the mission? reason for transforming a building into a cultural 1The promotion and 2UNESCO multilateral and transformation institution, among others. - If possible, should we select the most appro- Notes consolidation of mu- cooperation project of the building into a priate building for the museum´s mission? seum institutions was between UNESCO, the cultural center. Arthur Reginald Murphy opened the working ses- one of the priorities set Office of the Historian sion by posing a number of questions to encourage a forth in the UNESCO of the City of Havana dialogue and sparked off further discussion. Cultural Program and the European during the previous Union to work on the 2010’-2011 biennium. restoration, conception 8 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Arthur Reginald Murphy and Kevin Farmer • The Museum´s Mission 9

Before detailing the current situation of Caribbe- The Situation in the Eastern Nelson’s Dockyard Museum an museums, he posed a closing and controversial Caribbean Region Until its seizure in 1890, Nelson´s Dockyard question: Between 1960 and 1990, the served under the British Navy in the Caribbean, emergence of historical and and was used as a port area for its fine safety Who defines the mission? Is archaeological societies in the characteristics and the shipyard to repair their Eastern Caribbean laid the vessels. Five decades after, in 1950, restoration it proposed by the govern- foundations for the creation works began. of museums in this region. On ment, the donor, the mu- the whole, people working in Nowadays, the building houses a museum with said societies and in the earliest pre-Columbian pieces and the National Park seum executives, the collec- museums were amateurs and/ interpretation center. Besides, it has a research Botanical Garden or improvised archaeologists in team on Antigua´s pre-Columbian history. Museum in Saint tion owner or the visitors? Vincent (Antigua and charge of the repository, man- Barbuda), before and agement and display of museum However, the current use of the building demands after the demise of its pieces collected from archaeo- other requirements. The repository space is not owner © Arthur Reginald logical sites. enough to keep large archaeological pieces as, for Murphy example, locomotives or sugar-mill machinery. It As a result of the soaring inter- also requires a better technical assistance and a est in the pre-Columbian period risk prevention plan. and the many excavations con- ducted, most Eastern Caribbean In order to improve the situation, the Museum islands exhibit many collec- Association of the Caribbean (MAC) and the tions of pre-Columbian pieces International Association of Caribbean Archaeol- displayed in small patrimo- ogy have submitted recommendations to improve nial buildings refurbished and small-scale museum management in the region. reused as museums. However, The MAC intends to set forth standards and the conditions of these build- capacity-building measures in the small islands ings are not always the most of the Lesser Antilles. With this information in suitable ones, since they do not mind, Caribbean experts expressed and requested have adequate repositories, the establishment of networks in order to ex- environmental-control equip- change collections among museums and establish ment or economic resources to alliances to improve museography training and cope with this situation. restoration techniques.

Besides, they do not have The identified shortcomings provide an overview research and restoration teams of problems faced by many museums. Likewise, and lack prevention measures in most cases, during the space conception and against natural disasters, as restoration process the analysis of the museum´s When a museum hurricanes and earthquakes, so mission was ignored. In most cases, the fact that common in the Caribbean. the mission could guide or lead the objectives and © Nelson’s springs from a personal Dockyard focus on the cultural institution was completely Museum or reduced collective ini- Likewise, these islands record neglected. tiative to create a space a deficit of skilled staff since, in for a certain collection, the Eastern Caribbean, very few people enroll in artistic careers being they themselves or other disciplines associated the promoters, without with culture and museum man- agement. He also pointed out the support of the civil that cultural legal frameworks service or private enter- are weak and have failed to provide a solution to the above- prises, the sustainability mentioned situation. of the museum is at risk. 10 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Arthur Reginald Murphy and Kevin Farmer • The Museum´s Mission 11

Some Examples of the Museum´s Mission The Museum´s Mission Conclusions Occasionally, there is a confron- Besides, these institutions When a museum springs from with the mining industry, and, museum. This is the case of the Certainly, there is no single tation between the mission and have not established the rela- a personal or reduced collec- with the assistance of experts, Lalique Museum in Wingen- formula to define the museum´s the building preservation and tionship between the building tive initiative to create a space a workplan was drafted on the sur-Moder (France). mission. However, the following restoration, mainly because, and the collection on display, for a certain collection, being mission, objectives and guideli- aspects should be taken into frequently, the idea of housing a and there is no direct connec- they themselves the promoters, nes of the new museum. The museum is located where the account: museum in a historical buil- tion whatsoever between the without the support of the civil Hochberg glass-manufacturing ding depends on restoration building´s history and the pie- service or private enterprises, En otras ocasiones el edificio, enterprise conducted its business - Involvement of local commu- requirements. Consequently, ces it exhibits. Therefore, it be- the sustainability of the mu- la colección y el interés de la during the 18th and 19th centuries. nity in decision-making, creation the building is the priority comes a container that must be seum is at risk. comunidad y de las autorida- Since 1886, this enterprise was and development processes in and, in the end, it becomes the restored and preserved, though des convergen para lograr la classified as a historical monu- order to identify its needs and most expensive element of the not associated with what it con- This is the case of the museum concepción de un nuevo museo. ment. The collection of Lalique interests, thus ensuring that collection. tains or displays. That is why located in the Botanical Garden Es el caso del Museo Lalique en jewels can be found in all parts of investment devoted to the resto- a great number of museums in Saint Vincent, housed in a Wingen-sur-Moder (Francia). the world, so the museum only ex- ration and further cultural use Refurbished buildings located have no specific mission in their Victorian building displaying hibits the collection of jewels made of the building can contribute in urban centers are selected workplan. The collection is pre-Columbian pieces which In this regard, the museum´s by Lalique in Wingen-sur-Moder. to the development of that local by the civil service and private placed in halls without knowing belonged to its owner-collector. mission was set forth with the This Project had an excellent finan- population. investors to be reused as either the role it will play in knowled- The museum was closed and participation of the authorities cing plan adopted by politicians, cultural centers or museums. ge development, research and the collection was subjected to and the collectivity through the the local community, cultural - Support by authorities and/ Thanks to their monumental leisure and in close association despoil and robbery when the association and in consultation specialists and museum managers or private entities to ensure its features and privileged location, with its cultural heritage for the owner passed away. with cultural experts. The ob- who had Lalique jewels. sustainability. they can attract tourists and im- benefit of the community and jectives and viewpoints expres- prove the recovery of impoveris- foreign visitors. Initiatives of this kind may sed by the community was the An international bidding was called - Organization of alliances with hed areas. Therefore, cultural, not always have the same fate. starting point used to refurbish to select the architect who would other cultural institutions. social and health institutions That is the case of the Mining the building and create the be in charge of refurbishing the improve neighborhoods turning Museum in the Basque Country museum. facilities, and a detailed research - Planning of a preservation them into development promo- located in Gallarta (Spain), a on the site history was carried out project, a program of long-term ters. With increasing frequency, small municipality with a long In some other cases, the buil- to recover important elements of activities and a risk-prevention outstanding architects are con- tradition in the mining industry, ding, the collection and the the cultural identity of the local program ensuring sustainability. vened to ensure the restoration surrounded by landscapes, buil- interest of both the community community. Today, the place is a of buildings. dings and industrial facilities and the authorities coincide source of pride for its residents and - Contribution to the objectives evoking its most recent history. in the conception of the new a required visit for tourists. of the museum: education, Restoration works go hand in research and leisure. hand with the collection itself, Retired workers from mining looking for repositories and enterprises in the area decided - Planning and existence of a collecting pieces from other Occasionally, there to create an association aimed collection before creating the institutions to “fill” the space at recovering and preserving museum. recently created. As this is not is a confrontation the machinery, tools and do- always a coherent task, collec- cuments associated with this - A historical building concept as tions are heterogeneous and between the mission sector. Today, those pieces are a tangible element forming part unrelated. In these cases, it is exhibited in the museum crea- of the collection or as a container Musée Lalique © difficult to define the museum´s and the building ted thanks to the local authori- for museum funds P.O. Deschamps mission, since its origin is based ties, among other factors. There on the building restoration to preservation and was also an interest expressed recover or promote a specific by the population, who consi- area. Therefore, the project restoration dered that the museum could does not take into account the be very positive in recovering museum´s content and the role the history and identity of the it plays in the field of heritage, area, and in promoting tourist research and education. development. Thanks to all the support provided, the collec- tion was displayed in one of the restored buildings associated CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Cecilia Hugony and Jason Ramsay • The Adaptation of Historical Buildings for Future Cultural Uses 13

DEBATE II

The Adaptation of Many collection elements require pale lighting for their pre- servation. However, this contradicts the space lighting needs Historical Buildings for in general, the large windows of historical buildings and the Future Cultural Uses appreciation of museum pieces by the public

Cecilia Hugony Jason Ramsay © Museo Nacional de Bellas Artes Lighting conditions. Marketing Manager of the Goppion Laboratory (Italy) Curator of Museums of History and Ethnography (Jamaica) Many collection elements require pale lighting for their preservation. However, this contradicts the space light- ing needs in general, the large windows of historical buildings and the appreciation of museum pieces by the public.

There are also aesthetical and energy-efficiency issues to be examined. This is what hap- pened with the recent Project of the French architect Jean Nou- vel in the Arab World Institute in Paris2, a building with large windows and a beautiful view Lighting studies in former Asturian center, now Introduction Building of Universal Art in the National Museum of the city which demanded The second working session focused on restoration, of Fine Arts. Havana (Cuba). Architect José concrete actions to preserve rehabilitation and adaptation of old historical build- Linares.© Museo Nacional de Bellas Artes Preservation of the collection the collection pieces on display ings for new museological uses from a pre-existing Un conjunto de demandas exposed to sunlight. architecture which displays or will display a collec- vinculadas a la conservación tion to be preserved. preventiva de las colecciones; Fire control devices which, igualmente importantes pero Bearing capacity of floors. together with water, prevent one In this regard, the museum´s conception entails más rígidas en su solución y que The weight of all displayed ele- of the main sources of danger. specific needs that should be met for the institution requieren mayores niveles de ments (showcases, pedestals, The required infrastructure has to comply with its collection, research, exhibit and Space Distribution conciliación entre arquitectos, etc.) together with the collection a great impact on the architec- education functions. In a museum, priority should restauradores y museógrafos, pieces themselves, and the visit- tural structure. be given to halls with perma- son las siguientes: ing crowds, can exceed the bear- For this purpose, attention should be paid to the nent and temporary collections, ing capacity of floors and walls. In May 2011, experts met in building areas that can be modified in order to ef- collection repositories and Climate conditions. Therefore, building structures Paris, under the slogan Muse- ficiently contribute with the mission, as well as what adequate public access. Most collection pieces demand must be reinforced, and this ums and Sustainable Develop- can be done with those building areas that cannot be a specific kind of preservation, demands a strong intervention ment, to discuss the dilemma of modified or to what extent can the architectural and None of these requirements namely, relative humidity and on the building. This was the whether to favor architectural historical value of a building contribute to achieve a should be considered an inconve- temperature. Therefore, the case of the Museum of Natural interventions giving priority to museum’s mission. nience, since a creative architect required equipment is very History in Burdeos (France)1, the preservation and display having a good communication expensive, as well as its energy where architects ruled out the of collections, or more discreet The session was moderated by Cecilia Hugony, pro- with museum executives can find and maintenance costs. This idea of an intervention in the and specific interventions fessional manager of the Goppion Laboratory (Italy), adequate solutions to enhance issue is currently under discus- original structure, and had to focused on the building pres- while expert Jason Ramsay, from the Museums of the collection and building values sion in Europe when dealing find alternative solutions to the ervation and protection of the History and Ethnography of Jamaica, acted as the without resorting to an aggres- with sustainability. museum heavy assembly. museum collections. rapporteur. sive intervention. 14 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Cecilia Hugony and Jason Ramsay • The Adaptation of Historical Buildings for Future Cultural Uses 15

(...) , from the very beginning of the project, attention must be paid to the building refurbishment, together with its adaptation as a museum, bearing in mind the collection or having a defined idea of its nature and volume to make the decision

Manual de Protección del Patrimonio Cultural, Manual de Protección del Patrimonio Cultural, Building of Universal Art in the National Mu- Space studies in former Asturian center, now n° 1. La seguridad en los museos. UNESCO, n° 4. Gestión de los riesgos de catástrofe para seum of Fine Arts, Havana (Cuba). Architect Building of Universal Art in the National Museum París, 2006© UNESCO los museos. UNESCO, París, 2008. José Linares of Fine Arts. Havana (Cuba). Architect José © UNESCO Linares

In order to make such a deci- Heritage Preservation In turn, ILAM In this regard, Kevin Farmer, As- These plans include the evacu- sion, from the very beginning Policies. The Cases of Cuba director Geor- sistant Director of the Barbados ation and protection of collec- of the project, attention must be and Costa Rica. gina DeCarli Museum & Historical Society3, tions in keeping with their clas- paid to the building refurbish- In the case of Cuba, interven- pointed out that stated that sometimes traditional sification. Even though culture ment, together with its adapta- tions mainly depend on the Costa Rica has architecture is more resistant to is a priority for the Cuban gov- tion as a museum, bearing in historical significance of the a very strict these threats than the recently ernment, domestic resources mind the collection or having building, its architectural val- policy for the protection of patri- built buildings and that this are not enough to face climate a defined idea of its nature and ues and its preservation state. monial buildings resulting from could be a source for learning. conditions and lighting protec- volume to make the decision. the lack of a legal framework in tion required in a large number Cuban ar- previous periods. He pointed out that the cultural of museums in the island. In As a result of debates held on chitect José institution he runs has an emer- order to counteract this situa- this issue, the General Depart- Linares stated Besides, she stated that the gency plan to face natural disas- tion, Cuban specialists resort ment of Museums in France de- that, in his problem is not only the defense ters including the identification to highly traditional methods cided to loosen up the predeter- opinion, any and rescue of patrimonial public of building’s vulnerabilities (po- of cleaning, fumigation and mined requirements established architectural buildings, but also of private tential flooding areas, windows protection of collections and for a museum, as for example, restoration and buildings whose owners give and walls in bad shape) as well historical buildings housing the climate conditions, lighting and adaptation requires a certain priority to economic benefits to as an evacuation plan for the museums, with positive results Notes safety. This does not exclude intervention. The new adapta- the detriment of their patrimo- collection, workers and public, in most cases. specific actions to protect the tion of a historical building as nial value. and a mitigation and recovery collection, but to conduct more a museum must be a concilia- method. He stressed that the However, the situation of 1http://www.bordeaux.fr specialized interventions to tion exercise bearing in mind main priority should always be financial resources in Europe is preserve collections and less the building requirements, the the protection of the people. increasingly difficult for ad- 2http://www.imarabe.org aggressive interventions for collection, and the public, since Risk Prevention equate restoring and preserving historical buildings. ideal outcomes are almost im- Taking into consideration the Ana Cristina Perera, Cuban interventions 3http://www.barbmuse.org.bb possible to achieve. However, he status of refurbished historical Vice-president of Museums at considers that new technologies buildings that have been turned the National Heritage Council, are providing very encourag- into museums, risk prevention described the plans for natu- ing solutions and opening new is an essential issue for the Latin ral disasters that every Cuban avenues to experiment. American and Caribbean region museum has in accordance with in coping with hurricanes, cy- regulations adopted by the Civil clones and seismic movements. Defense bodies in every territory. CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Georgina DeCarli and Luckner Christophe • Museum, Cultural Center or Both? 17

D E B A T E III COLLECTION VS. HERITAGE The definition of a museum has evolved throughout time. Today, in accordance with Museum, Cultural ICOM Statutes, adopted at the XXII General Conference held in Vienna (Austria) in 2007, a museum is defined as a non-profitable, permanent institution in the service of society and Center or Both? opened to the public, which acquires, preserves, studies, exhibits and disseminates the tangible and intangible heritage of Mankind for study, education and recreation purposes.

Georgina DeCarli Luckner Christophe Director of the Latin American Institute of Museums and Parks, ILAM In charge of cultural education and animation at the National (Costa Rica) Pantheon Museum, MUPANAH (Haiti)

Content of a Museum The purpose of a museum is to exhibit the tangible, cultural and natural heritage of Mankind. In order to achieve this objective, the museum must include sev- eral functions, namely, preserva- Introduction Before 2007, the definition of museum referred to tion, research and communica- What does “collection” mean? If a physical co- Christophe, from the Haitian National Pantheon material evidence, not to tangible and intangible tion. llection is not exhibited, does it mean that it is Museum, acted as rapporteur. heritage of Mankind. This change broadens the no longer a museum, but a cultural center? Can a concept of collection to heritage, and the cultural Preservation ensures the safe- cultural center include a museum? Is the content The ILAM1 (Latin American Institute of Museums institution is no longer centered on the collection, guarding of collections; research suitable to expose the historical and architectural and Parks) Foundation currently led by Georgina but on the heritage. is associated with their curator- © Eduardo León values of the building? Should temporary collec- DeCarli, is a non-governmental organization with Jimenes Cultural ship; and communication refers tions and activities not directly associated with headquarters in Costa Rica since 1997. Center This breakthrough has an impact on the concept to content dissemination and the collection of a museum be displayed even if of cultural institution itself, where the building, public-oriented activities. they do not contribute to the museum´s mission? Its purpose is to support Latin American and the presence or absence of a collection, the plan of Should they be programmed if they do not contri- Caribbean museum institutions by disseminating activities and research on the content displayed, Nowadays, the use of Internet bute to this purpose? their work (Directory of Latin American Museums has as much significance as the collection itself and social networks (Facebook, and Parks), training the staff (face to face and previously had, based on the most traditional con- Twitter, etc.) acquires special These and other questions were posed during this virtual training), providing access to specialized cept of museum. significance to communicate working session chaired by Georgina DeCarli, information and developing research, projects and inform regular and poten- President of the Latin American Institute of Mu- and advisory services. tial users about exhibits and seums (ILAM, Costa Rica) while expert Luckner cultural programs in museums. 18 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Georgina DeCarli and Luckner Christophe • Museum, Cultural Center or Both? 19

Latin Palacio del Segundo Cabo: In the case of Cuba, access to Museum or Cultural Center? The León Center´s mission is to American Interpretation Center, this kind of information is not Both museums and cultural promote creativity through re- Museum or Cultural Center? wide enough. As important as centers are non-profitable, search, protection, display and and Caribbean Following the content descrip- it might be, the collection does permanent cultural institutions dissemination of Dominican Méjico 1422 Guatemala 82 Honduras 62 Museological tion and analysis, the session not liven up the museum. The which are opened to the public artistic and cultural manifesta- Cuba 220 Rep. Dominicana 56 discussed the name of the new cultural institution management and in the service of society and tions and everything that might Puerto Rico 79 Institutions center to be housed in the Pala- of its functions is what makes a its development. contribute to create a society © ILAM cio del Segundo Cabo (Havana, museum dynamic and active. more sensitive to outstanding Cuba), the term should be con- Activities conducted in parallel values, prouder of itself and ca- sistent with the contents to be Content of a Cultural Center with permanent or temporary pable of actively participating in Nicaragua 60 exhibited. The objective of a cultural exhibits in a museum do not the betterment of the nation´s center is to promote cultural turn it into a cultural center. It quality of life within the Carib- From its inception, the project values among the members of is still a dynamic, creative and bean framework. El Salvador 33 Venezuela 383 considered calling it interpreta- its community. Its structure is living museum. However, some tion center of Cuban-European based on broad spaces where cultural centers have their own On the other hand, the Borges3 Costa Rica 105 Colombia 432 relations. However, some different cultural manifestations collections and halls for perma- Cultural Center in Buenos Aires experts rejected this proposal, enrich and liven up the cultural nent exhibits. is not a museum, but a cul- Panamá 50 because the interpretation center life of the local population. tural center, strictly speaking. should be located in a histori- This is clearly stated in the Housed in the Pacific Galleries, Ecuador 135 cal site, where evidence is to be Depending on the structure, definition contained in article 2 one of the most outstanding Brasil 1748 interpreted, and this is not the there are two different types: of the International Council of historical buildings of the city, Perú 222 case of the Palace. Museums (ICOM) on museums, it has an active program of --Cultural Center cultural centers and other enti- different national and interna- Bolivia 111 Other experts refused to use the (university or country). ties promoting the preservation, tional artistic manifestations, term museum and proposed the These are large buildings continuity and management of including films, theater, dance, Chile 192 use of an original term: Palace. including, in general, an audi- tangible and intangible heritage literature, visual arts, as well as This proposal was not welcomed torium with a stage for theater resources (living heritage and internal publications and train- because, though it can be used performances or film screen- digital creative activity). ing workshops. from the colloquial point of view, ing; a library and videotheque; Paraguay 83 the institution should reflect a computer hall; halls for aca- This is the case of the Eduardo Relationship between cultural reference. . 2 demic activities or workshops; León Jimenes Cultural Center the Building and its Content. Uruguay 207 language laboratory; galleries (Santiago de los Caballeros, The relationship between b) The content has no as- That is why participants ex- and, sometimes, memorials or Dominican Republic) which, the building and the content sociation whatsoever with pressed the possibility of calling permanent exhibits. even though known as a cultural can bring about a typology of the historical evolution of the Argentina 1103 it cultural center or even muse- center, includes a museum with cultural facilities which can be building as is the case of the um, since this term is currently --Community Cultural several halls for permanent easily distinguished. When the Building of Universal Art in the plagued with negative connota- Center or Cultural House. exhibits. content recreates the original National Museum of Fine Arts4 tions linked to past traditional These are more modest spaces, space, then it is a museum- (Havana, Cuba). Today, the and poorly interactive museo- generally located in public house. former Asturian Center houses logical forms having nothing to buildings. They have a library, a broad collection of artistic do with current museums an area for workshops and a) The content is associated pieces from different geographic small cultural presentations, with the theme and history of origins from Ancient History up ©Latin American and a hall for temporary exhib- the building. This could be the to now. Institute of Museums its. They are very significant case of the Palacio del Segundo and Parks (ILAM) Stairs of the Palacio for the community, especially Cabo (Havana, Cuba) which, del Segundo Cabo for rural areas, since this is the originally being the Postal ©Office of the His- only space they have to promote House and residence of the Sec- torian of the City of In order to preserve the histori- cultural activities. ond Corporal, projects itself as Havana (OHCH) cal memory of the building, a a center for exchanging cultural monographic hall should be experiences between Cuba and included so as to capture the Notes Europe. building´s history, as foreseen in the case of the Palacio del 1http://www.ilam.org Segundo Cabo or as found in 2http://www.centroleon.org.do the Napoleonic Museum or the 3http://www.ccborges.org.ar Music Museum, both located in 4http://www.museonacional.cult.cu Havana. CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Arminda Franken-Ruiz and José Linares • Objectives of a Museum: Education, Research and Leisure 21

DEBATE IV

Aruba National Archaeological Museum Objectives of a Museum: The Aruba National Archaeolo- gical Museum is a newly-found institution modestly confir- ming the clear, adequate and Education, Research and Leisure comprehensive projection of its general objectives as a museum. Besides, it provides a significant safeguarding and recovering action to the existing built heri- © National Archaeo- Arminda Franken-Ruiz José Linares tage, its refurbishment and new logical Museum of Director of the Aruba National Archaeological Museum Architect and ICOM Executive Secretary, Cuba functionality as a museum. Aruba

The museum functions are as the most significant way to planned in accordance with ob- take action. jectives such as research, pres- ervation and presentation, with Concerning the so-called new communication, educational and technologies, they will not al- recreational purposes, aimed ways be expensive and inacces- at a broad public; the national sible. With the development of population (especially children information and communication and youth), and a broad and di- technologies and electronic and versified international tourism, cybernetic means, the communi- which are not excluding actions cation purpose of the museum is and can meet the specificity somehow at a disadvantage with needs of the Island. other means capable of “replac- ing” the semantic power of the Coexistence with historical museum object. spaces and the image of the © National Archaeo- building itself have been taken Therefore, the museum should logical Museum of into consideration in exhibits create and strengthen its mecha- Aruba and museography, thus promot- nisms and master, to the extent ing an educational relationship possible, these new technolo- between the museum and the gies as an alternative, since we historical building. should always remember that a museum “is not a book hanging their visits, inquire about their The space devoted to the col- on the wall”. expectations and, in general, lection repository facilitates re- the expectations of the public at search and, even, future access In the museum, research and large. There is a genuine public, to the public in order to comple- communication should not be but it is also important to attract ment general activities aimed at limited to the specific institution potential public by developing informal education and recrea- and its collection, but should new spheres of interest. © National Archaeo- logical Museum of Introduction tion for all, and not only for the consider rescuing and protect- Aruba The fourth debate dealt with the research, tion and the mission of the museum or cultu- museum. ing the intangible heritage of This briefly examined process education and leisure functions of a museum ral center. its community, thus contribut- stressed that leisure or free time and its relation to the historical value of the Apart from the updated mu- ing, in a permanent way, to should not be ruled out. Educa- building. Some of the topics discussed during This debate was moderated by Arminda seum definition provided by safeguarding the community tion is also possible through the session included the way in which buil- Franken-Ruiz, Director of the Aruba National ICOM, the modern museum heritage and the environmental, entertainment and fun, and ding refurbishing can contribute to improve Archaeological Museum, who made a presen- should further consider and give physical and social context. the museum can devise its own capacities for cultural heritage preservation tation having the museum she runs as a case priority to the public (subject), mechanisms by resorting to and management, and how new technologies study. Architect José Linares, ICOM Executi- relations between public and The museum should and can affordable new technologies as, can also contribute to the building preserva- ve Secretary in Cuba, acted as the rapporteur. museum, communication with explore the public´s behavior, get for example, the playful modali- that subject, and its education, acquainted with the outcome of ties CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Katia Cárdenas and Ana María Conde • Impact of Cultural Institutions on Local Development 23

DEBATE V

Culture of the Dominican Republic, Ana María In order to implement and support cultural pro- Conde, acted as rapporteur. grams, a vast network of tourist and commercial projects has been established. The Office of the Impact of Cultural Institutions In her presentation, Specialist Katia Cárdenas Historian of the City of Havana (OHCH) enjoys a referred to the experience of the Office of the special status granted by the Cuban government Historian of the City, particularly regarding its for the self-management of its resources and on Local Development cultural programs, bearing in mind that restora- financial benefits, being this part of the project a tion, preservation, promotion and management means to an end and not the purpose of the ac- of the Historical Centre of the City of Havana has tions implemented by the OHCH. been essentially a social and cultural project.

Katia Cárdenas Ana María Conde Director of the Heritage Division in the Office of the Historian of the Museum Director of the Ministry of Culture (Dominican Republic) City of Havana (OHCH), Havana (Cuba)

Cultural Programs sentially to promote Cuban There is a whole set of activities contemporary art, though that the OHCH co-ordinately the works of many foreign and systematically implements artists and artworks of all through its many cultural times are also exhibited. All institutions (museums, muse- these galleries and spaces are um-houses, theaters, concert also used for the main and halls, audiovisual and film collateral programs of Ha- show rooms, conference halls, vana’s International Biennial galleries and exhibit halls, and Exhibitions and of the Cuban libraries, among others). Contemporary Pottery Exhi- bitions. -Concerts, and theater and dance performances. Not -The holding of many events only inside the buildings aimed at understanding and meant for such purpose, but disseminating cultures that also in open spaces (squares are closely linked to Cuban and parks). identity, such as the African, Chinese, Spanish, and other -Activities related to rescuing, cultures which have found a Encuentro de Danza en Paisajes Urbanos understanding and promoting space at the Historical Center Introduction and local or national recreational activities, and Habana Vieja Ciudad traditions and the collective for their dissemination. The contribution of cultural institutions to local whether such institutions should be self-sufficient en Movimiento memory, like going around ©OHCH,2010 development is today an essential issue. Their or not, were among the topics discussed during the Ceiba (Silk-cotton tree) at Social and Cultural Projects. impact as a source of income and employment, the fifth and last thematic session. the Templete to commemorate Care for children, adolescents, the revitalization of impoverished areas and the the anniversary of the found- and the elderly participation of the community in local processes This session was chaired by Katia Cárdenas, Di- ing of the City. Since it was established, the Of- are topics that must be analyzed. The impact of rector of the Cultural Heritage Division in the Of- fice of the Historian of the City restoring a building and its future use as a muse- fice of the Historian of the City of Havana (Cuba), -Visual art exhibitions in of Havana has implemented a um to improve conservation, education, research while the Museum Director of the Ministry of twenty exhibit halls, es- number of social and cultural 24 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Katia Cárdenas and Ana María Conde • Impact of Cultural Institutions on Local Development 25

projects placing special empha- The Routes and Trails Project al heritage, contemporary art, Community Participation and that, till now, had not been sis on community work. The Routes and Trails project, science or architecture, among Community participation in Old part of the work carried out by that has been in place for 11 others. This activity takes place Havana has been instrumental the OHCH. Consultations held The Program for children and years now, was conceived as in summer, in order to offer the in the design and implementa- there were quite encouraging adolescents includes more than a group of visits to museums Cuban family the possibility to tion of many successful projects thanks to the contribution of twelve museum-classrooms, located in the Historical Center share an option that includes run by the OHCH. Such is the the community in identifying community school guided tours and thematic tours on industri- recreation and assimilation of case of the abovementioned the priorities to be addressed knowledge. The project was Routes and Trails project, the for local recovery and anima- enthusiastically welcomed by initial concept of which was tion. the Havana community, and based on a research carried out the number of participants as by the Department on Social Despite the achievements well as thematic routes has and Cultural Research of the described, some projects of the increased, the latter as a result Cultural Heritage Division of Historian’s Office require for of proposals put forward by the the Historian’s Office, regarding their design, implementation families themselves. For the existing cultural and recrea- and development, increas- development of this program, tional options for the summer, ing and constant community active participation and propos- having the Cuban family as consultation, involvement and als made by the community are the main public. Later on, the commitment. They are aware of the essence, and the expe- project was expanded due to that to restore and defend the rience has been taken –not official discussions organized cultural and social heritage of mimetically- to other suburbs in with the participating families, the Historical Center requires ©OHCH,2010 the city (Cojimar) and localities. who suggested and continue to more than the willingness of a Desarrollo social to all the Museums located in integral suggest very valuable ideas. person or institution and that the Historical Center, creativ- y participativo Cultural Dissemination they should work on widening ity workshops for children and de los adolescentes To promote its cultural and Regarding the Youth Care the participation of the popula- en La Habana Vieja adolescents, and more recently, ©OHCH,2010 social program, the Office of the Program, the basis for this tion. the Youth Care Center located Historian relies on “traditional” program was the debate groups at the Manzana Sarrá. means of communication such as set up with the youth and a As to how the OHCH is help- a radio station, a monthly printed comprehensive diagnosis, being ing in the implementation of The Program for the Elderly is cultural bulletin, a specialized currently concluded, on their changes in Cuba to promote located in the Belén Convent, quarterly printed magazine, concerns, aspirations, needs self-employed workers and a historical building that was Opus Habana, which constitutes and interests. The Department the establishment of small restored for a new social and a space for discussing and pre- on Social and Cultural Research private businesses, the OHCH cultural purpose. senting viewpoints on historic, had realized that this age group is carefully analyzing the is- cultural and social topics related required a differentiated treat- sue. The OHCH, with its many to the Historical Center of the ment as compared to that given programs, could contribute in city; as well as other public infor- to children and young adults, the training of workers in the mation printed materials (ban- something the research came to community so that they can deroles, posters), and individual confirm and thus, a new pro- put their knowledge to value information (leaflets, postcards, gram especially devoted to their through these new spaces. catalogues, flyers.) care and development has been En 17 museos y centros culturales designed. The OHCH is studying how to se han atendido Besides, a Cultural Information take on the need to authorize aproximadamente Center has been recently set up The last of the examples pre- the establishment of new spaces 9000 adultos mayores. and attempts are being made to sented dealt with the neighbor- for these workers, because most ©OHCH,2010 make progress in digital promo- hood consultation process that requests made by the commu- tion through Cuban domestic the Master Plan of the Histo- nity deal with the gastronomic This is a permanent program e-mail and Website networks, as rian’s Office has just begun sector and, unfortunately, pro- where the elderly can go to well as through social networks implementing in order to design posals submitted are mainly for socialize, receive medical-ther- in Internet like Facebook, despite its next Comprehensive Devel- fast food outlets. apeutic treatment and develop the technological constraints the opment Five Year Plan. Specific their physical and intellectual country faces to connect to this mention was made of the con- The possibility of encouraging capabilities. Workshops on anti- effective mean. sultations at the Jesus Maria proposals of a cultural, produc- stress and for relatives of pa- suburb, a community suffering tive and creative nature (such as tients suffering from Alzheimer both physical and social en- handicrafts workshops, where are hold under this program. vironmental impoverishment people can go to learn and sell 26 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Katia Cárdenas and Ana María Conde • Impact of Cultural Institutions on Local Development 27

their works, maybe some small Assessing the impact carpentry workshops to pro- The tools used by the Office of duce useful household goods or the Historian of the City of small businesses related to in- Havana to evaluate the impact of dustrial design, interior design, its cultural programs in the fashion, among others) is being development of the community studied. The OHCH has had basically come down to the very good experiences in this research work carried out by the regard through the relations Department of Social and that the Silver Work Museum Cultural Research which is has developed with young based on surveys, direct discus- jewelers and artisans through sion with the participants in the workshops, courses and exhibi- programs and studies on public tions, as well as that of the Pot- interests. tery Museum with ceramists or the Obrapía House with knitters Apart from the experience of the and embroiders, who sell their Office of the Historian of the works in those places. City, Ana Cristina Perera, Vicepresident of Museums of the Cuban National Heritage Council, argued the need for an adequate combination of quantitative and qualitative tools in studies on the public and better education and training of Conclusions - The implementation of By way of conclusion, some social and cultural inclusive of the principles guiding the policies, based on the defense professional work of the Office of cultural diversity. of the Historian were sum- - The gradual and increas- marized, in order to turn the ing development of social management of the Historical communication and cultural X Bienal de Cerámica ,esculturas, non-specialized personnel Center into a comprehensive strategies. instalaciones y indispensable for the good and sustainable development - The establishment of insti- proyectos, organizada performance of cultural facilities project. tutional alliances facilitating por el Museo Nacional de la and in services provided to the coherence in the concept and Cerámica Contempo- public particularly in local - The importance of carry- implementation of programs ránea institutions. ing out a historical research and projects; a multidiscipli- ©OHCH,2012 about the city, the Histori- nary approach to address the The concept and development of cal Center, the suburbs and problems faced; the comple- municipal museums in Cuba, for buildings in order to identify mentarity of activities carried example, was marked by certain and classify the tangible and out; as well as a more effi- verticality and homogenization intangible heritage to be cient management of human, of its methodological functions restored, preserved, exhibited economic and technological and exhibit profiles, but the and developed. resources provided through development of the experience - The relevance of carrying international cooperation. encouraged certain flexibility in out a sociological, ecological - Permanent collaboration search for those elements that and economic study of the and exchange with national, would be unique and important communities involved in the provincial and municipal in the traditions and architec- project, with the purpose institutions with important tural and natural heritage of the of understanding, educat- responsibilities in the cultur- concerned locality. This has ing and providing them with al, social and economic fields. helped to increase the involve- new sources of employment -A balance between the im- ment of the community in the and income, new social and portance of tourist develop- Encuentro de Danza processes of recognizing, cultural services, and to fully ment and social and cultural en Paisajes Urbanos restoring, preserving and involve them in the project’s development in the Historical Habana Vieja Ciudad en Movimiento promoting the local culture. design. Center ©OHCH,2010 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Onedys Calvo, Yainet Rodríguez and Mónica Rojas • Palacio del Segundo Cabo: An Intercultural Bridge in Havana 29

C A S E S T U D Y I Background The Palacio del Segundo Cabo, an emblematic Palacio del Segundo Cabo: example of Cuban baroque style, is the work of Cuban engineer Antonio Fernando de Trevejos and Zaldivar. It was built during the last decades An Intercultural Bridge of the 18th Century, as part of the urban project around the Arms Square, and was a reference for the neighboring Palace of the Captains General. in Havana The majestic colonial palace is located to the nor- th of the Arms Square, at O’Reilly Street, No. 4, between El Puerto and Tacón Avenues.

Work Team at the Palacio del Segundo Cabo of the Office of the Historian of the City of Havana The building was conceived as the headquarters of the General Post Administration of the Island Onedys Calvo Yainet Rodríguez Mónica Rojas Cultural Project Coordinator. Cultural Project Specialist. Specialist. of Cuba, making Havana the center of all postal Cultural Heritage Division Cultural Heritage Division International Cooperation Division communication between Europe and the Ibero- American colonies. Later on, it was to succes- sively become the office of the Second Corporal Inspector General, the seat of the Senate, the Supreme Court, and the seat of the Academies of History, of the Spanish Language, of Arts and Letters, the National Council of Culture, and fina- lly of the Cuban Book Institute.

The restoration and rehabilita- tion of the Palacio del Segundo Cabo as cultural center is a joint project between the Office of the Historian of Havana, the European Union and UNESCO

Dome ©OHCH,2010 30 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Onedys Calvo, Yainet Rodríguez and Mónica Rojas • Palacio del Segundo Cabo: An Intercultural Bridge in Havana 31

Patrimonial Rescue Engineering work: preserving Team Work: and Cultural Development the endangered heritage A Unique Experience The Palace is being restored Successive transformations, Being this an innovative project pective linking the construc- for cultural purposes, as part changes in its use and a prolonged which since its conception tion, cultural, technological, of the Patrimonial Rescue and lack of maintenance, brought included two goals: patrimo- and management aspects. This Cultural Development in Ha- about the severe deterioration of nial rescue and cultural deve- has enriched the project along vana project, an international the Palace and its structure. At lopment, it has brought about the way, with significant contri- cooperation initiative by the Satisfaction is the first word that the beginning of the restoration the set up of a mixed team of butions by the three institutions It has to be completely different. Office of the Historian of the comes to my mind when talking process, the building was suffer- investors, designers, cultural involved, increasing its initial This is the best contribution we can City together with the United about this work at the Palacio ing from significant cracks in its and museological researchers, scope. make to the global historiographic Nations Educational, Scien- del Segundo Cabo in Old Havana, walls and arcades, overweight on communicators, experts on discourse. This island has had the tific and Cultural Organization which has been included in the the load bearing framework due to technological systems, and In this regard, it is a very positi- unique privilege of having culture at (UNESCO) and the European World Heritage list and being a per- inadequate use of the building and coordinators, in a dynamic of ve pioneering experience in the the core of all things, and culture in Union (EU), through its delega- manent lab of ideas as to preser- the numerous subdivisions and constant communication and country in terms of developing the universal sense. This is what we tion in Cuba. vation, rehabilitation and develop- added level on the top, parasitic joint work. comprehensive projects in the are going to bring to this cultural ment strategies (…) Extreme crisis plants, bats and other pathologies field of heritage, and particu- interpretation center at the Palacio After initial coordination leads to its antithesis: opportuni- of a biological origin, as well as The rehabilitation process has larly, for giving new cultural del Segundo Cabo. between the three entities in ties. I am convinced that this new problems caused by humidity and been assumed, from the begin- and museological uses to patri- the year 2008, this project cultural project of the Palacio del its proximity to the sea. ning, from a multi-layer pers- monial buildings. Eusebio Leal Spengler was identified as the first joint Segundo Cabo will be even more Historian of the City of Havana cultural development project, innovative, considering the role of Given the fact that this is a build- being its objectives the full heritage as a factor for human de- ing of great historical and pat- First Workshop on Conceptualization Meeting of the Project restoration of the building and velopment, social improvement and rimonial value, with Protection management Committee Havana, April 2010 the establishment of a meeting communication and dialogue. Degree I, the intervention strategy ©OHCH,2011 place between Cuba and Europe adopted has been to remove the in the fields of culture and Herman van Hooff subdivisions and elements added heritage. Director of UNESCO Regional Office to the Palace, trying to recover for Culture in Latin American and the as much as possible its original This is the first activity in Cuba Caribbean spaces, typical of the Havana being financed by the European Havana, Cuba baroque style. Union through the subprogram “ Access to local culture, protec- Project Launching Ceremony, Havana, Based on the diagnosis carried tion and promotion of cultural November 2009 out, it was technically decided that diversity,” the objectives of rescue should be done by under- which are to improve the ac- pinning the foundations with cess of developing countries micro-piles in order to stabilize populations to foreign and local the building on a solid support culture; promote inter-cultural before proceeding to seal and con- dialogue, and foster all forms solidate the cracks and fissures. Courtyard©OHCH,2008 of expression while respect- ing cultural diversity, equality Parallel to this, the roof is being among men and women, as well replaced by a light structure made Cultural Project: Linking Two as religion and ethnicity; and of concrete joists and expanded Worlds, Two Cultures, and One preserve short term endangered polystyrene overhangs. Work is Idea. heritage. also being done in the restoration The idea of the Palacio del Seg- This is how the idea of proposing of the ironwork and woodwork undo Cabo project stemmed from an interactive and participatory elements, finding and dismantling the first workshop on conceptual- space, based on and contributing the old nettings, cleaning the ization, held in April 2010, when to new museology criteria, came facades and the demolition and Dr. Eusebio Leal Spengler, the up. The main objective of the rebuilding of deteriorated balco- Historian of the City, define it as center will be to show the intercul- nies. “something totally different from tural dialogues that have shaped a museum or a cultural center, the identity of the Cuban nation, a center for construing cultural opening new spaces to promote relations between Cuba and cultural exchange projects, as the Europe.” venue to share knowledge and

©OHCH,2010 research on related issues. 32 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Onedys Calvo, Yainet Rodríguez and Mónica Rojas • Palacio del Segundo Cabo: An Intercultural Bridge in Havana 33 ©OHCH,2009

We hope to successfully work together to back the Palacio del Segundo Cabo to the place it deserves as a archi- tectural masterpiece and a place for cultural exchange (...) Culture is an The Palacio del Segundo Cabo, indispensable tool for dialogue and as a center for construing peaceful relations among peoples. Cuba-Europe cultural relations, The work of the Historian’ s Office and will deal with, from a symbolic UNESCO goes beyond building restora- perspective, exchanges between tion. So will this project that we hope the island and the old conti- will contribute to build new bridges be- nent, based on the material and tween Cuba and the European Union. intellectual outcomes of this process, a central issue in the Karel de Gucht formation of the Cuban nation. European Commissioner for Develop- In this regard, the center will ment and Humanitarian Aid. exhibit the European contribu- tions to the Cuban culture and Project Launching Ceremony, Havana, the Cuban contributions to the November 2009 European and universal cul- ture, from multiple expressions of knowledge and through per- topics, promoting contacts with manent and temporary exhibits, European experts in this field, lectures and other activities. workshops for children and ado- lescents, as well as spaces to ad-

Restoration The center and its services will mire the building’s magnificent work be aimed at a diverse local pub- Five centuries of cultural model matrixes that lined out which each visitor can make his architecture, like the protocol ©OHCH lic and other visitors, without Exchange must be expressed the image of the city, cartog- or her own interpretation of the room and the great hall. restrictions as to gender, age through brief and attractive raphy as a means to travel the cultural event.

group, race or religious belief, messages, with clearly defined seas or the understanding of a After 220 years of its construc- EU Cultural favoring the participation of educational purposes. Museog- voyage, the to-ing and fro-ing The encounter between cul- tion, the Palacio del Segundo Counsellors Visit vulnerable groups like children, raphy should move away from across the Atlantic, as a conver- tures, the collective memory Cabo, once the Post Office of ©OHCH,2011 adolescents, the elderly and the the traditional systems, incor- gence of life experiences cutting of the social reality of the city, the Island, will once again play disabled. porating suggestive and ludic across the relations between the development of scientific the role of linking Cuba and resources, attractive environ- Cuba and the Old Continent. thinking, the book and the lit- Europe, this time from the The cultural program of the ments and mobile structures erature, traveler´s accounts, comprehensive perspective Palace will be part of the cul- that will encourage participation Sensory stimuli shall be com- cartography, architecture, and of culture and new museol- Irene Horejs’s visit, EU Regional Delegation tural management system of the and develop motivation to learn bined with the exhibition of town planning are the differ- ogy. The educational, open for Cuba and Do- OHCH, establishing synergies more about the topics presented. physical pieces, enabling an ent dimensions from which the and participatory approaches, minican Republic, with relevant events like the interaction between the public ongoing cultural relations with the premise of considering the ©OHCH,2010 Havana Biennials, the cultural The new technologies shall and the contents of each hall. Europe will be dealt with in the institution a living organism weeks of European countries, be used as tools to encourage Exhibits shall not be aimed at permanent exhibits. in constant interaction with its photography exhibitions, inter- visitors to learn more about the explaining in detail five hun- environment and public, and national workshops, as well as cultural contents presented, dred years of history but rather The Palace will also have halls the use of new technologies, dance, music and film festivals, including the testimonies of to provoke emotions that will for temporary exhibits, a multi- reaffirm its appropriateness in

as spaces fostering closer rela- reporters and travelers, books encourage the need to learn purpose hall for conferences, a context where participating in Cultural tions between both horizons, and important figures who more about the social and films, theater, music and dance culture is changing and favor- Counsellors Visit within the principles of respect influenced the social and scien- cultural processes through a activities, a mediatheque spe- ing inclusion, exchanges and ©OHCH,2011 and diversity. tific thinking of their times, the rational-sensitive experience in cialized in research and heritage experimentation CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Luckner Christophe • State of the National Pantheon Museum of Haiti (MUPANAH) 35

C A S E STUDY I I MUPANAH, being the only natio- In 2000, Haiti had seven mu- nal museum in the country, is fa- seums, out of which three were State of the National public and four were private. cing the difficult task of preserving During the January 12, 2010 its collections, majority of which earthquake, the building housing the National Pantheon Museum Pantheon Museum of Haiti as much restoration as the buil- of Haiti (MUPANAH) suffered ding that houses de museum itself minor damages, compared to other buildings, but its general (MUPANAH) performance has been worsen- ing due to the following circum- stances: Luckner Christophe In charge of cultural education and animation from the National Pan- theon Museum, MUPANAH (Haiti) © MUPANAH - Some of the marble tiles covering the fence post sur- rounding the tomb were bro- ken, as well as two valuable According to the information pro- sculptures: the slave’s wife by vided by Rachelle Charlier Doucet the famous Italian sculptor in Conjonction, a French-Italian Braconi and Alexandre Pe- magazine published by the French tion’s bust. Institute in Haiti (pp. 57 -73, 2001), - Ceiling cracks and reproduced by Marie Lucie - Loose bricks, Vendryes , Director of the National - Disintegration of the sewage Pantheon Museum between June water treatment system, 2004 and January 2005, Haiti faced - Obsolete power system a great number of challenges in - Only one air conditioner for terms of museum development. two exhibit rooms - Malfunctioning of the water The first museum in Haiti was circulation system established by the Philadephes - Office equipment seriously circle in 1784. After several at- damaged, and tempts during the 19th Century - Computer system of the In- to advance in this direction, real stitution seriously damaged. progress in this field did not come All this clearly shows that MU- till Sténio Vincent’s administration PANAH, being the only national (1930-1941). The heterogeneous col- museum in the country, is facing lections of paintings, photography, the difficult task of preserving its reproductions, ancient sculptures, collections, majority of which as © MUPANAH coins, stones, plants and historical much restoration as the building documents, victims of continuous that houses de museum itself. removals, were significantly dimin- However, it is becoming increas- ished abated before reaching the ingly difficult to protect this National Pantheon Museum of Haiti heritage entrusted to MUPANAH (MUPANAH). with such a precarious budget. Toussaint Louverture Bust Historically, the problems faced by The institution needs adequate ©MUPANAH museums in Haiti come down to resources to address its most lack of a legal framework and col- pressing obligations and offer the lection management policies; lack public a quality service worthy of of research on the collection pieces; a national museum that has the lack of educational exhibits, lack triple function of being a Pan- of cultural and didactic programs theon, a Museum of History, and aimed at a wide public, shortage of an Arts Museum specialized museum professionals, and Haiti’s isolation as an island. CULTURA Y DESSARROLLO • NO 8 • AÑO 2012 Caso práctico III • Cuban National Museum of Fine Arts. Building of Universal Art 37

C A S E STUDY III

Cuban National Museum During the first decades of the 20th Century, the National Museum was a multi-purpose museum where history, archeology, ethnography, and de- corative and visual arts made up a nebulous and of Fine Arts random collection. The impetus provided by the 1959 Revolution allowed the museum to become a Museum of Fine Arts. The ongoing expansion of Building of Universal Art its collections has transformed the museum, after its total remodeling by architect José Linares, into a museum complex, where a new historical building of the city, the former Asturian Center, houses foreign collections.

This significant expansion of buildings and co- llections offers the public a valuable opportunity to experience and interact with a heritage that not only speaks about the past, but also participa- tes in the development of today’s culture and, in doing so, in the culture of the future.

During the workshop, experts and participants were able to enjoy a guided tour to the facilities of the Building of Universal Art of the National Museum of Fine Arts (Havana, Cuba), access to which was facilitated to those attending the work- shop by its Director, Moraima Clavijo. © National Museum of Fine Arts © National Museum of Fine Arts © National Museum of Fine Arts

Guided tour by Architect José Lin- ares to the National Museum of Fine Art © UNESCO

Experts were fortunate to have the guidance of architect Jose Linares himself, who was in charge of the restoration of the former Asturian Center to be used as the Building of Universal Art, and very knowledgeable about restoration of histori- cal buildings to be used for museum purposes. This influence is evident from the study (p. 38) by UNESCO consultant Sachie Hernández, with multiple references to his printed works. © National Museum of Fine Arts © National Museum of Fine Arts © National Museum of Fine Arts © National Museum of Fine Arts CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Sachie Hernández • The museum evolution and its adaptation 39

OTHER CASES

Museiom and Pinakothéke were of the French landmark, the first by the end of the 19th Century, the names given by the Greeks public museum was conceived at materialized in two trends: Rus- and the Egyptians to the first the former Louvre Royal Palace. kinian Gothic2 and the integra- spaces intended for the purpose In 1851, the International Trade tion of French Renaissance and The museum evolution of gathering Mankind’s knowl- Fair was held in London at the Baroque3. edge. During the 3rd century newly built Crystal Palace, thus B.C., Ptolomeo Filadelfo built a a cycle of massive attendance to In Latin America, the first muse- group of buildings in Alexandria contests, fairs, exhibitions and um constructions were also clas- and its adaptation to be used for different purposes museums began. sicist and eclectic, and though such as library, amphitheater, they may seem imitations of the observatory, study and work In that period, museums were European models, they were halls, botanical garden, and disparate in style and quite actually marked by the variation Sachie Hernández zoological collection, in order to diverse in terms of their content that such models had already UNESCO Consultant preserve and exhibit, study and research what man had till then produced and began to accumu- late in terms of literature, scien- tific and philosophical discover- ies, natural species, and arts.

Said facilities are the oldest antecedent of what would later become the traditional nineteen- century academies and temples, but also of what we know today as university museums, technol- ogy and science museums, and contemporary museums and cultural centers with diverse and integrated functions, programs and services.

Interest in ancient civilizations, acknowledgement to artists and the creation of private collec- tions, particularly by the Church and royal emporia, were the basic conditions during the Re- naissance period for museums to become a visible institution. While the architectural image of these buildings followed the classicism style, the first mu- seums proposed a sequential Cuban National Mies van der Rohe’s Museum “(…) The notion of museum is associated with vision of the art works and their or museology theme, however National Gallery in undergone in North America. of Fine Arts programs were quite limited in they kept certain distance and Berlin Later Latin American interpre- scope. arrogance regarding the public. tations of Art Deco, Rationalism man’s identification with its culture and the and the so-called international The first modern ideas on mu- In the early 19th Century, the style would also have the North seums came about during the most interesting debates from American influence. acknowledgement of the testimonial value of second half of the 18th Century the architectural point of view 1 and first half of the 19th Cen- were taking place in the United Though many of the collection certain evidences as heritage (…)” tury. The French Revolution States, where some projects, formation and public exhibits and the Industrial Revolution having the Greek temple as a were characterized by the study drastically changed the progress model, materialized. Classicism of the object, or group of ob- of these institutions. As a result gave way to eclecticism that, jects, according to the research 40 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Sachie Hernández • The museum evolution and its adaptation 41

laws and methods of the time, tensions with the museum in- 1941, and the so-called “Leon- with a comprehensive vision those days. The museum should need of all museums to expand, it would not be till the 20th stitution. The crisis began with ardesque Exhibit” by G. Pagano of the different contemporary resemble its time. modernize in terms of museog- Century –and more particularly Impressionist exhibits that and B. Ravasi, Milan 1939. productions, exhibiting in its raphy, and incorporate supple- during its second half—that an required spaces with no visual halls industrial artistic works, The museums that came up with mentary services (conference specific discipline on the mu- interference and a more flexible All these temporary exhibits objects, and products. Later the modern movement (Le Cor- halls, auditorium, workshops, seum phenomenon would be way of hanging art works on established a new relation with on, an architecture, film, and busier, Mies van der Rohe, Frank shops, cafeterias, classrooms, structured: Museology. This walls. Later on, it became more the traditional building and the industrial art division was Lloyd Wright, Alvar Aalto) will interactive information centers, Science studies the history of acute with cubist art works that transformation of its use. For added to the museum. be characterized by transparent and libraries, among other.) museums, their specific func- required different view angles. the first time, art works were forms, open and flexible plan, tional and space organization But the real revolution is to be taken away from the walls, If the Italian school ques- universal space, functionality, The devastation caused by systems, their collections and found in the experimental lab painting frameworks were elimi- tioned museography as to technological precision accord- WWII developed a strong sen- manner in which they are ex- that the “Italian school” was, nated, support bases become exhibition form and concept, ing to the museology purposes sibility towards the need rescue MOMA, Nueva York Nueva MOMA, Georges Pompidou National Anthropol- hibited (museography), and the Center through its exhibits during the a subtle line, light details are MOMA, with its project, ogy Museum in of the building, neutrality, and a and defend heritage by educat- relation between these institu- prewar period: W. Gropius and studied and a direct relation- questioned the content itself Mexico City no mediation between the space ing the people. The museum tions and society. J. Schmidt: Exhibit of Non-Fer- ship between the historic and and the way it was presented. and the work exhibited. These object and museum contents in rous Materials in Milan, 1934; aesthetic importance of the work MOMA mixed disciplines experts got rid of 19th-Century general had to be revalued, seek- Development of artistic experi- F. Albini: Aerodynamic hall at is established. and objects that, till then, museum architecture burdens. ing maximum clarity and visibil- mentation in the early 20th Cen- the Aeronautic Exhibit in Milan, had nothing to do with each ity –in contrast to the complexi- tury, expressed in all vanguard 1934; Ancient Silversmithing While this museography evolu- other. While it did not deny Le Corbusier, in his project for ty and redundancy of the eclectic movements that questioned Exhibit at the VI Milan Trienni- tion was taking place in Europe, the world of fine arts, it did the Unlimited Expanding Mu- museum—and people had to be the concept of the art work and al, 1936; The Scipione and Black the Museum of Modern Art of legitimize the value of works seum (1939) and Mies van der attracted, irrespective of social the manner in which it should and White Exhibit at the Brera New York (MOMA) was created and objects closer to the iden- Rohe in the Museum for a Small status and cultural level. be exhibited, generated a lot of Painting Museum also in Milan, in the United States in 1929, tity of the men and women of City (1942), address the inherent 42 CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 Sachie Hernández • The museum evolution and its adaptation 43

With the opening of Frank sizing on transparent walls that There were endless museum experiences ratory of social participation for the community, tran- Lloyd Wright’s Guggenheim favor abundant natural light. between 1980 and 1990. Hand in hand and confrontation. Today they scending its boundaries. Museum in New York in 1959, have workshop-classrooms and Mies van der Rohe’s Na- There are also outstanding with euphoria came the crisis of these for children and adolescents Given the importance at- tional Gallery of Berlin inaugu- examples in the Latin Ameri- institutions that tried different models combining education and game; tached to communicating rated in 1968, a phenomenon can context, built during those specialized tours for differ- with the public, exhibit halls that continues till today begins: years. The National Museum in an attempt to find an option that will ent kinds of public; research (particularly those for tem- the construction of architectur- of Anthropology of Mexico City serve its interest as well as the interests of porary exhibits), classrooms ally spectacular buildings. (1964, Pedro Ramírez Vásquez), and workshops have grown summarizes at a monumental contemporary society in space and equipment. Some experts, besides acknowl- scale certain universal trends Multi-purpose spaces are edging their architectural enriched by the centuries-old very much in fashion and intrinsic values (illumination of Mexican construction tradition. case. After WWII, Frankfurt have become very useful. the surrounding slanting walls, This Museum, with its museo- became the economic capi- Public service spaces have and its space centrifugal force), graphic system and programs tal of the Federal Republic of expanded, particularly for coincide in stating that the Gug- of high level accessibility and Germany and the seat of the shops and restaurants, as a genheim Museum represents communication, has closed the Bundesbank. In the 1970’s they result of market practices the triumph of architectural gap other mega-monuments realized that it was in need of applied in the management design over the functionality of have in relation to the public. new symbolic and material of these institutions. . the museum itself and is the an- values to boost its importance, tecedent of what is called today The Georges Pompidou Center besides that of its business, The introduction of new the show-museum. (1977), conceived to restore industry and banking activities. means and technologies in Paris title as the cultural capital Thus, the German Socialist these institutions has more Guggenheim Mu- Talking about colossally spec- and regain the protagonist role Party –then in the local govern- projects involving profession- seum in Bilbao. Archi- than reinforced the docu- tacular designs, a feature of lost to other European cities, ment—proposed the establish- als from many disciplines and tect Frank Gehry mentary system and multi- late 20th Century, we cannot and particularly some Ameri- ment of a net of museums, an university students. They have plied research and dissemi- but mention Richard Meier’s can ones, would also seem an idea later on materialized by a heavy schedule of temporary nation possibilities. It has Getty Center in Los Angeles example of this architectural the Christian-Democratic Party exhibits as well as travelling also expanded museograph- and Frank Gehry’s Guggen- type of museum. Free plan, that won the 1978 municipal exhibits to other foreign and ic possibilities and radically heim Museum in Bilbao, true abstract space composition, elections. More than a dozen local institutions; open doors to changed the relationship symbols of the relation between transparency of the architec- new film, architecture, decora- its workshops and warehouses, between the spectator the cultural industry and the tural body and high-tech metal tive arts, archeology, history of conferences and academic and the object. The public media society. Both architects structure solutions define this the Jewish people and ancient events; launching of books, interacts with the processes designed buildings aimed at refinery, meant to demystify art history museums were created, magazines and catalogues; con- and manipulates the dis- leisure and fiction. and make it more accessible, plus an Exhibit Pavilion on the certs, art-video and experimen- played object. But in this according to the democratic banks of the river Main. tal film-making exhibits; and relentless quest for emotions During the period following populist trend consolidated by they prepare specific activities and encouraging learning, the “international style crisis”, the May 1968 cultural revolu- The systematization of these there are no clear limits and Richard Meier’s basically during the 1960’s, tion. . cultural institutions’ recent Getty Center museums sometimes end up some buildings with distinctive history allow to identify a set of becoming show centers or values and pointing towards During the 1980’s, we witnessed trends related to their missions, thematic parks. new directions were built. In an unusual upsurge of muse- contents, architectural types, his regard, mention should be ums. They became a fashion programs and relations with In the context of the ter- made to the Whitney Museum and thus, every country, city, the social context in which they tiary-oriented economy of American Art (1966, Marcel and locality wanted to have develop. and profitability of goods Breuer and Hamilton Smith), a museum to consolidate its and public and private an essential example of archi- position within the culture To its traditional functions of spaces, museums are part tectural savageness due to its and leisure society, and as an gathering, protecting and pre- of the rationale of tourism, strong and blended image. The instrument for social and urban serving heritage, the permanent leisure and cultural indus- same goes for the Museum of development regeneration. exhibition that tell the history tries throughout the world. Israel (1965, Alfred Mansfield Some experts belief there were and construe the collections, They have become places and Dora Gad). We would also never so many museums nor and the educational function of great affluence of pub- have to refer to the additions were they ever so unnecessary. that it has more or less always lic together with shopping made to the Metropolitan Mu- performed, today the institution malls and sports facilities seum of Art of New York – with In Europe, for instance, the city adds a complete set of activities (when a world event is being a Greenhouse aesthetic- empha- of Frankfurt is an emblematic that turns it into a true labo- held). The success of the 44 Sachie Hernández • La evolución de los museos y su adaptación CULTURA Y DESSARROLLO • NO 8 • AÑO 2012

cultural policy of a country is significant aesthetic value, play- prevents this kind of museum also conceived on the basis of ing also the role of revitalizing from creating a positive synergy such statistics. However, mas- certain deteriorated environ- with other museum facilities sive public affluence prevents a ments. Though flexible spaces in the territory or with other full intellectual appraisal and are privileged against more patrimonial institutions that Conclusions contemplation of the work of art defined spaces, the use given to exist and preserve themselves or the cognitive process being the building generally condi- outside the museums displayed. How many visitors tions the characteristics of the come back? How many really spaces. did learn something? The relation between the Museum architecture continues museum and the territory in to be a great creative challenge which it is located is usually for architects, reason for which more natural and honest when investment in the field of cultu- many of them end up involved projects are small or medium re can help to readjust budgets, in mega-projects far beyond and are the result of the needs in the medium term such cuts the functional purposes of the of the community concerned to will probably bring about social institution. However, many safeguard its heritage, pre- and economic costs higher than new constructions, additions serve its collective memory those we want to prevent today. and the readjustment of histori- and consolidate its identity. cal buildings become works of Mega-museums attempt to One of the outcomes of the express the vigor and power of workshop is the dissemination a national cultural or even of of its papers and debates in this The development of museology has provided Mankind and are focused on special issue of the Culture & the big national, but mainly Development magazine, as a a scientific basis to the process of conceiving international, public affluence testimony of the contributions and implementing museum projects. The circuits. Generally, they are and recommendations made by conceived and developed to re- Accordingly, it seems fit to experts and observers partici- museum project should become a practical generate the suburb where it is define correctly the museum’s pating in its working sessions. and creative tool and its design must be the located but without taking into mission before restoring the consideration the real needs of building. Space arrangements, However, the most important result of multi-disciplinary collaboration the community. This in no way equipment and physical and outcome was to bring together audiovisual means used in the museology professionals of the educational, research and the region. In the case of the leisure functions of the museum Caribbean, this has reinforced must be planned according to their work as museum mana- the possibilities and limita- gers since, till now, they were Notes Bibliography Webgraphy tions imposed by the degree of doing their job with almost no protection of the building as a reference or contact with ex- 1Linares, José, 1994. Linares,. José, 1994. patrimonios desde la de los museos, Ediciones - http://www.unesco.org cultural heritage element. perts of the other islands. Museo, Arquitectura y Museo, Arquitectura y diversidad, Ediciones Trea, S.L. España. - Coulomb, René. Construyendo utopías desde el centro. Museografía, Cultural Museografía, Fondo de Trea 2003 Animation show www.enlaceacademico.org/.../COULOMB_Construyendo_utopias_de.. in the streets of Bearing in mind, on the one The meeting contributed in Furthermore, in response to Development Fund, JF Desarrollo de a Cultura, ___, La Caja de Cristal. - Declaración de Amsterdam. 1975. Old Havana orga- Publications, Spain p. 15. Ediciones JF, España. Museum International, Un nuevo modelo de hand, the restoration and strengthening the social, econo- the requests made by experts Dec 2003. No. 219-220. Museo. Ediciones Trea, www.mcu.es/patrimonio/.../DECLARACION_DE_AMSTERDAM.pdf nized by OHCH© preservation requirements of a mic and educational role played during the workshop, another 2 UNESCO Ruskinian Gothic in Bellido, María Luisa, Face a l´histoire, UNESCO, S.L. España. - Dower, Michael. Un punto fuerte para el desarrollo local: el recurso patrimonio. historical building, and on the by museums and their impact possible outcome could be the reference to John F. 2001. Arte Museo y Nue- París, Francia. http://ec.europa.eu/agriculture/rur/leader2/rural-es/biblio/herit/art01.htm ___, (cood.), Luis Ruskin of Victorian vas Tecnologías, Ediciones - Leal, Eusebio, 2004. La rehabilitación del centro histórico de La Ha- other, the mission and objec- on local development. As continuity of such workshops ___, Sept 2005. No. Fernández, José Ramón England inspired on Trea, S.L. España. bana: Una obra esencialmente humana. Centro de Cultura Contem- tive of a museum, the primary Herman van Hoff, Director of on museums, to carry on dis- 227. Cultural Diversity Alacalá, 2011. ¿Cómo se the Italian 14th to 16th poránea de Barcelona 2004 Conferencia pronunciada en el marco del ____, (ed.), 2007. and Heritage, UNESCO, cuelga un cuadro virtual? goal of this workshop was to UNESCO’s Regional Office for cussions on the problems being Centuries. debate “Traumas urbanos. La ciudad y los desastres”. CCCB, 7-11 julio 2004 Aprendiendo de París, Francia. Las exposiciones en la era study the main problems and Culture in Latin America and faced by Caribbean museum www.publicspace.org/.../a029-la-rehabilitacion-del-centro-historico-d... 3The Second French Em- Latinoamérica. El Museo digital. Ediciones Trea, situations to be dealt with when the Caribbean pointed out in his managers and share their pro- pire under Napoleon III. como protagonista, Edi- ___, May 2009. No. S.L. España. - Llull, Josué. Evolución del concepto y de la significación social del patrimonio cultural 241-242. Return of Cul- www.ucm.es/BUCM/revistas/bba/.../articulos/ARIS0505110177A.PD... transforming historical buil- opening remarks at the work- gress. This would be a priority 4 ciones Trea, S.L. España. Linares, José, 1994. tural Objects. The Athens Valdés, María del Car- - Metamorfosis arquitectónica: nuevos usos culturales para viejos edificios. Exposición dings into museums or cultural shop, strengthening cultural task given the fact that in the Museo, Arquitectura y Calaf, Roser/Olalia Conference, UNESCO, men, 1999. La difusión 23 de octubre al 20 de abril del 2010. centers, in order to effectively policies and integrating them in islands, training in cultural Museografía, Cultural Fontal Merillas/ Rosa París, Francia. cultural en el museo: - http://catalogo.artium.org/.../metamorfosis-arquitectonica-nuevos-usos-cult. Development Fund, Eva Valle Florez (Coords), servicios destinados al fulfill the mission of the mu- general development policies is management, museography JF Publications, Spain, 2007. Museos de Arte Rico, Juan Carlos, 2003. gran público, Ediciones - Ortiz, Jorge, 1995. Esbozo de arquitectura histórica en Puerto Rico seum through its educational, a need, because, though short and other related fields is less p. 39 y Educación, construir La difícil supervivencia Trea, S.L. España. www.icp.gobierno.pr/zmh/PDF/ZONASesbozoarquitecturapr.pdf research and leisure functions. term cuts in public and private salient. 46 CONCLUSIONS CULTURE AND DEVELOPMENT • No 8 • YEAR 2012 47

COLLABORATORS To this we must add the impact the workshop had on the team of the Office of the Historian of EDITORIAL DEBATE I. CASE STUDY I the City of Havana (OHCH), in Herman van Hooff THE MUSEUM´S MISSION PALACIO DEL SEGUNDO CABO: charge of the cultural concept Director of the UNESCO Regional Office for Arthur Reginald Murphy AN INTERCULTURAL BRIDGE of the Palace of the Second Culture in Latin America and the Caribbean. [email protected] IN HAVANA Director of the Nelson´s Dockyard Museum Onedys Calvo Noya Corporal. The workshop’s (Antigua and Barbuda) [email protected] sessions helped in shaping the CONTRIBUTION OF MUSEUMS Coordinator of the Palace of the Second mission and objectives of the TO DEVELOPMENT Kevin Farmer Corporal cultural project. Cultural Heritage Fernando Brugman [email protected] Division, OHCH future institution and updating [email protected] Assistant Director of the Barbados Museum & its museography plan, besides Program Specialist and Culture Team Coordi- Historical Society (Barbados) Yainet Rodríguez Rodríguez facilitating valuable professio- nator from the UNESCO Regional Office for [email protected] Culture in Latin America and the Caribbean in Specialist of the Palace of the Second Corporal nal contacts for the successful Havana (Cuba) DEBATE II. cultural project. Cultural Heritage Division, implementation of its project. THE ADAPTATION OF HISTORICAL BUILDINGS OHCH. FOR FUTURE CULTURAL USES Cecilia Hugony Mónica Rojas Vidaurreta Finally, UNESCO´s Regional [email protected] [email protected] Office for Culture in Latin Ame- Marketing manager of the Goppion Laboratory Specialist. International Cooperation Division, rica and the Caribbean (Ha- (Italy) OHCH. vana, Cuba), wishes to thank Jason Ramsay the experts for their interest, [email protected] OTHER CASES participation, and commitment Curator in Museums of History and Ethnography THE MUSEUM EVOLUTION (Jamaica) AND ITS ADAPTATION regarding the workshop, as well Sachie Hernández as their contributions to this [email protected] special issue of the Culture & DEBATE III. UNESCO Consultant. MUSEUM, CULTURAL CENTER OR BOTH? Development magazine. Georgina DeCarli [email protected] Likewise, it wishes to ack- Director of the Latin American Institute of Museums and Parks, ILAM (Costa Rica) nowledge the support provided by the Embassy of Norway in Luckner Christophe Cuba and the cooperation of the [email protected] In charge of cultural education and animation Cuban authorities, the Office from the National Pantheon Museum of Haiti, of the Historian of the City of MUPANAH Havana (OHCH), the National Cultural Heritage Council, DEBATE IV. the UNESCO Cuban National OBJECTIVES OF A MUSEUM: Commission, and the National EDUCATION, RESEARCH, AND LEISURE Arminda Franken-Ruiz Museum of Fine Arts, for the [email protected] successful outcome of the event, Director of the National Archaeological Museum not to mention the efficient of Aruba logistics provided by the mana- José Linares gement of Hotel Florida, where [email protected] the workshop took place. Architect and ICOM Executive Secretary, Cuba

Following, to close this special DEBATE V. issue, we include a study on the IMPACT OF CULTURAL INSTITUTIONS ON LOCAL DEVELOPMENT evolution of museums and the Katia Cárdenas adaptation of historical buil- [email protected] dings for such purpose, written Director of the Heritage Division. Office of the Historian of the City of Havana, OHCH by UNESCO consultant Sachie (Cuba) Hernández, whose references to the printed works of architect Ana María Conde [email protected] José Linares are abundant and Museum Director from the Ministry of Culture, were extremely useful in plan- Dominican Republic. ning this workshop Palacio del Segundo Cabo© Arnulfo Espinosa, 2012 We recognize the world´s natural and cultural diversity and recognize that every culture and civilization can contribute to sustainable development

The future we want Final Document of the United Nations Conference on Sustainable Development. Río+20, June 2012. Palacio del Segundo Cabo© Arnulfo Espinosa, 2012

CUBA Comisión Nacional Cubana de la