Evaluating and Re-articulating Industrial Abandonment in a Historic Urban Landscape by crystalmhanley

Faculty of engineering science Raymond Lemaire International Centre for Conservation kasteelpark arenberg 1 - postbus 02431 3001 leuven, Belgium

Evaluating and Re-articulating Industrial Abandonment in the Historic Urban Landscape of Santiago de Cuba

Promoters: Prof. Minja Yang (President, RLICC - KU Leuven, Belgium) Prof. Mario Santana Quintero (Carleton University - Ottawa, Canada) Profa. Maria Teresa MuĂąoz Castillo (Univesidad de Oriente - Santiago de Cuba, Cuba) Thesis to obtain the degree of Master of Science in Conservation of Monuments and Sites Presented by Crystal M. Hanley

Faculty of engineering science Raymond Lemaire International Centre for Conservation kasteelpark arenberg 1 - postbus 02431 3001 leuven, Belgium Facultad de Construcciones Universidad de Oriente, Sede Julio Antonio Mella Avenida Las Americas y Calle L C.P. 90400, Santiago de Cuba, Cuba

Evaluating and Re-articulating Industrial Abandonment in the Historic Urban Landscape of Santiago de Cuba

Promoters: Prof. Minja Yang (President, RLICC - KU Leuven, Belgium) Prof. Mario Santana Quintero (Carleton University - Ottawa, Canada) Profa. MarĂa Teresa MuĂąoz Castillo (Univesidad de Oriente - Santiago de Cuba, Cuba) Thesis to obtain the degree of Master of Science in Conservation of Monuments and Sites Presented by Crystal M. Hanley: Leuven, September 2016

Permission for Use of Content

Toelating tot bruikleen

The author herewith permits that the present dissertation be made available for consultation; parts of it may be copied, strictly for personal use. Every other use is subject to strict copyright reservations. Particular reference is made to the obligation of explicitly mentioning the source when quoting the present dissertation‘s results.

De auteur geeft de toelating deze eindverhandeling voor consultatie beschikbaar te stellen en delen ervan te kopiëren voor eigen gebruik. Elk ander gebruik valt onder de strikte beperkingen van het auteursrecht; in het bijzonder wordt er gewezen op de verplichting de bron uitdrukkelijk te vermelden bij het aanhalen van resultaten uit deze eindverhandeling.

Leuven, 2016

El permiso para el uso de contenido:

Autorisation d’utilisation

El autor permite la presente que la presente tesis se pondrá a disposición para su consulta; algunas partes pueden ser copiados, estrictamente para uso personal. Cada otro uso está sujeto a las reservas estrictas de copyright. Se hace especial referencia a la obligación de mencionar explícitamente la fuente al citar los resultados de la presente tesis.

L’auteur autorise la mise à disposition du présent mémoire pour consultation; il est permis de copier des parties, strictement pour usage personnel. Toute autre utilisation est strictement soumise aux restrictions prévues par le droit d’auteur; tout particulièrement, il doit être tenu compte de l’obligation de citer explicitement la source lorsqu’il est fait référence aux résultats de ce mémoire.

Lovaina, 2016

Leuven, 2016

ACKNOWLEDGEMENTS It is with the utmost respect that I extend my gratitude to my promoter Minja Yang and co-promoter Mario Santana Quintero for their guidance, dedication and confidence in me to take on this challenge. They have led by example and have instilled a profound passion for built and cultural heritage in me. Their teachings reach beyond the boundaries of a classroom and it is because of them that I was inspired to delve into a topic outside my comfort zone. I wish to extend a heartfelt gracias to my local promoters at La Universidad de Oriente in Santiago de Cuba, Dra. María Teresa Muñoz Castillo and Dra. Arq. Lourdes M. Rizo Aguilera for patiently accepting my Spanish communication and allowing me the freedom to explore my interests with their full support. At La Fábrica de Cerveza Hatuey, I wish to thank Directora Zuzel María Alba Quintana and Eduardo Griñan Caballero for granting me access to the site and welcoming my research. Also in Cuba, I will be eternally grateful to Luis Enrique Bello Caballero for his support and for sharing virtually all of his resources with me. I especially owe great credit to Leonardo Pérez Vilirio, who essentially became a collaborator with me on this research. These pages would be empty if not for his help and selfless determination to my success on a daily basis. I can only hope to one day repay the extreme kindness I was shown. At the Raymond Lemaire International Centre for Conservation, I would like to acknowledge the work and support of both the faculty and my fellow colleagues for their encouragement and inspiration which constantly influenced my own work. Finally, there is not a single success in my life that would have been possible without one woman. For always being there for me, even half a world away, I am forever grateful for my Mom and biggest supporter, Betty Jean Hanley.

“La imaginación es la vanguardia y como el profeta de la ciencia. La idea, madre del hecho.”

- José Martí

INTRO IMAGE + QUOTE

Contents 1. Introduction 1.1 Abstract 1.2 Research Methodology

2. Context 2.1 Cuba 2.1.1 Geography, History, Economics and Politics 2.1.2 World Heritage Sites in Cuba 2.1.3 Heritage Conservation in Cuba 2.1.4 Legal Framework 2.2 Santiago de Cuba 2.2.1 Geography, History and Demographics 2.3 Industrial Heritage 2.3.1 TICCIH 2.4 Industrial Heritage in Santiago de Cuba 2.4.1 Industries, past and present 2.5 Introduction to Case Study 2.5.1 Location 2.5.2 History of the La FĂĄbrica de Cerveza Hatuey 2.5.3 Site Description 2.5.4 Description of the Embotelladora

3. Urban Analysis

3.1 Macro â&#x20AC;&#x201C; Santiago de Cuba 3.1.1 Geography 3.1.1.1 Access 3.1.1.2 Mobility 3.1.2 Public Policy 3.1.2.1 Planning authority 3.1.3 Historic Urban Landscape 3.1.3.1 Land use, urban fabric, functional analysis 3.2 Meso 3.2.1 Description of district 3.2.2 Access 3.2.3 Land use 3.3 Micro 3.3.1 Analysis of the immediate surroundings

4. Architectural Analysis 4.1 Art Deco Architecture 4.1.1 Description 4.1.2 Art Deco in Cuba 4.2 Industrial Architecture 4.2.1 Typical Architectural Language 4.2.2 Industrial Heritage in Cuba 4.3 Case Study 4.3.1 Description of Building 4.3.2 Building Evolution 4.3.3 Architectural Elements 4.4 Survey Methodology 4.5 Survey Results

5. Technical Analysis 5.1 Materials 5.1.1 Faรงade 5.1.2 Material Atlas 5.1.3 Material Mapping 5.2 Methods of Construction 5.3 Condition Assessment 5.3.1 Damage Atlas 5.3.2 Technical investigation

6. Value Assessment 6.1 Values and the World Heritage Convention 6.2 Stakeholders 6.3 Value Assessment of Study Site 6.3.1 Value Assessment 6.3.2 Nara Grid

7. Proposal

111

7.1 Conservation Management Plan 7.1.1 Framework 7.1.2 Global Conservation Plan 7.2 Proposal of Program 7.2.1 Introduction 7.2.2 Adaptive Re-use Precedents 7.2.3 Intervention Options 7.2.4 Economic Analysis 7.3 Proposal Design 7.4 Master Plan

131

145

8. Final Reflections

171

References

175

1. Introduction

1.1 Embotelladora, La Fábrica de Cerveza Hatuey 1.1 ABSTRACT This academic thesis research attempts to characterize the legacy of Industrial Heritage in Santiago de Cuba and to initiate a dialogue on how this heritage can be managed in terms of architectural conservation as well as how it can be utilized as a catalyst for sustainable development in the Historic Urban Landscape of which it is an integral part. The dialogue is introduced with a case study of La Fábrica de Cerveza Hatuey. The research provides an analysis of the abandoned Embotelladora on the factory’s site including its history, context, architectural and technical aspects, and socioeconomic role in Santiago de Cuba.

The context of Cuba is of paramount relevance and as the research argues, every aspect of the Embotelladora is affected by its environment. Cuba is a country that is as complicated as it is fascinating, and the city of Santiago de Cuba is clear evidence of that proclamation. To foreigners, Cuba tends to be described as ‘a country from another era’ or a ‘landscape frozen in time’ in reference to the technologies, amenities and architecture which have largely gone unchanged in the last 50 to 100 years. The lack of foreign development since Cuba’s Revolution in 1959 has left the country relatively unaltered in terms of its architectural heritage. Dilapidated buildings define and romanticize the image of Cuba and now present both an opportunity and a challenge for conservators to reclaim the essence of the Cuban aesthetic.

In December of 2014, U.S. President Barack Obama announced his government’s intentions to re-establish the diplomatic relations between Cuba and the United States for the first time since 1961.1 With the end to the decades-long embargo in sight, the suggestion of the country opening up to foreign investment, trade, and development has a strong probability. Much can be said of the opportunities and threats that Cuba may face in the coming years and the conservation of Cuba’s built heritage has undeniable implications. It has been suggested that industrial heritage is an under-represented category on the World Heritage List.2 While this research does not attempt to elevate any particular industrial heritage site to World Heritage status, it instead attempts to draw attention to the values of adaptive reuse in industrial heritage, specifically in the context of post-Revolutionary Cuba where the Historic Urban Landscape has remained largely intact for the last 55 years. However, there are several environmental, economic, touristic and contextual actors that continuously pose a threat to this heritage and require thoughtful examination. This research analyzes the perceived threats to this heritage and identifies feasible solutions to safeguard it from further deterioration.

It is the hope that this thesis will demonstrate the architectural, social, cultural and economic potential of an adaptive re-use approach - maintaining the intrinsic values of industrial heritage while considering the benefits of a sensitive and sustainable intervention as demonstrated through the case study of the abandoned Embotelladora de La Fรกbrica de Cerveza Hatuey. The final section of this thesis explores five viable options for an adaptive reuse reprogramming of the Embotelladora, each one approaching the various challenges that the built heritage of Santiago de Cuba faces from a unique lens. In the end, an informed decision is made and an adaptive reuse design of a Culinary Institute is presented. The Culinary Institute functions as a sustainable facility incorporating a learning centre, an organic urban garden, a small gallery and a restaurant, with the promise of revitalizing the vulnerable neighbourhood of San Pedrito in the Historic Urban Landscape of Santiago de Cuba.

1.2 Research Methodology 1.2 RESEARCH METHODOLOGY

the Historic Urban Landscape of Santiago de Cuba.

As with the investigation of any heritage topic, the research for this thesis has consisted of several sources including literature, oral interviews, past and present imagery, on-site analysis and the author’s experience living in Santiago de Cuba between January and April of 2016. An honest attempt has been made to contextualize each source within its historical, social and political framework.

All photographs within this document are copyright of the author unless otherwise referenced. The photographs have been captured with a Canon 60D DSLR camera and either a 70 – 200mm or a 50mm lens. Post processing of images has been done with Adobe Photoshop CS6, Adobe Bridge and Camera Raw programs. The on-site surveying analysis has been completed with Topcon’s Image Station 300 and Image Master software. The work has been elaborated with PhotoScan photogrammetric software. Drawings created by the author have been achieved through on-site measurements and recorded with AutoCAD Architecture 2016 software, Educational version; 3D models have been created with Revit 2016 software, Educational version.

The study building has been analyzed both in isolation as well as within its immediate context. It materials and method of construction have been studied as well as its architectural style placing it within the Modern Architecture movement, and more specifically, within the Art Deco movement of the 20th century. Its urban context is further explored in hopes of realizing the potential and impact any intervention may have on

Introduction

[Section 1: Endnotes] 1 The White House (December 17, 2014). Statement by the President on Cuba Policy Change. Available at: https://www. whitehouse.gov/the-press-office/2014/12/17/statementpresident-cuba-policy-changes (Accessed: 20 December 2015). 2 Falser, M. (2001, October).Â Global Strategy Studies - Industrial Heritage Analysis - Is Industrial Heritage Under-represented on the World Heritage List?Â Paris, France: UNESCO World Heritage Centre.

2. Context

2.1 2.1.1

GEOGRAPHY, HISTORY, ECONOMY AND POLITICS

[Geography]

The physical and sociological context of La Fábrica de Cerveza Hatuey requires careful consideration. Geography, history, economics and politics all play a large role in how Cuba addresses its deteriorating built heritage and ultimately provide a framework for the relevance of this research. In terms of architectural conservation, the defining physical aspects of the country pose both opportunities and threats.

Cuba today. In addition to tropical storms Cuba is also home to twelve active seismic faults- the most significant being the Bartlett-Cayman fault system.3 Areas of the Oriente are especially susceptible to ongoing seismic activity, although most of the activity is imperceptible. The reality remains and is ever-present that these natural disasters put Cuba’s already fragile built environment at further risk.

Cuba is an archipelago and its main land mass is the largest island nation in the Caribbean and incidentally, one of the world’s largest islands. The country is physically isolated from the rest of the world to a certain extent, meaning trade is inconsistent and resources are scarce at times. The country occupies 110,860 sq. km of land area and is composed of fifteen provinces which are divided among three regions: Occidental, Central and Oriente. The capital city of Havana is located in the north of the island’s Occidental region.

Cuba experiences what is known as a Tropical Savanna climate with monthly mean temperatures above 18°C and a distinct dry season with the driest month having less than 60mm of rainfall.1 The humidity levels vary across the island and are at their highest in the Oriente region. The island is vulnerable to tropical storms and has experienced devastating hurricanes. Most recently, in 2012, Hurricane Sandy touched down in Cuba causing severe damage in several cities2 and the consequences are still seen

figure 2.1.1a Context: Cuba

Havana

Santiago de Cuba

[History]

Cuba’s pre-Colonial period was populated by the indigenous Guanahatebeys, Siboneys and Taínos. The arrival of Christopher Columbus in 1492 and his assessment of Cuba as “the fairest island human eyes have yet beheld…”4 sparked the imminent colonization of the land. The early 16th century saw the gradual takeover of the country by Spanish colonizers which ultimately led to the displacement and near decimation of Cuba’s indigenous population. In fact, “it is calculated that when the Spanish arrived the number of indigenous Cubans was around 300,000. Less than 50 years after the conquest had begun, barely 4000 were left.”5 In 1510 Spanish-born Diego Velázquez was appointed governor of Cuba. As colonization spread throughout the island, seven settlements were swiftly founded. It has been said that there was little resistance from the indigenous population, apart from an Indian chief from Hispaniola (present day Haiti) named Hatuey.6 The Spanish introduced slavery to the island in addition to the rampant colonization. Consequently, slavery significantly contributed to Cuba’s cultural diversity. In fact, “almost on par with their arrival in Cuba and with the growing elimination of the island’s indigenous population, the Spanish conquistadors began to introduce black slaves, who would constitute the other essential root of the Cuban identity.” 7

Colonization was merely the beginning of Cuba’s continuous fight for independence. Over the last three centuries the Cuban people have been defined by their resilience and today it is part of their national identity. The following are some key events and figures in Cuba’s history which were instrumental in forming present-day Cuba:

1492 • Arrival of Columbus 1510 • Colonization begins Early 16th Century • Slavery is introduced 1754 • Seven Years’ War 1850s • Siboneyism poetic movement appears celebrating Cuban aboriginal people 1851 • Creation of the Cuban flag 1862 • Bacardi Limited is founded in Santiago de Cuba 1868 • Beginning of the Ten Years’ War 1875 - 1886 • Abolishment of slavery 1898 • Spanish-American-Cuban War 1899 • Era of US intervention begins Late 19th Century • Increasing arrival of US investors

1914 • World War I 1920s

1959

• Ruin of the island’s sugar industry; bankrupt sugar mills and thousands of hectares of Cuba’s best land bought by American companies 1921 • Many Cuban banks face bankruptcy 1930s

• Fidel Castro becomes Premier of Cuba

• The Communist Party developed a significant political and organizational base among Cuban workers, particularly in the sugar industry

• All companies in Cuba become nationalized – both foreign and domestic

• The National Confederation of Cuban Workers (CNOC) forms on the Cuban political and economic scene 1933 – 1934

• US Trade Embargo is imposed on Cuba

• Ramón Grau San Martín presidency – social reformist, nationalist agenda

1962 • Cuban Missile Crisis 1963 • 2nd Agrarian reform • Compulsory military service introduced 1965 • Cuban emigration is legalized 1967

1938 • The office of the Historian is established in Havana 1953 • The July 26 Movement is formed

• Cuban Revolution; President Batista resigns and flees Cuba • Agrarian Reform Act enforced (established in 1940 but not implemented until 1959) 1960 • Diplomatic relations are strengthened between Cuba and the Soviet Union

1961 • Bay of Pigs Invasion • Cuban Literacy Campaign is initiated

• Revolutionary figure Che Guevara is executed 1968 • Private bars and restaurants are closed 1991 • Collapse of the Soviet Union • The ‘Special Period’ begins 2002 • Referendum held and socialism is approved as a permanent system 2004 • US dollars are taken out of the Cuban economy and replaced by Cuban Convertible Pesos 2008 • Raúl Castro takes over as President of Cuba 2014 • Talks of normalizing the diplomatic relations between the US and Cuba emerge 2016 • US President Obama becomes the first president to visit Cuba since 1928

Context

[Economy]

As an island the country is subjected to a geographic isolation that has far reaching implications, especially in regards to its global economic presence. Cuba is home to approximately 11.2 million inhabitants and has a Gross Domestic Product of $134.3 billion, with a 1.3% growth rate and $11,950 per capita. It currently ranks in the 177th global position on the 2016 Index of Economic Freedom (between Venezuela and North Korea), according to the Heritage Foundation.8 Cuba’s economy has been described as a metaphor of its crumbling buildings: “On the front page of a Cuban newspaper recently there was an item about a two-story home in the old city of Havana that crumbled—and that in the course of its collapse, killed four people. This is a harsh glimpse of the physical reality facing many of the buildings across Havana and elsewhere in the country. But it’s also a metaphor for much of the Cuban economy. Cuba is, in many ways, an economy stuck in time and at risk of further unraveling.”9

The late 19th century provided economic optimism for the country as there was “an affirmation of the Spanish bourgeoisie in Cuba and [a] growing arrival of US investors.”10 Into the early 20th century Cuba and big companies like Bacardi were benefitting from the fact that “World War I [had made] the sugar trade particularly lucrative and Prohibition in the U.S. [had made] Havana a popular party destination for American tourists.”11 A couple short

years after the First World War sugar prices plummeted in Cuba effectively causing many Cuban banks to declare bankruptcy.12 World War II boosted the development of domestic industries and Cuba became a minor ally to the United States. Cuba was producing sugar solely for the U.S. between 1942 and 1947 and it was also during this period that Cuba was becoming ‘Americanized.’13 However, the country’s economic structure shifted with the nationalization of all businesses after 1959 which had vast economic repercussions. The enforcement of the 1959 Agrarian Reform Law gave way to Law number 890 which “established the Cuba nationalization of companies dealing with sugar, spirits, beverages, soap, perfume, milk products, chemicals, maritime transportation, railway communications, coffee, drugs, etc., irrespective of the owners’ nationality.”14 Cuba’s recent economic history can be illustrated by steep valleys and moderate crests. It peaked during the mid-1980s and then slowly declined until 1990 at which point it drastically plunged, coinciding with the fall of the Soviet Union. It is estimated that a third of Cuba’s economy was lost in the four years that followed. There was a slow recovery in the 2000s when low-cost petroleum was provided by Venezuela but it appears that Cuba’s economy has yet to recover from the 2008/09 global financial crisis.15 As a Communist country the State currently regulates and controls a majority of the formal economy. However, there is a substantial informal economic sector that exists and President Raúl Castro has recently allowed private businesses to begin to officially operate.

Today the major exports from Cuba are raw sugar, refined petroleum, rolled tobacco, hard liquor, and raw nickel, while its imports include wheat, refined petroleum, concentrated milk, corn, and poultry meat with Spain and China being the top trade partners.16

Context

[Politics]

The complex political history of Cuba has often been played out on the world stage. The country has endured colonization and the subsequent Wars of Independence, incessant U.S. interventions and a seemingly constant battle for their sovereignty. In 1938 the Communist Party of Cuba became legalized followed by the formation of the Workersâ&#x20AC;&#x2122; Confederation of Cuba in 1939.17 These two factions helped to form the progressive character of the Cuban nation. The mid-20th century saw the demise of the prominent dictatorship with the success of the Cuban Revolution in 1959. The rest of the 20th century however presented Cuba with economic and commercial challenges due in large part to the U.S.-imposed trade embargo and the collapse of the Soviet Union. These and other political events in Cubaâ&#x20AC;&#x2122;s history have had profound impacts on its economy and subsequently on its built heritage. However, the Cuban people have proved their resilience time and again and these events have helped to shape the Cuban culture and the strong sense of national identity that exists today.

Cuba is recognized as a Marxist-Leninist socialist state where the government controls a majority of the countryâ&#x20AC;&#x2122;s economic activities. Led by a Communist regime for the last 55 years, Cuba has successfully maintained its national identity both culturally and aesthetically. Despite the aggressive tactics of the U.S. to isolate the island politically and economically, Cuba has successfully maintained its independence with its limited resources. The efforts of the Revolution placed a strong emphasis on social programs

and today the largest national budgets belong to healthcare and education.18 Although Cuba faces scarcity in many regards, “education allows Cubans to be ingenious with the little they have available.”19 The population is composed of a mixed heritage including Spanish, Black African, Asian and at least half of the population is considered mixed race. In

2011 it was estimated that the net migration rate was-0.03%, indicating that there continues to be an issue with emigration of Cuban citizens. Spanish is the official language and the literacy rate is at an astonishing 99.8%.20 It is estimated that “eighty percent of college-aged Cubans were enrolled in post-secondary education in 2011, the highest in Latin America and the Caribbean.”21

Context

2.1.2

CUBA: WORLD HERITAGE SITES

At first glance there are considerable threats that can be identified pertaining to the context of this research. The geographical context presents threats in terms of the lack of resources due to the isolation of the nation on top of the environmental factors that affect the built heritage. The economic and political situation of Cuba in general poses further challenges to its delicate buildings. “Comprehensive laws and other legal instruments allow an adequate national protection system. There is an institutional structure working from the national to the local levels countrywide. A training system supported by both Cuban institutions and international organisations such as UNESCO, has had a positive influence on the conservation of historic towns and monuments and sites.”22 UNESCO World Heritage Properties in Cuba 23 Cultural Properties Cuba was first introduced to UNESCO’s World Heritage List in 1982 with the inscription of Old Havana and its Fortification System. Since then, six other cultural properties have been added to the List along with two natural properties. Trinidad and the Valley de los Ingenios was the next Cultural site to find its place on the World Heritage List in 1988. The listing indicates the success of the city of Trinidad in relation to its sugar industry and the adjacent valley as the origin of Cuba’s sugar industry in the 18th century.

In 1997 San Pedro de la Roca Castle in Santiago de Cuba was inscribed for the well-preserved condition of a defense fortification. Desembaro Viñales Valley in the province of Pinar del Río was added to the List in 1999 for its topography, vernacular architecture and traditional tobacco cultivation practices. In 2000 the provinces of Santiago de Cuba and Guantánamo were recognized for their shared Archaeological Landscape of the First Coffee Plantations in the South-East of Cuba. The cultural property demonstrates the social and economic significance of coffee cultivation in Cuba. The Urban Historic Centre of Cienfuegos was incorporated on the World Heritage List in 2005 citing it as an important trade center for sugar cane, tobacco and coffee as well as its modern urban planning. And most recently, in 2008, the Historic Centre of Camagüey city was incorporated. Natural Properties In 1999 the Desembarco del Granma National Park was inscribed as a Natural property, followed by the Alejandro de Humboldt National Park of Holguín and Guantánamo two years later. Today there are three additional properties on the Tentative List – all of which were nominated in 2003.

figure 2.1.2a UNESCO World Properties in Cuba

Viñales Valley, Pinar del Río [1999]

Trinidad and the Valley de los Ingenios [1988]

Old Havana and its Fortiﬁcation System [1982]

Historic Centre of Camagüey [2008]

Urban Historic Centre of Cienfuegos [2005]

Archaeological Landscape of the First Coﬀee Plantations, Santiago de Cuba and Guantánamo [1997] Desembarco del Granma National Park, Granma [1999] San Pedro de la Roca Castle, Santiago de Cuba [1997]

UNESCO Cultural Properties UNESCO Natural Properties

Alejandro de Humboldt National Park, Holguín and Guantánamo [2001]

2.1.3

CUBA: HERITAGE CONSERVATION

Havana, Cuba’s capital city, is internationally renowned for its heritage conservation program and policies and sets a high standard for the other major cities across the island. Dr. Eusebio Leal Spengler is the Historian of the City of Havana and responsible for spearheading a revolutionary conservation program that is skillfully implemented into the city’s master plan. In 1938 Havana’s Office of the Historian was established and became instrumental in understanding the value of the heritage of the city’s Historic Centre. Since then the historian’s office in Havana has tirelessly strived for a heritage preservation and urban revival program that recognizes the inhabitants of the city as the primary stakeholders.24 The Cuban Revolution provided a unique set of circumstances and “the profound social changes occurring in the island in 1959 put a halt to the unfortunate process which all the capital cities in Latin America experienced, one after the other: the loss of extensive traditional central zones and also in many cases their Historic Centres.”25 While development was on the rise across Latin America during the mid-twentieth century, Cuba’s isolation (specifically from the United States) left the urban fabric of the country’s historic centres relatively unaltered for decades.

Funding was provided by the State in 1981 for the investment of the restoration of the Historic Centre of Havana and the department of Architecture likewise came into being during this time implementing the Five-yearly Restoration Plans.26 Later, in 1990 the fall of the Soviet Union deeply impacted the economic situation of Cuba. The Cuban State was no longer able to fund the rehabilitation of Havana but it was “aware of the responsibility involved in saving a heritage that belonged not only to the Cubans, but also to humanity.”27 There is a national protection system for heritage sites in Cuba based on “comprehensive laws and other legal instruments.”28 Conservation work is supported from the national level

down to the local level across the country and “a training system supported by both Cuban institutions and international organisations such as UNESCO, has had a positive influence on the conservation of historic towns and monuments and sites.”29 Havana’s management model has proven itself to generate its own income, which is then used to fund social and cultural urban projects.30 It is estimated that 60 percent of the money generated from businesses established by the Historian’s Office are “devoted to projects which continue to yield financial benefits for the restoration work, and approximately 40 percent are spent on social projects.31 Additionally, “the National DOCOMOMO group and the Committee for Cultural Heritage in the Cuban Union of Architects and Engineers are also currently working on a detailed list of Modern landmarks to be submitted to the National Commission in order to be declared National or Local Monuments according to their significance or to be considered as legally Protected Places, while broader research on their values is undertaken.”32 However, 20th century heritage in Cuba is currently at risk as it “is not yet fully recognised as something worthy of preservation and appropriate for wise use.”33 In this regard the relevance of this thesis research is amplified. Not only is the built heritage of Cuba at risk for environmental and economic factors but it is at further risk because there is a lack of knowledge pertaining to their value. Every building in Cuba is irrefutably connected to the land upon which it is built and the social structure of the country. Therefore, it is essential to avoid discussing Cuba’s built heritage in isolation of its context.

Context

2.1.4

CUBA: LEGAL FRAMEWORK OF HERITAGE CONSERVATION

Following the Cuban Revolution investments were shifted from the capital city to the rural areas with the hopes of balancing territorial development.34 During the same time frame and in response to the cultural and educational mandates proposed by the newly formed communist government in the 1960s, the National Commission for Landmarks was produced as a preliminary guideline for the protection of monuments. Not long afterwards the Venice Charter was created, increasing the scope of preservation work in Cuba.35

In 1976 the National Assembly of Cuba approved the National Cultural Heritage law and the National and Local Landmarks law. Law 1 – the Protection of Cultural Heritage was established specifying the identification of properties that belong to the cultural heritage of the country. Article 4 lists organizations responsible for appointing delegates which include the State Finance Committee, National Bank of Cuba, Ministry of Education, Ministry of Justice, and National Institute of Tourism, to name a few.36 The following year Law 2 - the Law on National and Local Monuments was created. Article 1 of Decree 55 addresses the registration of National and Local Monuments as formal recognition of their values. The document stipulates that it is the responsibility of the National Monuments Commission to propose conservation projects to the Ministry of Culture.37 In 1981 Cuba signed the World Heritage Convention, pledging to “conserve not only the World Heritage sites situated on its territory, but also to protect its national heritage.”38

Decree 143, approved in 1994, “granted the OHCH (Office of the Historian of Havana) the legal power to redevelop state properties in the historic center for use as hotels, restaurants, museums and other commercial purposes, as well as to tax state companies in the area. This in turn enabled the OHCH to act as its own investor and self-finance the rehabilitation of Old Havana.39 The government’s approval of Decree 143 has meant that the restoration work in the historic center has become economically autonomous and no longer dependent on state subsidies. The context of Cuba places a “focus on crafting a present and possible future for socialism [which] supersedes the emphasis on outstanding universal value and the monument-based, past-oriented approach...In this new context, there is greater freedom to ‘fashion’ a useful heritage out of the available materials (relics, memories, histories) in order to address contemporary needs and to create a future for socialism.”40 Heritage laws in other countries may be seen as irrelevant in Cuba as the political and social structure of Cuba tends to dictate many decision making processes. “In the late socialist context, the OHCH suddenly had to generate its own revenues, attract tourists, care for an aging population, deal with nagging infrastructure problems, create sources of employment, collect taxes, address problems of security, and solve an outsized housing population.” 41 The uniquely tailored approach to heritage conservation in Cuba has proven to be highly effective as it was designed for its very specific context.

2.2 Santiago de Cuba 2.2.1

GEOGRAPHY, HISTORY AND DEMOGRAPHICS

The South-eastern region of Cuba is referred to as the Oriente de Cuba and is comprised of the provinces of Guantanamo, Holguín, Las Tunas, Granma, and Santiago de Cuba. Jamaica and Haiti are the closest neighbouring countries to the south of the Oriente region. The topography of the province of Santiago de Cuba claims Cuba’s longest river, the Cauto, as well as the Sierra Maestra mountain range. The province sits between Granma and Guantanamo on Cuba’s southern coastal line. The particular geographic location and features of Santiago de Cuba make for humid environmental conditions with a distinct rainy season.

[Geography]

The city of Santiago de Cuba shares its name with the province and is approximately 900 km from the capital city of Havana. It occupies a large central valley at the base of the Sierra Maestras with a deep bay on the west side of the city that acts as an important port location and opens up to the Caribbean Sea. This dramatic natural setting has an intimate connection with the built environment of Santiago de Cuba and is described as follows: “The early town emerged at the end of the inlet in an undulating valley surrounded by mountain ranges that serve to create a natural amphitheatre. From that point on, landscape and city remained inextricably linked both in the emergence of the urban layout and the location of the public spaces and key buildings.”42

figure 2.2.1a Santiago de Cuba, Cuba

[History]

Santiago de Cuba is considered one of the most important cities in Cuba and is celebrated for its great historical significance. The city has a long history as a battleground therefore it is appropriate that the city’s name is derived from, and in honour of, Santiago Apostle- a Spanish warrior saint.43 Founded in 1515 by Spanish colonizer Diego Velázquez de Cuéllar, Santiago de Cuba was declared a City and was established as the capital of Cuba.44 This title was awarded to the port city “due in part its proximity to the viceroyalty of Hispaniola as well as its sheltered bay”45 which it held until 1553 when the Governor’s seat was moved to Havana.46 San Pedro de la Roca Castle, built in 1638, is an imposing fortification guarding the opening of Santiago de Cuba’s bay. It attests to the history of warfare that Santiago de Cuba has experienced and is recognized as a World Heritage Site based on its “outstanding representative of the Spanish-American school of military architecture.”47 As feuds intensified between England and Spain, the British aggressively attacked Santiago in 1662. This prompted the creation of one of the earliest known maps depicting the city of Santiago de Cuba.48 The late 18th century saw a growing cultural and ethnic diversity in Santiago de Cuba. Of particular significance was the Haitian salve revolt of 1791 where many French and British slave owners migrated from Haiti to Cuba with their slaves.49 Slavery fueled the sugar industry and by the early 19th century Santiago de Cuba had a strong industrial and commercial distinction.

figure 2.2.1b Map of Santiago de Cuba, 1662 38

The mid-19th century saw the beginning of independent trade that “led to hybrid formulas that were brought about by a series of factors: the increasing numbers of black Africans; the emergence of new needs amongst the rural nobility; capital investment in legal and illegal trade (piracy and the sugar refineries); the establishment of an urban population; the strengthening position of individual tenancy and the appearance of more free workers in the city.”50 The city was slow to develop and by the early 19th century development of the urban environment was still continuing. To demonstrate the progress that was being made, building projects were promoted. Between 1820 and 1823 the return of a constitutional system ultimately “led to the construction of new districts, streets and a cemetery on the outskirts of Santiago de Cuba, as well as great efforts to construct a new harbor and a road network to stimulate internal trade.”51

became a catalyst for the larger and successful attacks that eventually ousted dictator Batista. The Sierra Maestra mountain range was occupied by guerrilla warfare in the years that followed. It wasn’t until 1959 that Fidel Castro finally declared the victory of Cuba’s revolution from a balcony of Santiago de Cuba’s city hall building. Santiago’s revolutionary history earned it the name of Heroic City of the Republic of Cuba.54 The victory of the revolution had a significant effect of the urban development of Santiago de Cuba. There was a concentrated effort on “balancing the differences between the capital and the rest of the territory and the huge inequalities between the country side and the urban countryside and the urban centres. Fundamental issues such as education, health, culture and sport, played a major role in promoting modern architecture as a response to multiple accumulated needs.”55

In 1895 Santiago de Cuba became a battleground for the American-CubanSpanish war which eventually saw the end of Spanish colonial rule in the Americas in 1898.52 San Juan Hill is a landmark in the city commemorating the American and Cuban battle against the Spanish. The Wars of Independence affected urban development and it wasn’t until the 20th century that urban progress sprouted. An area of working class districts formed around the Historic Center and due to a lack of proper urban planning, a chaotic road network began to take shape.53 Santiago de Cuba became a significant city in the early phases of the Cuban Revolution. The failed July 26 Movement in 1953 led by Fidel Castro

Context

[Demographics]

Today the population of Santiago de Cuba is close to one million inhabitants, making it the second largest urban population after Havana.56 The population is composed of Spanish, French Haitians and Africans, carrying with them a vibrant and eclectic Cuban culture. The national identity of Cuba is particularly strong in Santiago de Cuba. “A sociological survey prepared in 2000 as input for a master plan for the restoration of the city revealed that over 52 percent of the residents were born in the historic quarter, and nearly 80 percent are Santiago natives.”57 The strong cultural identity that currently exists in Santiago is deeply rooted. Heritage practices in Santiago de Cuba have taken the lead from Havana’s success under Historian Eusebio Leal. “In general terms, the results achieved in the conservation of Cuban heritage have been possible due to a defined cultural policy, among the main reasons being the existence of comprehensive legal instruments regarding the national legacy, the approval and implementation of innovative managing and funding methods for Old Havana led by Historian Eusebio Leal and later followed by Santiago de Cuba.”58

2.3 Industrial Heritage The International Committee for the Conservation of the Industrial Heritage (TICCIH), is a global organization interested in the promotion of “international cooperation in preserving, conserving, investigating, documenting, researching, interpreting, and advancing education of the industrial heritage. This wide field includes the material remains of industry – industrial sites, buildings and architecture, plant, machinery and equipment – as well as housing, industrial settlements, industrial landscapes, products and processes, and documentation of the industrial society.” 59 Within the framework of TICCIH, The Nizhny Tagil Charter for the Industrial Heritage (2003)60 is a universally promoted document outlining the values of industrial heritage and is the first international text of its kind offering guidance in the protection of industrial heritage. TICCIH is a highly regarded organization with whom which the International Council on Monuments and Sites (ICOMOS)61 relies on for consultation of historically significant industrial sites of patrimonial value. The Dublin Principles (2011)62 is an agreement on Principles for the Conservation of Industrial Heritage Sites, Structures, Area and Landscapes between ICOMOS and TICCIH. The Nizhny Tagil Charter for the Industrial Heritage identifies industrial heritage as the “remains of industrial culture which are of historical, technological, social, architectural or scientific value.” The remains identified include the built environments used for manufacturing, mining, energy generation, transport and their related machinery. The Nizhny Tagil Charter of 2003 identifies the following values of industrial heritage:63

i. The industrial heritage is the evidence of activities which had and continue to have profound historical consequences. The motives for protecting the industrial heritage are based on the universal value of this evidence, rather than on the singularity of unique sites. ii. The industrial heritage is of social value as part of the record of the lives of ordinary men and women, and as such it provides an important sense of identity. It is of technological and scientific value in the history of manufacturing, engineering, construction, and it may have considerable aesthetic value for the quality of its architecture, design or planning. iii. These values are intrinsic to the site itself, its fabric, components, machinery and setting, in the industrial landscape, in written documentation, and also in the intangible records of industry contained in human memories and customs. iv. Rarity, in terms of the survival of particular processes, site typologies or landscapes, adds particular value and should be carefully assessed. Early or pioneering examples are of especial value.

Context

Of particular significance to this research, the Nizhny Tagil Charter recognizes the adaptation of industrial sites and buildings as an acceptable form of conservation and as a contribution to sustainable development with the understanding that any interventions should respect the material context and be compatible with the principal use. The adaptive re-use of the Embotelladora is the culmination of this thesis research and is presented in Section 7 of this thesis document. The Industrial Revolution of the mid-eighteenth century defined developmental change around the world in varying degrees. It is from this period in history to the present day in which industrial heritage can be acknowledged. The Dublin Principles state that, â&#x20AC;&#x153;industrial heritage is highly vulnerable and often at risk, often lost for lack of awareness, documentation, recognition or protection but also because of changing economic trends, negative perceptions, environmental issues or its sheer size and complexity. Yet, by extending the life-cycle of existing structures and their embodied energy, conservation of the built industrial heritage, can contribute to achieving the goals of sustainable development at the local, national and international levels.â&#x20AC;? 64

The Dublin Principles clearly declare the importance of documentation and research of industrial heritage sites and that the evaluation of industrial heritage must include the historical, technological and socio-economic aspects. It is the expectation that this research will demonstrate effective documentation of the Embotelladora and a thorough analysis of both its physical and sociological characteristics.

2.4 Industrial Heritage of Cuba

Cuba has an extensive and dramatic history involving industrial heritage. Cubaâ&#x20AC;&#x2122;s prominent industries, both past and present, are dispersed throughout the island and each region is recognized for its industrial contribution to the Cuban economy. The dark side of industrial heritage in Cuba began in 1523 when the first African slaves arrived to work in mines. El Cobre, a pilgrimage site 20 km north of the city of Santiago de Cuba, was founded in 1599 as a copper mining centre operated almost exclusively by slave labour. Slavery continued in Cuba for over three centuries and peaked in 1791 as a result of the Haitian Revolution which saw an arrival of French Haitian immigrants who brought sugar and coffee planters with them. At this point in history Cuba became the main slave importer in the Caribbean.65 â&#x20AC;&#x153;The arrival of French colonists gave rise to the partitioning of the ranches, which were subsequently sold and exploited as slave-labour coffee and sugar plantations.â&#x20AC;?66 Slavery was not completely abolished in Cuba until the 1880s, fifty years after Spain had abolished it.67

The early colonizers in Cuba required shelter and therefore some of the first industries included building materials for settlements of lime, stone, wood and clay.68 Tobacco cultivation began in Cuba in 1580 and in 1717 there was an elevated interest in the tobacco industry in the Oriente region which saw the formation and growth of tobacco farms.69 By the 1880s there were over 10,000 tobacco plantations in the Island.70 In the early 19th century the economy was boosted by a free trade policy which resulted in an increase in sugar mills and coffee plantations and the volume of exports.71 The Industrial Revolution gradually reached Cuba. In 1820 the steam machine was introduced to the island72 and in the 1850s mass production of steel led to the use of steel as an essential building material.73

Context

The Bacardi family opened the original Bacardí factory in 1868 and although the company became nationalized after the Cuban Revolution, traditional rum is still produced in Cuba. The factory continues to produce nine million liters of rum a year, of which 70% is exported.74 “The end of the 19th century saw the affirmation of a Spanish bourgeoisie in Cuba and the growing arrival of U.S. investors.”75 In 1889 it was reported that “of Cuba’s 28,000,000 acres, about 2,000,000 were dedicated to the raising of the sugar crop, which at the time amounted to slightly less than half of the world’s cane-sugar product.”76 The ideal conditions for the growth and development of sugar cane combined with vast amount of land rendered the product the best on the globe and offered the possibility of generating insurmountable wealth for the country. Unfortunately, the effects of the war of independence of 1896 devastated both the land and the laborers and the industry has never fully recovered to this day.77

“Following the demise of the Soviet Union in 1991, the Cuban economy – reliant since the 1960s on Soviet subsidies – went into freefall. Almost overnight half the country’s industrial factories closed, the transport sector ground to a halt, and the national economy shrunk by as much as 60%.”80 The effects of the collapse of the Soviet Union are still seen in the abandoned industrial buildings across Cuba. Today the province of Santiago de Cuba is home to “eight sugar mills, a refinery, a thermoelectric power station, a cement factory, an industrial estate, mines, a flour mill”81 and countless other industrial economic potentials. Inventories of architectural industrial heritage in Santiago de Cuba have been produced by the Universidad de Oriente. These inventories classify the various industrial processes into: Beverages and Liquors, Food production, Chemicals, Tobacco, Textiles, and Confectionaries in both the Colonial and Revolutionary periods of Cuba.82

In 1899 it was published that Santiago de Cuba possessed all the agricultural products found in the other Cuban provinces, and that it also contained deposits of gold, iron, copper, zinc, asphalt, manganese, mercury, marble and alabaster, rock crystal, and gems, making its commerce the most extensive.78 Architecturally, Cuba benefitted from the industrialization of modern building practices. “During the 1960s and 1970s prefabricated structures were used not only to solve housing problems but also many other social, industrial and agricultural issues.”79

figure 2.4.1a Industries in Santiago de Cuba 82

2.5 Introduction to Case Study 2.5.1

LOCATION

Slightly north of Santiago de Cuba’s Centro Historico in Reparto San Pedrito, La Fábrica de Cerveza Hatuey sits between Carretera Bacardi and the city’s first railroad line. Its iconic water tower in the form of an over-sized beer bottle can be seen from various locales within the city making La Fábrica de Cerveza Hatuey a prominent and recognizable landmark in the city of Santiago de Cuba. The expansive site is clearly defined as a site of industrial production. The first buildings of La Fábrica de Cerverza were built at the north end of the site. The Embotelladora (bottling plant) was one of these original buildings and is the focal point of this research.

figure 2.5.1a La Fábrica de Cerveza Hatuey in relation to Santiago’s Historic Center

Context

2.5.2

HISTORY

The history of the Hatuey beer dates back to pre-colonial times when indigenous people were the only inhabitants of Cuba. Hatuey was a Taíno chief in the early 16th century and is celebrated to this day as one of Cuba’s first national heroes for rebelling against the Spanish colonists. The legend of Hatuey resurfaced in literature around 1850 when the poetic movement Siboneyism appeared, founded by the Bayamo poets José Fornaris and Juan Cristóbal Nápoles Fajardo. Nápoles Fajardo was also known by the nickname, El Cuculambé and he was influential in that he created an image of distant and lost Cuban ancestors.83 Among the great indigenous figures in Cuban history he wrote about Hatuey, “the mythical but historic Taíno chief whom the conquistadors burned at the stake.”84 Emilio Bacardi describes Hatuey’s actions as “the foundation for a tradition of ‘constant rebellion’ in and around Santiago.”85 Hatuey beer is named and branded after this indigenous legend and his iconic image is represented in various artistic forms in Santiago de Cuba throughout the island.

Facundo Bacardí was a Catalan merchant who started a rum business in Santiago de Cuba in 1862. His eldest son was Emilio Bacardí and was the first Bacardí born in Cuba.86 The Bacardi family had a strong presence in Santiago de Cuba and were regarded as patriotic but even more so, deeply connected to Santiago de Cuba. In 1914 the Santiago Brewing Company was established and the following year Hatuey became a registered brand. The Santiago Brewing Company was in operation for only a few more years before the Compañía Ron

figure 2.5.2a Bust of Hatuey, Baracoa

Bacardí took over in 1920. 87 Enrique Schueg, an in-law to the Bacardí family, contracted George J. Friedrich to refine the Hatuey recipe and the Cervecería Hatuey was built in 1926 to facilitate the Cerveza Hatuey production.88 By 1927 the Bacardí Company expanded their role in the Cuban economy by officially opening the Hatuey brewery in Santiago de Cuba.89 In 1930, Joaquin Bacardí became Hatuey’s first Brew Master after returning to Cuba from Copenhagen where he had studied the science of brewing.90 The beer gained popularity as quality became the focus of production. Water was taken exclusively from springs in the province91 and by 1959, Hatuey was responsible for 50% of the beer market in Cuba and over 10

million cases of Hatuey beer were produced annually.92 The Cuban Revolution saw the exile of the Bacardi family when all companies in Cuba became nationalized and La Fábrica de Cerveza Hatuey has been State-run since 1960. Although the factory still actively produces the Hatuey national beer, it is said that it is operating at only 50% of its capacity.93 In 1978 “a cutting-edge bottling hall was added to the plant…coming from the German Federal Republic”94 leaving the original Embotelladora abandoned. Although the Hatuey brand is less popular than other national beer brands Bucanero and Cristal, the factory holds on to its legacy as it is the most consumed beer during Santiago’s famous Carnival every July. 95

figure 2.5.2b Bacardi: Cerveza Hatuey 90

figure 2.5.2c Santiago Brewing Company branding 90 Context

2.5.3

SITE

Entrance to the factory property is restricted and special permission for access was granted in the interest of this thesis research. The immense site occupies approximately 68,000 m2 of land and consists of administration offices, grain storage, milling and mashing vats, fermentation, filtration and conditioning tanks, cooling and bottling facilities. An administrative office is positioned adjacent to the entrance gate where the visitor is immediately confronted with the iconic Hatuey beer bottle water tank. One major roadway leads from the entrance gate to the rear of the site and all beer production activity flanks this road. The original entrance gate, seemingly much more official, is on the residential Bacardi Street and is now inaccessible.

figure 2.5.3a La Fรกbrica de Cerveza Hatuey, 194090

2.5.4

DESCRIPTION OF THE EMBOTELLADORA

The Embotelladora and the former Principle building are arguably the two most remarkable buildings within the extents of the factory but both currently have no function. They are structurally connected to one another and aesthetically linked with their art deco faรงades. The Embotelladora is a long rectangular two storey building. It measures approximately 70 meters by 20 meters. The interior of the building merely consists of its steel structural frame and the second storey is open to the environment as the windows and roof are non-existent. Overall, the building is in a poor state of conservation but the remaining exterior walls and the vast space they enclose are a testament to a former era of exuberance with their simplistic and elegant geometric design.

figure 2.5.4 North East view of the Embotelladora

[Section 2: Endnotes] 1

Cedar Lake Ventures (2015) Average Weather for Santiago de Cuba. Available at: https://weatherspark.com/averages/32671/ Santiago-de-Cuba (Accessed: 9 October 2015).

Hunt, N. (2008). Hurricane Sandy. Retrieved June 11, 2016, from http://www.cubahurricanes.org/history-hurricane-sandy.php

Cotilla Rodriguez, M. O., Franzke, H. J., & Cordoba Barba, D. (2007). Seismicity and seismoactive faults of Cuba. Russian Geology and Geophysics,48(6), 505–522. doi:10.1016/j.rgg.2006.08.004

Vilaboy, S. G., & Vega, O. L. (2010). Cuba: A History. North Melbourne, Australia: Ocean Press.

Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana, p.17

Vilaboy, S. G., & Vega, O. L. (2010). Cuba: A History. North Melbourne, Australia: Ocean Press, p.5

Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana, p.22

8 The Heritage Foundation. (2016a). Cuba. Retrieved April 13, 2016, from 2016 Index of Economic Freedom, http://www.heritage.org/index/country/cuba

9 Dominguez, J. I. (2015, August 17). What you might not know about the Cuban Economy. Retrieved February 21, 2016, from International business, https://hbr.org/2015/08/ what-you-might-not-know-about-the-cuban-economy 10 Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana, p.46 11 Atlas Obscura. (2016, April 8). Bacardi Building. Retrieved June 26, 2016, from Atlas Obscura, http:// www.atlasobscura.com/places/bacardi-building

12 Vilaboy, S. G., & Vega, O. L. (2010). Cuba: A History. North Melbourne, Australia: Ocean Press, p.52 13 Vilaboy, S. G., & Vega, O. L. (2010). Cuba: A History. North Melbourne, Australia: Ocean Press, p.67 14 Hunt, N. (1959, May). Cuba Nationalization Laws. Retrieved June 1, 2016, from http://www. cubaheritage.org/articles.asp?lID=1&artID=236 15 Dominguez, J. I. (2015, August 17). What you might not know about the Cuban Economy. Retrieved February 21, 2016, from International business, https://hbr.org/2015/08/ what-you-might-not-know-about-the-cuban-economy 16 Simoes, A. (2013). The Observatory of Economic Complexity. Retrieved March 20, 2016, from http:// atlas.media.mit.edu/en/profile/country/club/ 17 Vilaboy, S. G., & Vega, O. L. (2010). Cuba: A History. North Melbourne, Australia: Ocean Press, p.66 18 Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana, p.105 19 Kurmanaev, A., Martin, E., & Valle, S. (2014, December 31). Cuba’s Frustrated Engineers Hold Key to Fasttrack GDP Growth. Bloomberg. Retrieved from http:// www.bloomberg.com/news/articles/2014-12-31/ cubas-frustrated-engineers-hold-key-to-fasttrack-gdp-growth 20 Cubanaturetravel. (2016, November 8). Demographics facts of Cuba. Retrieved January 30, 2016, from http://www.cubanaturetravel.com/demographics 21 Kurmanaev, A., Martin, E., & Valle, S. (2014, December 31). Cuba’s Frustrated Engineers Hold Key to Fasttrack GDP Growth. Bloomberg. Retrieved from http:// www.bloomberg.com/news/articles/2014-12-31/ cubas-frustrated-engineers-hold-key-to-fasttrack-gdp-growth

22 ICOMOS: Heritage at Risk (2015) Available at: http://www.icomos. org/risk/world_report/2000/cuba_2000.htm (Accessed: 6 May 2016). 23 UNESCO World Heritage Centre. (2016) States Parties – Cuba. Available at: http://whc.unesco.org/en/ statesparties/cu (Accessed: 15 February 2016). 24 Aloma, P. R. (1999). La Oficina del Historiador de la Ciudad de la Habana: Desafio de Una Utopia / The Office of the Historian of the City of Havana: Challenge of a Utopia. United States: Colegio Oficial de Arquitectos Vasco Navarro. 25 Aloma, P. R. (1999). La Oficina del Historiador de la Ciudad de la Habana: Desafio de Una Utopia / The Office of the Historian of the City of Havana: Challenge of a Utopia. United States: Colegio Oficial de Arquitectos Vasco Navarro, p. 19 26 Aloma, P. R. (1999). La Oficina del Historiador de la Ciudad de la Habana: Desafio de Una Utopia / The Office of the Historian of the City of Havana: Challenge of a Utopia. United States: Colegio Oficial de Arquitectos Vasco Navarro, p. 29 27 Aloma, P. R. (1999). La Oficina del Historiador de la Ciudad de la Habana: Desafio de Una Utopia / The Office of the Historian of the City of Havana: Challenge of a Utopia. United States: Colegio Oficial de Arquitectos Vasco Navarro, p. 29 28 ICOMOS: Heritage at Risk (2015) Available at: http://www.icomos. org/risk/world_report/2000/cuba_2000.htm (Accessed: 6 May 2016). 29 ICOMOS: Heritage at Risk (2015) Available at: http://www.icomos. org/risk/world_report/2000/cuba_2000.htm (Accessed: 6 May 2016). 30 Matos, O. (2006, October 23). CUBA: Havana Offers Unique Model for Restoring History. Retrieved July 22, 2016, from Inter Press Service News Agency, http://www.ipsnews.net/2006/10/ cuba-havana-offers-unique-model-for-restoring-history/

31 Matos, O. (2006, October 23). CUBA: Havana Offers Unique Model for Restoring History. Retrieved July 22, 2016, from Inter Press Service News Agency, http://www.ipsnews.net/2006/10/ cuba-havana-offers-unique-model-for-restoring-history/ 32 ICOMOS: Heritage at Risk (2015) Available at: http://www.icomos. org/risk/world_report/2000/cuba_2000.htm (Accessed: 6 May 2016). 33 ICOMOS: Heritage at Risk (2015) Available at: http://www.icomos. org/risk/world_report/2000/cuba_2000.htm (Accessed: 6 May 2016). 34 Rigol Savio, I., & ICOMOS Cuba. (2000, April). The Cuban National Experience. U.S. Preservation in the Global Context, Indianapolis, Indiana, USA. Retrieved from https://www.scribd. com/document/38091987/The-Cuban-National-Experience 35 Rigol Savio, I., & ICOMOS Cuba. (2000, April). The Cuban National Experience. U.S. Preservation in the Global Context, Indianapolis, Indiana, USA. Retrieved from https://www.scribd. com/document/38091987/The-Cuban-National-Experience 36 World Intellectual Property Organization. (1976). Cuba: Law on the Protection of the Cultural Heritage (law no. 1 of 1976). Retrieved August 10, 2016, from WIPO, http:// www.wipo.int/wipolex/en/details.jsp?id=11222 37 World Intellectual Property Organization. (1977). Cuba: Reglamento para la ejecución de la ley de los monumentos nacionales y locales (approbado por el Decreto N° 55 del Comité Ejecutivo del Consejo de Ministros. Retrieved August 8, 2016, from WIPO, http://www.wipo.int/wipolex/en/text.jsp?file_id=245737 38 UNESCO World Heritage Centre. (2015). The Operational Guidelines for the implementation of the World Heritage Convention. Retrieved from http://whc.unesco.org/en/guidelines/ 39 Labadi, S., & Logan, W. (Eds.). (2015). Urban Heritage, Development and Sustainability: International Frameworks, National and Local Governance. Abingdon, United Kingdom: Routledge, p.219

40 Labadi, S., & Logan, W. (Eds.). (2015). Urban Heritage, Development and Sustainability: International Frameworks, National and Local Governance. Abingdon, United Kingdom: Routledge, p.221 41 Labadi, S., & Logan, W. (Eds.). (2015). Urban Heritage, Development and Sustainability: International Frameworks, National and Local Governance. Abingdon, United Kingdom: Routledge, p.221 42 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura = an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.67 43 Hunt, N. (2016b). Santiago de Cuba - History. Retrieved January 30, 2016, from http://www. santiagodecubacity.org/en/history/foundation.html 44 Carley, R. and Brizzi, A. (1997) Cuba: 400 years of Architectural Heritage. 1st edn. New York: Watson-Guptill Publications, p.218 45 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.12 46 Carley, R. and Brizzi, A. (1997) Cuba: 400 years of Architectural Heritage. 1st edn. New York: Watson-Guptill Publications, p.218.

47 UNESCO World Heritage Centre. (1997, December 7). San Pedro de la Roca Castle, Santiago de Cuba. Retrieved July 6, 2016, from UNESCO World Heritage Centre, http://whc.unesco.org/en/list/841 48 Lopez Rodriguez, O. (2005). La Cartografia de Santiago de Cuba. Santiago de Cuba y Sevilla: Oficina del Conservador de Santiago de Cuba, p.11

49 Carley, R. and Brizzi, A. (1997) Cuba: 400 years of Architectural Heritage. 1st edn. New York: WatsonGuptill Publications, p.218 50 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura = an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.47 51 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.18 52 Carley, R. and Brizzi, A. (1997) Cuba: 400 years of Architectural Heritage. 1st edn. New York: WatsonGuptill Publications, p.218 53 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.67 54 Jones, A. N. (2009, October 7). Santiago de Cuba under Restoration. Retrieved May 6, 2016, from http://www. havanatimes.org/?p=14761

55 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura = an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.34

64 The International Committee for the Conservation of the Industrial Heritage (TICCIH) (2011). The Dublin Principles. ICOMOS General Assembly, 28 November 2011. Available at: http://ticcih.org/about/ about-ticcih/dublin-principles/ (Accessed: 22 February 2016).

56 Cubanaturetravel. (2016, November 8). Demographics facts of Cuba. Retrieved January 30, 2016, from http://www.cubanaturetravel.com/demographics

65 Carley, R. and Brizzi, A. (1997) Cuba: 400 years of Architectural Heritage. 1st edn. New York: Watson-Guptill Publications, p.281

57 Jones, A. N. (2009, October 7). Santiago de Cuba under Restoration. Retrieved May 6, 2016, from http://www.havanatimes.org/?p=14761 58 ICOMOS: Heritage at Risk (2015) Available at: http://www.icomos. org/risk/world_report/2000/cuba_2000.htm (Accessed: 6 May 2016). 59 The International Committee for the Conservation of the Industrial Heritage (TICCIH). Guiding principles & agreements (no date) Available at: http://ticcih.org/ about/about-ticcih/ (Accessed: 02 November 2015). 60 The International Committee for the Conservation of the Industrial Heritage (TICCIH) (2003). The Nizhy Tagil Charter for the Industrial Heritage. National Assembly of TICCIH, Moscow, 17 July, 2003. Available at: http://ticcih.org/ about/about-ticcih/ (Accessed: 02 January 2016). 61 International Council on Monuments and Sites (ICOMOS) Available at: http://www.international.icomos.org/ 62 The International Committee for the Conservation of the Industrial Heritage (TICCIH). (2011, November 28). The Dublin Principles. Retrieved May 10, 2016, from http:// ticcih.org/about/about-ticcih/dublin-principles/ 63 The International Committee for the Conservation of the Industrial Heritage (TICCIH) (2003). The Nizhy Tagil Charter for the Industrial Heritage. National Assembly of TICCIH, Moscow, 17 July, 2003, p.2

66 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.18 67 Carley, R. and Brizzi, A. (1997) Cuba: 400 years of Architectural Heritage. 1st edn. New York: Watson-Guptill Publications, p.281 68 Santos, G. S., Valdes, A. P., & Juan De Las Cuevas Toraya (2001). 500 Años de Construcciones en Cuba. Spain: Chavín, Servicios Gráficos y Editoriales, p. 224 69 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.16 70 Porter, R.P. (1899) Industrial Cuba. New York: The Knickerbocker Press, p.208 71 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.54 72 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.54

73 A+E Networks. (2009). Industrial Revolution - Facts & Summary. Retrieved February 17, 2016, from history.com, http://www.history.com/topics/industrial-revolution 74 Sainsbury, B., & Gorry, C. (2007). Lonely Planet Cuba (3rd ed.). Barcelona: Lonely Planet Publications, p.403 75 Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana, p.46 76 Porter, R.P. (1899) Industrial Cuba. New York: The Knickerbocker Press, p.190 77 Porter, R.P. (1899) Industrial Cuba. New York: The Knickerbocker Press, p.89 78 Porter, R.P. (1899) Industrial Cuba. New York: The Knickerbocker Press, p.89 79 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.34 80 Sainsbury, B., & Gorry, C. (2007). Lonely Planet Cuba (3rd ed.). Barcelona: Lonely Planet Publications, p.460 81 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura - an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.59 82 Herrero Dáger, S., & Rosales Lacerra, A. C. (2008). Tesis presentade en opción al título de Architecto: Patrimonio Arquitectónio Vinculado a la Producción Industrial de Bebidas y Licores en Santiago de Cuba en la etapa de la Republica. Santiago de Cuba. 83 Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana. (p.19).

84 Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana. (p.17). 85 Gjelten, T. (2008). Bacardi and the Long Fight for Cuba: The Biography of a Cause. United States: Penguin Group, p.2 86 Gjelten, T. (2008). Bacardi and the Long Fight for Cuba: The Biography of a Cause. United States: Penguin Group, p.1 87 Gjelten, T. (2008). Bacardi and the Long Fight for Cuba: The Biography of a Cause. United States: Penguin Group, p.1 88 Moreno, A. (2013, April 15). What’s cookin’: Cuban Gold: The making of Hatuey and la Tropical [Cuban Heritage Collection]. Retrieved from http://library.miami.edu/chc/2013/04/15/ whats-cookin-cuban-gold-the-making-of-hatuey-and-la-tropical/ 89 Gjelten, T. (2008). Bacardi and the Long Fight for Cuba: The Biography of a Cause. United States: Penguin Group. 90 Hatuey. (2014). Retrieved May 5, 2016, from http://www.hatuey.com/history/ 91 Caribbean News Digital. (2007, August). 101th Anniversary of “Hatuey” Beer Celebrated in Santiago de Cuba. Retrieved April 7, 2016, from Caribbean News Digital, http://www. caribbeannewsdigital.com/en/noticia/101th-anniversary%E2%80%9Chatuey%E2%80%9D-beer-celebrated-santiago-de-cuba 92 Bebebeer. (2016). La Historia de la Cerveza Hatuey. Retrieved March 29, 2016, from Conexión Cubana, http://www.conexioncubana.net/la-cueva-del-pirata-2/ generalidades-de-las-bebidas-cubanas/4652-cerveza-hatuey 93 Caribbean News Digital. (2007, August). 101th Anniversary of “Hatuey” Beer Celebrated in Santiago de Cuba. Retrieved April 7, 2016, from Caribbean News Digital, http://www. caribbeannewsdigital.com/en/noticia/101th-anniversary%E2%80%9Chatuey%E2%80%9D-beer-celebrated-santiago-de-cuba

94 Caribbean News Digital. (2007, August). 101th Anniversary of “Hatuey” Beer Celebrated in Santiago de Cuba. Retrieved April 7, 2016, from Caribbean News Digital, http://www. caribbeannewsdigital.com/en/noticia/101th-anniversary%E2%80%9Chatuey%E2%80%9D-beer-celebrated-santiago-de-cuba 95 Caribbean News Digital. (2007, August). 101th Anniversary of “Hatuey” Beer Celebrated in Santiago de Cuba. Retrieved April 7, 2016, from Caribbean News Digital, http://www. caribbeannewsdigital.com/en/noticia/101th-anniversary%E2%80%9Chatuey%E2%80%9D-beer-celebrated-santiago-de-cuba

3. Urban Analysis

In order to fully understand the context of La Fรกbrica de Cerveza, the city of Santiago requires analysis at three general scales: Macro, meso and micro. The macro scale deals with the city as a unified urban environment, the meso approach looks at the San Pedrito neighbourhood of the factory, and the micro analyzes the immediate surroundings of the Embotelladora.

figure 3.1.1a Urban Fabric of Santiago de Cuba (adapted from GoogleMaps 2016)

3.1 Urban Analysis: Macro Scale

[Santiago de Cuba]

The city of Santiago de Cuba can be viewed through the lens of the Historic Urban Landscape. UNESCO defines Historic Urban Landscapes as “urban area[s] understood as the result of a historic layering of cultural and natural values and attributes, extending beyond the notion of ‘historic centre’ or ‘ensemble’ to include the broader urban context and its geographical setting.”1 Santiago is over 500 years old and its history has been witness to vibrant social, cultural, religious, and political life over the centuries. Authors Bandarin and van Oers further clarify the premise of HUL: “Historic Urban Landscape does not constitute a separate ‘heritage category.’ On the contrary, the concept is inscribed within the established concept of urban historic areas, while at the same time adding a new lens to the practice of urban conservation: a broader ‘territorial’ view of heritage, accompanied by a greater consideration of the social and economic functions of an historic city, an approach to managing change that tries to cope with modern developments, and finally, a re-evaluation of modern contributions to historic values. It is a tool to project the ideas of urban conservation in the twenty-first century.”2

Urban Analysis

3.1.1

MACRO SCALE: GEOGRAPHY

The city of Santiago de Cuba is the capital city of the province of Santiago de Cuba, one of five provinces comprising the Oriente of Cuba. The city rests in the valley of the Sierra Maestra mountain range and opens to the Bahía de Santiago (Bay of Santiago) to the west. The Bay acts as an important port and connects the city to the Caribbean Sea. The natural landscape and its intimate connection to the built environment uniquely define the city.

[Access] Santiago de Cuba is accessible by several modes of transportation. Internationally it can be reached by air or by sea, and nationally it can be reached by train, bus, truck or car. The Antonio Maceo International Airport services Santiago with a few flights a week from the Dominican Republic, Haiti, Toronto and Montreal, and Miami. Nationally there are flights to Havana and Holguín.3 By sea, there are cruise ships that take tourists around Cuba with a scheduled day stop in Santiago. The train station is north-west of the Centro Historico, adjacent to the main Fábrica de Ron (Bacardí Rum Factory) building on Avenida Jesús Menéndez. Trains run between Santiago and Havana every three days. There are separate bus service companies for nationals and foreigners but both currently operate from the train station.

figure 3.1.1b Access to Santiago de Cuba (adapted from GoogleMaps 2016)

Less formal modes of transportation are available including trucks and private cars. Trips to Havana by road vary between twelve and twenty hours, depending on road conditions and traffic.

[Repartos] An analysis of the macro scale of the city includes the various neighbourhoods (repartos) that make up the urban fabric. The focal point of the city is the Historic Centre (Centro Historico) and the other neighbourhoods seem to radiate out from it. Neighbourhoods identified in Santiago de Cuba consist of Nuevos Pinos, Santa Rosa, Los Olmos, San Pedrito, Sagarra, Sorribes, SueĂąo, Vista Alegre, Pastorita, Rajayoga, Asuncion, Mariana de la Torre, Van Van, and Distrito Antonio Maceo. The various repartos (neighbourhoods) of Santiago de Cuba reveal the political transformation, and correspondingly, the economic transformation of Cuba before the Cuban Revolution. The architecture varies significantly enough to show a class distinction in the pre-Revolution era. Post-revolution however, has seen the once upper class Colonial accommodations converted into school, clinics, cultural centers and state-run restaurants. The nationalization of companies in Cuba marked a shift in the socio-economical structure which has been reflected in the function of the built environment of Santiago de Cuba. Today the city of Santiago de Cuba today is a vibrant, bustling city distinguished by its diversity in culture, music and architecture. As a port city in a tropical climate, the trade and tourism potentials in Santiago de Cuba are abundant.

Urban Analysis

[Mobility] There is a large variety of transportation options within the city consisting of city buses, collective trucks, government taxis, collective cars (pisicorres), private taxis, motorcycles and horse carts. However, transportation doesnâ&#x20AC;&#x2122;t meet the residential demands of the city and these modes of travel are often over-crowded. The buses, pisicorres and collective trucks run regular routes throughout the city and private cars and motorcycles run more freely for a higher cost. La FĂĄbrica de Cerveza Hatuey is approximately 200m from the north end of the Historic Center, 600m from the train station, 1.5km from the middle of the Historic Center, 1.6km from the port, 7km from the airport. Figure 3.1.1c illustrates the major routes for public transportation that connect the factory to landmarks within the city.

Urban Fabric La FĂĄbrica de Cerveza Centro Historico Major Roads Minor Roads

figure 3.1.1c Mobility in Santiago de Cuba

3.1.2

PUBLIC POLICY

Following the Cuban Revolution of 1959, urban policy in Santiago de Cuba was geared towards housing, education and healthcare.4 Research programs and inventories were initiated in the city after the creation of the Venice Charter in 1964.5

[Planning Authority]

In 1996, the Conservation Office of Santiago de Cuba was created “with the mission of protecting the city’s scenic, urban and architectonic treasures, as well as recovering and preserving its traditions and history.”6 Restoration efforts are financed through the Cuban government and international funding.7 Omar Lopez is the director of the office and although much work has been done to restore the city’s built heritage he estimates that “about 80 percent of all constructions and spaces are still in a fair to poor state.”8 Sufficient funding is an issue especially when the island is faced with natural disasters. Following the hurricanes that hit Cuba in 2008 restoration work slowed down as resources were diverted to areas in dire situations.9

Architect Gisela Mayo Gómez is the director of the Master Plan for the city of Santiago de Cuba and architect Hortensia Estrada Sabouri is one of its specialists. The Master Plan is designed to initiate urban revival and provide guidelines to protect the traditional culture of the city. Hortensia Estrada explains that “it is not only about rehabilitating cultural institutions, but to ensure that every one of them properly implement what they were created for. Every gallery, library, music center should develop an attractive plan aimed at all ages, for the people to feel involved in their culture, their city.”10

Education remains a cornerstone of conservation policies in Santiago and the Conservation Office’s strategy places focus on the community. The hope is to “instill a strong sense of belonging among Santiago residents, allowing them to have a say in what their city should be like, and transforming them from mere ‘spectators’ into ‘active agents’ involved in the project.” 11 In recent years President Raúl Castro has introduced new policies to the country. Of considerable relevance to this research is the legalization of private property and permits for entrepreneurial opportunities.12 Private businesses now have the potential to be run by individuals with a certain degree of independence from the government.

Urban Analysis

3.1.3

HISTORIC CENTER

Santiago de Cuba’s historic center occupies an area of 3.2 km2 and its ensemble of architectural heritage contains over 9000 state properties.13 The Historic Center of Santiago was formed around a cathedral and homes of important colonial figures. Today the cathedral, Nuestra Señora de la Asunción, still exists although it has been rebuilt several times due to repeated earthquakes over the centuries. Directly in front of the cathedral is Parque Céspedes, a popular public square for both locals and tourists. The well preserved house of Diego Velázquez de Cuéllar also faces the square but has been converted into a museum. The Centro Historico is a multi-functional district with residential, commercial, educational, cultural, religious and administrative buildings densely lining the narrow avenues. There are several key landmarks within the Historic Center which are identified in Figure 3.1.3a. Included in the Historic Center’s landmarks are the highly visited public squares. Although these types of spaces are widely utilized around the city, the city is lacking sufficient green space within the limits of the urban fabric.

Jose Antonio Saco is the principle street of the Historic Center. It is a pedestrian street that begins at Plaza de Marte and continues slightly downhill to the Bay of Santiago. A concentrated effort has been placed on the restoration of buildings along this street and posters have been hung showing the before and after conditions of the work. figure 3.1.3a Points of Interest in the Historic Center

Urban Analysis

3.1.4

INDUSTRIAL BUILDINGS

Investigations of Santiago de Cubaâ&#x20AC;&#x2122;s Industrial Heritage have been undertaken at the Universidad de Oriente in 2008 and 2012. The results provide inventories of the cityâ&#x20AC;&#x2122;s past and present industrial buildings and include factories for the production of alcoholic beverages (rum, beer, liquor, wine) and non-alcoholic beverages (soft drinks, mineral water) and for the

production of industrial chemicals. A majority of the buildings do not have any significant architectural value and many of the identified structures are currently under-used. Twenty-four industrial buildings associated with the production of beverages were identified of which only nine are currently still operating; The others have either been given a new function or been abandoned.14

figure 3.1.4a Industrial Buildings Designed for Beverage Production 14

figure 3.1.4a Industrial Buildings Designed for Beverage Production with their Intended Use 14

Urban Analysis

3.2 Urban Analysis: Meso Scale

[San Pedrito Reparto]

3.2.1

DESCRIPTION

Avenida Juan Gualberto Gomez now covers the Arroyo de Yarayรณ north of the Historic Center. The avenue is the main access road to the entrance gate of La Fรกbrica de Cerveza and runs through the southern end of the San Pedrito reparto. To the east of La Fรกbrica de Cerveza are the original train tracks that formerly ran through the city before they were replaced by the ones that now go around the city. On the opposite side of the tracks is the former Ron Matusalem factory, which now produces Santiago de Cuba Rum. The neighbourhood is defined by the two factories which take up a majority of the land of San Pedrito. There are however, residential units that also share in the composition of the neighbourhood. The residential portion of the neighbourhood is composed of Santigeuros with the age demographic ranging from small children to the elderly. There are few amenities that contribute to the livability of the neighbourhood and the benefits of an urban renewal, even at the meso level are easy to imagine.

3.2.2

ACCESS

Scheduled buses generally run every hour along Avenida Juan Gualberto Gomez. There is currently no scheduled stop at the factory but drivers commonly make stops upon request. A formal bus stop would benefit the workers of the factory as well as any visitors in the future. The trains that utilize the tracks running between the Hatuey beer factory and the Santiago de Cuba rum factory are cargo trains and do not carry passengers. However, there are often people walking along the tracks heading in both directions. The tracks lead directly to the port of the Santiago Bay indicating the presence of commercial trade activity in the area, both past and present. 3.2.3

LAND DIVISION

Figure 3.2.3a illustrates the land division of the San Pedrito neighbourhood.

figure 3.2.3a Land Division, San Pedrito

3.3 Urban Analysis: Micro Scale

[La Fรกbrica de Cerveza]

3.3.1

LA FABRICA DE CERVEZA

Although the Embotelladora is in an abandoned state, the factory which it belongs to is very active. Enclosed by an imposing 3m high concrete wall the factory is guarded and only accessible to employees. The entrance is at the south end of the site and is flanked by an administrative office to the west and a warehouse building used for packaging and distribution to the east. The iconic water tower sits just inside the gate but is visible from the main avenue approaching the site. A single road runs directly from the entrance gate to the north of the site, parallel to the neighbouring train tracks, and has the various factory buildings on either side of it. The buildings testify to the evolution the factory has seen over the decades. Pipes run above ground from one building to the next visually linking the structures and literally linking the industrial processes. Figure 3.3.1a illustrates the functions of the site plan. An old, currently unused train line diverges from the main tracks into the factory site to the north-east of the Embotelladora and effectively cuts through the building. Today a gate blocks access to the site at this junction but the presence of the track intersecting through the factory grounds speaks to the history of the industrial processes and commercial activity.

figure 3.3.1a Factory Site Plan

Embotelladora

New Bottling Facility

Principle Building

Fermentation

Administration

Extraction

Water Tank

Reactors

Storage

Grain Silos

Urban Analysis

[Section 3: Endnotes] 1 UNESCO World Heritage Centre. (2011b, November). Recommendation on the Historic Urban Landscape adopted by the General Conference at its 36th session. Retrieved from http://www.historicurbanlandscape.com/themes/196/ userfiles/download/2014/3/31/3ptdwdsom3eihfb.pdf 2 Bandarin, F., & Van Oers, R. (2012). The Historic Urban Landscape: Managing Heritage in an Urban Century (2nd ed.). United Kingdom: Wiley-Blackwell (an imprint of John Wiley & Sons Ltd), p.73 3 Sainsbury, B., & Gorry, C. (2007). Lonely Planet Cuba (3rd ed.). Barcelona: Lonely Planet Publication, p.417 4 Duveger Salfrán, H., & Ramírez Moreno, N. (Eds.). (2002). Oriente de Cuba: Guía de Arquitectura = an architectural guide Santiago De Cuba, Guantanamo, Holguin, Las Tunas, GranmaJunta de Andalucia, Consejeria de Obras Publicas y Transportes, p.67 5 Rigol Savio, I., & ICOMOS Cuba. (2000, April). The Cuban National Experience. U.S. Preservation in the Global Context, Indianapolis, Indiana, USA. Retrieved from https://www.scribd. com/document/38091987/The-Cuban-National-Experience 6 Grogg, P. (2009, October 7). Santiago de Cuba Under Restoration. Retrieved May 6, 2016, from Havana Times. org, http://www.havanatimes.org/?p=14761 7 Duval, D. T. (Ed.). (2004). Tourism in the Caribbean: Trends, Development, Prospects. London: Taylor & Francis, p.144

8 Grogg, P. (2009, October 7). Santiago de Cuba Under Restoration. Retrieved May 6, 2016, from Havana Times. org, http://www.havanatimes.org/?p=14761 9 Grogg, P. (2009, October 7). Santiago de Cuba Under Restoration. Retrieved May 6, 2016, from Havana Times. org, http://www.havanatimes.org/?p=14761

10 Cubarte. (2015, May 5). Rehabilitation Projects and Cultural Revival of Streets in Santiago de Cuba. Retrieved April 10, 2016, from http://www.cubasi.com/culture/item/3688-rehabilitationprojects-and-cultural-revival-of-streets-in-santiago-de-cuba 11 Grogg, P. (2009, October 7). Santiago de Cuba Under Restoration. Retrieved May 6, 2016, from Havana Times. org, http://www.havanatimes.org/?p=14761 12 Cooke, J. (2015, September 9). In Cuba, Architecture and Design Blossom Under New Laws. Retrieved February 23, 2016, from http:// www.curbed.com/2015/9/9/9926288/cuba-architecture-design 13 Riquenes Cutiño, O., & Pinto Sánchez, E. (2014, June 17). Disused Facilities to have a Second life. Retrieved May 10, 2016, from Juventud Rebelde, http://english.juventudrebelde.cu/ cuba/2014-06-17/disused-facilities-to-have-a-second-life/ 14 Herrero Dáger, S., & Rosales Lacerra, A. C. (2008). Tesis presentade en opción al título de Architecto: Patrimonio Arquitectónio Vinculado a la Producción Industrial de Bebidas y Licores en Santiago de Cuba en la etapa de la Republica. Santiago de Cuba.

4. Architectural Analysis

4.1 Art Deco Architecture

4.1.1

DESCRIPTION

“Art Deco architecture is not an architecture of personalities, of star architects. It is an architecture of the buildings themselves, of their inherent yet overt qualities and of their spirit, energy and immediate visual impact, not of their internal structures, services, floor plans, and front and side elevations.”1

The Art Deco movement, which gained appreciation in the 1925 International Exhibition of Decorative Arts and Modern Industry, originated in France. The architectural style developed “when rapid industrialization was transforming the western world, embracing traditional craft motifs with Machine Age imagery materials.”2 Art Deco was formed on the world stage in the interwar period and “reached the apex of its popularity between two global conflicts, World War I and II.”3 During this time of rapid industrialization, “Art Deco became synonymous

with luxury, glamour and faith in social and technological progress.”4 The movement helped to encourage social mobility and offered visions of a more prosperous society.5 Aesthetically Art Deco architecture is distinguished by simplistic facades that emphasize verticality often through the use of pilasters and linearity. Geometric patterns and symmetry are prevalent design elements that are used to define an architectural rhythm. It typically demonstrated a playfulness with its bold colours and departure from classical architectural forms. The applications of Art Deco architecture on a global scale speak to the diversity of the style. Furthermore, “the fact that Art Deco architectural designs were so enthusiastically adopted by architects in countries as diverse as the United Kingdom, Spain, Cuba, Indonesia, the Philippines, Argentina, Romania, Australia, New Zealand, India and Brazil, says much for the style’s novel monumentality.”

4.1.2

ART DECO IN CUBA

The Art Deco style of architecture became popular in the early 20th century in Cuba, in line with global trends. In Cuba there was a boom period in construction projects as a response to an influx of American tourists. Bacardi was able to capitalize on the fact that World War I had made the sugar trade lucrative and at the same time America was experiencing Prohibition.6 In 1930 the Bacardi Headquarters Building was opened and, as the city’s first skyscraper, became a landmark in Havana. Today, “the Bacardi Building is regarded as

a signature masterpiece of Havana Deco and is likewise considered to be one of the finest Art Deco buildings in Latin America.”7

Bacardi buildings in Santiago de Cuba are stylistically similar to the Bacardi building in Havana. The iconic Bacardi Bat logo is replicated on various facades as well as interior spaces. Although the logo does not appear on the Embotelladora, it can be seen on the Principle Building. Characteristic of modern architecture, the Embotelladora showcases high ceilings and a minimalist approach to the décor. figure 4.1.2a Bacardi Building, Havana (1930)7

Art Deco architecture is not limited to one typology of building. Other examples in Santiago can be found in residential neighbourhoods and commercial districts, as both private and public buildings. A remarkable exhibit of this style is the well preserved Moncada Barracks. One of the first aggressive movements marking the beginning of the Cuban Revolution was the attack at Moncada Barracks on July 26, 1953. The attack was a failure but ultimately acted as a catalyst for the revolutionary forces and led to triumph of the Cuban Revolution in 1959.8 The building bears witness to the July 26 movement and the facades still show the scars from the battle that ensued there. Architecturally, the building adheres to the formal aspects of the art deco style with emphasis placed on horizontal and vertical linearity accented through the decorative repetition of structural elements. The Moncada Barracks is likewise an example of adaptive re-use as the building is now home to both a school and a museum.

Art Deco has helped to promote the value of modern architecture in Cuba. There has been much focus on the heritage value of Colonial architecture in the past but gradually 2oth Century architecture is being praised for its expressions of Eclectic Revivals, Art Deco and Streamline movements.9 Industrial buildings designed in the Art Deco style became examples of â&#x20AC;&#x153;modern architecture for modern industry.â&#x20AC;?10

4.2 Industrial Architecture Industrial architecture combined with art deco has “helped to humanize the all-too-often harsh, brutal picture of industry.”11 This evolution of industrial building design has allowed structures to metamorphose “into modern temples of production…worthy of architectural greatness as commercial structures.”12 Author Carol Berens claims that “Industrial architecture has two main goals: efficiency and safety.”13 As far as design goes she points out that “the clean lines and expansive volumes that were an outgrowth of these design ideas now please the modern eye and aesthetic, a key to renovation success.”14 4.2.1

TYPICAL ARCHITECTURAL LANGUAGE

of the objects of manufacture.”17 The development of industrial architecture was greatly influenced by the Kahn brothers – architect Albert Kahn and engineer Julius Kahn. Julius Kahn developed the Kahn System of Reinforced Concrete and in 1903 Albert Kahn designed Packard Building No. 10 using his brother’s patented concrete system. It would become the first automobile factory to employ reinforced concrete.18 In order to achieve wider spans in constructions steel became to be used as primary building material. The capability of steel provided the “flexibility required for the ever-changing manufacturing processes.”19

The beginning of the 20th Century opened up the perception of industrial architecture. Factories began to be seen as buildings that deserved the attention of quality architectural design as a way to “enhance the production of goods and dignify the workplace, as well as forge corporate identities.”15 Architect Adolf Loos professed his appreciation for industrial processes in his manifesto Ornament and Crime by saying, “the evolution of culture is synonymous with the removal of ornament.”16 Industrial buildings by nature generally are free from excessive ornamentation. The Art Deco style applied to the Embotelladora speaks an architectural language of industry in its modest approach to ornamentation with its sleek lines and rudimentary geometric forms.

Industrial architecture has the ability to celebrate its function through its aesthetics. “The term ‘industrial aesthetic’ can refer to the deliberate exposure of structural and mechanical elements as well as the repurposing

Architectural Analysis

4.2.2

INDUSTRIAL HERITAGE IN CUBA

Due to Cuba’s rich industrial history and its geographic configuration with numerous port cities, the example of industrial architecture in the country are abundant. For approximately the last decade, Claudia Castillo and Orlando Inclán have been investing in their think tank project, Habana Re-Generación. They have been actively investigating the restoration and renewal of a collection of industrial buildings around Havana’s bay.20 The opportunity for the revival of currently obsolete building functions has been given a boost by Raul Castro’s implementation of reforms allowing for entrepreneurial ventures.

In Santiago de Cuba there are likewise many examples of industrial architecture. Industrial buildings associated with the production of both alcoholic and non-alcoholic beverages are noteworthy within the city due in large part to the Bacardi family’s legacy. These buildings have become landmarks within the urban fabric although their current state of conservation is generally quite low. The aging materials, overuse and lack of maintenance has affected the condition of the industrial architecture in Santiago de Cuba. The industry of beverage production has contributed to the economic development of the city and has great significance in the history of Santiago - and therefore deserves the attention of quality conservation work.21 The Embotelladora is one of the most remarkable examples of both industrial architecture and art deco architecture in Santiago do Cuba however, there is currently no legislation in place to protect it which leaves the building vulnerable to many threats.

4.3 Case Study: Embotelladora 4.3.1

DESCRIPTION OF THE BUILDING

The Embotelladora is part of an ensemble of industrial buildings that comprise La Fábrica de Cerveza and was part of the original structural composition of the factory built in 1926. The architects are listed as Francisco Ravelo and José Medrano. It measures approximately 80m long by 20m wide in a basic rectangular form and its horizontality is broken up by a rhythm of pilasters at regular intervals. Typical of modern architecture, it is relatively unadorned with large expansive spaces. The first floor has ceiling heights over 6m and the overall height of the structure is approximately 14m. It is a steel framed structure with reinforced concrete and a brick and plaster façade. The steel frame structure allows for large openings on both the first and second floors.

several decades. Due to Cuba’s lack of resources, materials have been appropriated for personal building projects since they are seemingly no longer necessary for the factory. Today only fragments remain of the steel roof trusses and most of the doors and windows are non-existent. The second storey is open to the elements with only the walls and floor having survived the last several decades. There is an overgrowth of vegetation at this level indicating the viability of adding green space intentionally to the building in the future.

The bottling facility was moved to a larger building on the factory grounds in the late 1970s and the Embotelladora has been left abandoned since. All of the equipment was moved to the new, larger structure and there is currently only mechanical equipment running across the ceiling of the first floor ceiling giving evidence of the bottling function. The abandonment of the building has contributed to its deterioration as structural materials have been pillaged by workers of the factory over the last

{3D}

4.3.2

EVOLUTION OF THE BUILDING

There are two distinct phases of construction that are immediately identifiable when observing the Embotelladora. An historical image of the original factory from 194322, while it was still under the ownership of the Bacardi family, show only a portion of the current configuration of the building. Originally a separate structure was created to locally sell boxes of beer and also included a machine for washing received bottles. Archival records confirm that there was a large addition to the north end of the original building in 1950 that enclosed the separate structure.

to a loading dock. On the second floor the exterior walls define and extend the volume of space of the Embotelladora. The 1950 structureâ&#x20AC;&#x2122;s faĂ§ade crosses over the railway line that runs through the factory site with strategic arched openings on both the north and west sides. This gives a clear indication that the train line was still actively in use in the 1950s when the extension was constructed, although currently train access has been blocked.

Archival records also illustrate the introduction of each of the adjacent structures. The Embotelladora and Principle Building date back to 1926. Less than a decade later, in 1935, there was an addition to the south side of the Principle Building to accommodate more brewing equipment. In 1945 rooms were added to the second storey of the south end of the Embotelladora, next to the existing cooling tank. The archival blueprints indicate that one room was for a small warehouse with replacement parts and the other was for labelling the bottles. The labelling area was open to have direct access to the adjacent bottling room.

In 1950 the Embotelladora received a large extension of 27m to its northern side. The addition is distinguishable from the original structure based on stylistic departure from the crowned parapet and exposed brick. The newer structure features a stepped parapet and a concrete rendered plaster over the brick faĂ§ade, replicating the decorative motif of the Principle Building. The walls on the first floor form an enclosure around the relatively small workshop area that was formerly used for selling Hatuey beer locally.23 The walls work to incorporate the room into the overall building and arched openings allow for access

figure 4.3.1a La Fabrica de Cerveza, 194322

1926 1935 1938 1945 1946 1950 1956

figure 4.3.1b Phases of Construction Architectural Analysis

Architectural Analysis

4.3.3

ARCHITECTURAL ELEMENTS

The following images demonstrate the industrial and art deco characteristics of the building.

Architectural Analysis

4.4 Survey methodology The survey methodology was a hybrid exercise involving literary research, archival documentation, sketching, on-site hand measurements, TopCon Image Station electronic distance measurements and photogrammetric modelling. Figure 4.5.1 demonstrates the survey methods employed on the building during the months March and April of 2016. One of the limitations of the site survey included the 3m high concrete wall parallel to the east façade. Its proximity to the façade proved to cause difficulties in attaining sharp angle measurements to the highest portions of the walls and required several repeated station set ups. Another limitation was access to the interior spaces of the adjacent buildings. Due to the neglect they have faced over the years their conditions now pose an imminent danger. [Blueprints] The earliest depictions of La Fábrica de Cerveza are the original blueprints and legal documents for the construction of the buildings, attained with permission from Santiago de Cuba’s city archive office. There were no blueprints of the original construction but the plans exist covering the additions between 1935 and 1956.

[Images] Aerial images from the 1940s and etchings found on official documents from the same time period provide valuable information on the understanding of the factory buildings and their phases of construction.

[TopCon Imaging Station IS 300 Series]24 The TopCon Imaging Station is sophisticated surveying equipment allowing for the measurement of three-dimensional points from a precise infrared laser. The points captured during the measurement phase were later used as control points in creating scaled photogrammetric models of the building’s façades, orthographic images, and measured drawings. Image Master for IS is a software complimenting the TopCon Image Station and compiling all the measured data visually. The software, used in conjunction with the TopCon, captures a series of pictures based on the points measures and creates panoramic images of the surfaces. Distance measurements were captured in non-prism mode with an accuracy of +/-3mm for ‘fine’ measurements and +/-10mm for ‘long mode.’25 The accuracy on the east façade was reduced to the limitations of the site. The 3m wall in close proximity to the façade made for sharp-angled measurements that were unavoidable. [PhotoScan] Photogrammetry is a highly effective practice for capturing threedimensional data.26 Combined with the data acquired from the TopCon Image Station, all three facades of the Embotelladora were captured as a three-dimensional point cloud model. Photogrammetry was chosen as the primary method of surveying so that other parts of the building ensemble could be captured and registered with the Embotelladora. The relative ease and accuracy of photogrammetric modelling was also a contributing factor.

High resolution images were captured with a Canon60D DSLR camera and a 50mm lens. The photographs were processed with Camera Raw, Photoshop CS6 software and imported into the PhotoScan software. The dataset from the TopCon Image Master survey controlled the scale and accuracy of the models. Several models were created to account for the large size of the images and the overall scale of the building. The PhotoScan models were used to create orthographic images of the facades, eliminating the perspective distortion of traditional photographs. The orthographic images and survey points were imported into AutoCAD (Education Version 2016). The images were scaled to the surveyed control points and accurate measured drawing were created of the East, North and West elevations. [Measured Drawings] Most of the focus of the architectural analysis is on the elevations as the facades of the Embotelladora possess the highest architectural interest and integrity of the building. Elevation drawings were created from the orthographic images generated from PhotoScan and scaled to AutoDesk Recap files. Plan drawings were created from the point cloud data for the exterior walls and hand measurements for the interior.

Architectural Analysis

4.5 Survey Results

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figure 4.4.1 Surveyed points captured with TopCon Imaging Station; Point Cloud model genereated in PhotoScan

figure 4.4.2 Control points defined with TopCon Imaging Station; Point Cloud model genereated in PhotoScan

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[Section 4: Endnotes] 1 Bayer, P. (1992). Art Deco Architecture: Design, Decoration, and Detail from the Twenties and Thirties. New York: Harry N. Abrams, p.116

10 Bayer, P. (1992). Art Deco Architecture: Design, Decoration, and Detail from the Twenties and Thirties. New York: Harry N. Abrams, p.116

2 Decimononic. (2016, February 21). The Influence of the Art Deco Mmovement in Fritz Lang’s Metropolis. Retrieved June 27, 2016, from True Singularity, http://www.decimononic.com/blog/ the-influence-of-the-art-deco-movement-in-fritz-langs-metropolis

11 Bayer, P. (1992). Art Deco Architecture: Design, Decoration, and Detail from the Twenties and Thirties. New York: Harry N. Abrams, p.116

3 McDowall, C. (2013, April 5). Art deco – A Revolution of Design & Style for the Modern Age Retrieved from http://www.thecultureconcept. com/art-deco-a-revolution-of-design-style-for-the-modern-age 4 Decimononic. (2016, February 21). The Influence of the Art Deco Mmovement in Fritz Lang’s Metropolis. Retrieved June 27, 2016, from True Singularity, http://www.decimononic.com/blog/ the-influence-of-the-art-deco-movement-in-fritz-langs-metropolis 5 Windover, M. (2009). Art Deco - A Mode of Mobility. Montreal, Canada: Presses de l’Université du Québec. P.11 6 Atlas Obscura. (2016, April 8). Bacardi Building. Retrieved June 26, 2016, from Atlas Obscura, http:// www.atlasobscura.com/places/bacardi-building 7 Atlas Obscura. (2016, April 8). Bacardi Building. Retrieved June 26, 2016, from Atlas Obscura, http:// www.atlasobscura.com/places/bacardi-building

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8 Minster, C. (2015, June 24). Cuban Revolution: Assault on the Moncada Barracks the Cuban revolution begins. Retrieved June 11, 2016, from About Education, http://latinamericanhistory. about.com/od/historyofthecaribbean/a/09moncada.htm 9 Rigol Savio, I., & ICOMOS Cuba. (2000, April). The Cuban National Experience. U.S. Preservation in the Global Context, Indianapolis, Indiana, USA. Retrieved from https://www.scribd. com/document/38091987/The-Cuban-National-Experience

12 Bayer, P. (1992). Art Deco Architecture: Design, Decoration, and Detail from the Twenties and Thirties. New York: Harry N. Abrams, p.116 13 Berens, C. (2011). Redeveloping Industrial Sites. Hoboken, New Jersey: John Wiley & Sons, Inc., p.21 14 Berens, C. (2011). Redeveloping Industrial Sites. Hoboken, New Jersey: John Wiley & Sons, Inc., p.21 15 Berens, C. (2011). Redeveloping Industrial Sites. Hoboken, New Jersey: John Wiley & Sons, Inc., p.33 16 Conrads, U. (Ed.). (1976). Programs and Manifestoes on 20thcentury Architecture. Cambridge, MA: MIT Press, p.20 17 Berens, C. (2011). Redeveloping Industrial Sites. Hoboken, New Jersey: John Wiley & Sons, Inc., p.41 18 Berens, C. (2011). Redeveloping Industrial Sites. Hoboken, New Jersey: John Wiley & Sons, Inc., p.27 19 Berens, C. (2011). Redeveloping Industrial Sites. Hoboken, New Jersey: John Wiley & Sons, Inc., p.29 20 Cooke, J. (2015, September 9). In Cuba, Architecture and Design Blossom Under New Laws. Retrieved February 23, 2016, from http:// www.curbed.com/2015/9/9/9926288/cuba-architecture-design 21 Rizo Aguilera, L. M., & López Arias, E. M. (2015). El partimonio arquitectonico de Santiago de Cuba vinculado a la industria ligera en el period republicano: 1902 – 1958. Arquitectura y Urbanismo, XXXVI(3), 20–34.

22 Hatuey History. (2014). Retrieved May 5, 2016, from Hatuey, http://www.hatuey.com/history/ 23 Herrero Dáger, S., & Rosales Lacerra, A. C. (2008). Tesis presentade en opción al título de Architecto: Patrimonio Arquitectónio Vinculado a la Producción Industrial de Bebidas y Licores en Santiago de Cuba en la etapa de la Republica. Santiago de Cuba, p.89 24 Topcon Corporation. (2012). TopCon Imaging Station IS-3 Series. Livermore, CA 25 Topcon Corporation. (2012). TopCon Imaging Station IS-3 Series. Livermore, CA, p.4 26 Waldhäusl, P., & Ogleby, C. (1994). 3 x 3 Rules for Simple Photogrammetric Documentation of Architecture. International Archives of Photogrammetry and Remote Sensing, XXX(5), 426–429.

5. Technical Analysis

The technical analysis of the Embotelladora studies the materials, methods of construction, damages and threats to the building. The analysis requires an understanding of modern architecture in the context of Cuba. The focus here again is on the faรงade and structural integrity of the building due to their historic and aesthetic values and the contribution they make to the industrial heritage of Santiago de Cuba. The content of the technical analysis is derived from on-site investigations and interviews with factory employees, as well as historic and technical research. These technical evaluations contribute to the global Value Assessment in Section 6 of this document.

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5.1 Materials 5.1.1

FAÇADE

[Brick Masonry] The façades of the original Embotelladora are predominately brick masonry. Much of original cladding explicitly uses brick as its main construction material however, there is evidence that potions of the façade were once covered in a plaster render. Other portions have been painted in the past as there are remnants of ochre and red pigment of various saturations present on the building. Brick is defined as a modular, man-made building material used structurally and decoratively.1 In the case of the Embotelladora it is used as a cladding material for the building envelope with steel I beams embedded throughout. The masonry demonstrates a running bond pattern consistently on the East and West façades. [Reinforced Concrete]

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The extension added in 1950 demonstrates the use of reinforced concrete which was popularized during the early 20th century. It is described as a “versatile and economical construction material that offers speed and costeffectiveness in a diversity of building applications.”2 Aesthetically it allows structures to have a streamlined and clean appearance. [Structural Steel] Structural steel is another versatile building material that is used in the Embotelladora. From the exterior of the building steel I beams can be seen

at the second level height where they are used to support the floor. Inside the building there is a grid of exposed steel I beams columns that account for the structural integrity of the building. [Aluminum] The second level has fragments of windows remaining, all with aluminum frames. [Wood] There is a small amount of wood used in the window frames on the first level.

5.1.2

MATERIAL ATALS

The following material atlas identifies the materials of the building envelope, with descriptions and example images. 5.1.3

MATERIAL MAPPING

The material composition is relatively consistent on the East and West façades, both of which demonstrate the materials of the original structure and the addition of 1950. The West façade is used as a representative façade to illustrate the materials of the Embotelladora (refer to the following pages).

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Technical Analysis

BRICK MASONRY PLASTER APPLIED TO BRICK MASONRY REINFORCED CONCRETE STEEL WOOD ALUMINUM

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5.2 Methods of Construction

Typical of modern architecture and industrial architecture, the original Embotelladora exhibits the use of a steel structure frame. This type of structure became popular in the early 20th century in response to the desire for large, open, light-filled spaces.3 The advent of structural steel framing allowed for adaptive interior spatial divisions. The ability to easily adapt interior spaces is an ideal aspect for industrial architecture which often sees evolving technology and production, and allows for the prospect of adaptive reuse designs in the future. The addition to the Embotelladora in 1950 was done using reinforced concrete. Steel is used combat the relative tensile weakness in concrete. When used in conjunction, steel and concrete are very effective as they have “similar coefficients of thermal expansion.”4

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“Industrial architecture and design extolled the economical use of material and methods of construction that were often hidden or camouflaged – from the clear expression of the reinforced concrete frame of the daylight factories to the exposed metal trusses of steel factory buildings and the early exhibition halls and train stations.”5

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5.3 Condition Assessment For the purpose of this investigation only non-invasive techniques (Image Station surveying, digital photography, hand measurements, drawings and observation) were used to perform the condition assessment. 5.3.1

DAMAGE ATLAS

The following damage atlas provides the identification of damages seen on the façade of the Embotelladora along with a description and a sample image of each. “Surfaces acquire a patina which, depending on the aging properties of the material, can be protective, destructive as well as awe-inspiring.”6

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5.3.2

TECHNICAL INVESTIGATION

As a point of departure, this technical analysis is provided for the Embotelladora. However, in order to attain a complete technical investigation covering all aspects of the building, a formal study is required by a multidisciplinary group of specialists including architects, structural engineers, mechanical engineers, conservation specialists, masonry specialists, and so on. Of particular importance is a structural survey to understand “the structural stability of an existing building, any deformations or distortions of the building structure and the interdependencies of individual building elements, which can be particularly complicated when a building has undergone a series of alterations. A comprehensive and precise survey of the load-bearing structure, describing its characteristic, potential capacity and all deficiencies is an essential part of building investigations.”7 Such an investigation is beyond the scope of this research thesis however, the observations in this section provide a foundation to any further studies.

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In general, technical investigations of historic buildings is a continuous and dynamic cycle of anamnesis, diagnosis, therapy, and control.8 It is important to first analyze the building to get a comprehensive assessment of its materiality and structural condition. Next, the stresses that affect the building’s integrity need to be identified and monitored. This involves a “diagnosis of the cause of defects, together with an appraisal of the risk of future damage and the means of avoidance”9 which are central aspects. The third phase of the process refers to how the building’s ailments are addressed. The control stage is a reflection and critical analysis of the applied therapy. Each phase of conservation is independent but requires

regular intervals of assessment for appropriate care to be given to the heritage site. The built heritage of Cuba faces many challenge and the evidence is seen in the deterioration of the built environment. ICOMOS points out Cuba’s challenges in Heritage at Risk: “The most influential aspects are the increasing decay of a great part of the building stock due to its age and under the very aggressive conditions of a tropical humid climate worsened by the effect of insularity, frequent and destructive hurricanes, the increasing human need to be satisfied, ie housing which represents one of the toughest problems, the impacts of a fast-growing tourism industry as an unavoidable phenomenon which has turned out to be the most important source for development, and in general terms, the lack of sufficient funds in proportion to the amount of work to be done.”10 In general, the restoration of reinforced concrete structures from the 1900s is a common challenge in architectural conservation today.11 Deterioration in concrete structures can derive from the material quality, design and construction, the environment and the loading capacity of the building. It is said that “the largest single cause of deterioration in reinforced-concrete structures is corrosion of the reinforcing steel.”12 However, more often than not, it is the combination of several factors that puts a building at risk. Brick masonry is subject to moisture (rising damp, rain fall, evaporation), settlement, corrosion of introduced metals, and neglect.13 There is evidence

of rising damp on the surface of the Embotelladora moisture has traveled upwards through masonry and transported soluble salts. â&#x20AC;&#x153;When the moisture evaporates the salt crystallises increasing in volume by a factor of seven. If this happens in render and plaster or the surface of brickwork, it will cause the surface layer to flake and fall off, a process known as spalling. Cement render is commonly applied in an attempt to contain the problem; however, all this does is simply push the moisture further upwards.â&#x20AC;?14 Additional prominent environmental threats are the seismic zone of Santiago de Cuba, vibration from the neighbouring train track usage, biological growth on the second level and inadequate maintenance of the building.

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[Section 5: Endnotes] 1 Saskatchewan Heritage Foundation. (2011). Conservation Bulletin Series - Brick Masonry. Retrieved from https://www.nationaltrustcanada.ca/sites/www. heritagecanada.org/files/SK_Masonry_lr.pdf

11 Del Cueto, Beatriz. (2012). Available at: http://www. sofa.aarome.org/2011-1012/beatriz-del-cueto

2 Fadayomi, J. (2001). The Deterioration of Reinforced Concrete: An Introduction. In S. MacDonald (Ed.), Preserving Post-war Heritage: The Care and Conservation of Mid-twentieth Century Architecture (pp. 115–104). Shaftsbury, UK: Donhead Publishing

12 Broomfield, J. (2003). The Identificaiton and Assessment of Defects, Damage and Decay. In S. MacDonald (Ed.), Concrete Building Pathology (pp. 160–140). Oxford, UK: Blackwell Publishing Company

3 Fadayomi, J. (2001). The Deterioration of Reinforced Concrete: An Introduction. In S. MacDonald (Ed.), Preserving Post-war Heritage: The Care and Conservation of Mid-twentieth Century Architecture (pp. 115–104). Shaftsbury, UK: Donhead Publishing

13 Saskatchewan Heritage Foundation. (2011). Conservation Bulletin Series - Brick Masonry. Retrieved from https://www.nationaltrustcanada.ca/sites/www. heritagecanada.org/files/SK_Masonry_lr.pdf

4 Macdonald, S. (Ed.). (2002). Concrete: Building pathology. Oxford: Blackwell Science, p.5

14 Cramer, J. and Breitling, S. (2007) Architecture in existing fabric planning, design and building. Switzerland: Birkhäuser Architecture, p. 88

5 Berens, C. (2011). Redeveloping Industrial Sites. Hoboken, New Jersey: John Wiley & Sons, Inc., p.241 6 Cramer, J. and Breitling, S. (2007) Architecture in existing fabric planning, design and building. Switzerland: Birkhäuser Architecture, p. 15 7 Cramer, J. and Breitling, S. (2007) Architecture in existing fabric planning, design and building. Switzerland: Birkhäuser Architecture, p. 83

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10 ICOMOS: Heritage at Risk (2015) Available at: http://www.icomos. org/risk/world_report/2000/cuba_2000.htm (Accessed: 6 May 2016)

8 ICOMOS. (2003). ICOMOS Charter - Principles for the Analysis, Conservation and Structural Restoration of Architectural Heritage. Victoria Falls, Zimbabwe: ICOMOS 9 Cramer, J. and Breitling, S. (2007) Architecture in existing fabric planning, design and building. Switzerland: Birkhäuser Architecture, p. 86

6. Value Assessment

6.1 Values and the World Heritage Convention Cuba became a State Party to the World Heritage Convention in 1981.1 Although La Fábrica de Cerveza Hatuey has not been recognized as a Listed World Heritage Site, the Embotelladora nevertheless embodies cultural, economic, historic and architectural values – all of which make the structure one worthy of being protected. The World Heritage Convention states that, “by signing the Convention, each country pledges to conserve not only the World Heritage Sites situated on its territory, but also to protect its national heritage.”2 The Embotelladora belongs to the ensemble of La Fábrica de Cerveza Hatuey industrial buildings and is an exemplary demonstration of Art Deco architecture of the mid-20th century in Santiago de Cuba. The factory continues to produce the country’s national beer and Hatuey himself is considered one Cuba’s first national heroes – making this building part of a national heritage site. It is a testimony of the architecture of the Republic Era of Cuba and has thus far survived the Revolutionary Era. The particular vulnerable circumstances of the building in the context of a developing country make its conservation a matter of urgency.

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UNESCO has generated the Caribbean Capacity Building Programme for World Heritage to assist Latin American and Caribbean States Parties in the management of heritage sites. This document stresses the importance of education of heritage management and provides a framework for the application of the World Heritage Convention in the Caribbean.3 While La Fábrica de Cerveza Hatuey is not considered a World Heritage Site, the management of the site should be considered a vital aspect of its survival. Abandoned buildings are especially susceptible to deterioration which the Embotelladora is at risk of both structurally and aesthetically.

Furthermore, the Caribbean Capacity Building Programme acknowledges that the “Caribbean region, characterized by small and island states, is particularly vulnerable to the negative effects of globalization and heritage conservation can contribute to widening and deepening of the sense of a Caribbean community and identity and can be a key factor of economical, social and human development.”4 Island nations tend to be insular and, as it has been pointed out, Cuba is especially isolated. The recognition of heritage in Cuba and in other Caribbean islands reinforces national identity and encourages an appreciation for cultural awareness. Understanding the diverse heritage concepts associated with the Embotelladora requires careful analysis including a consideration of its stakeholders and a systematic assessment of its values. In the following subsections the stakeholders of La Fábrica de Cerveza have been identified and the Embotelladora has been evaluated based on its inherent values.

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6.2 Stakeholders In the report entitled Assessing the Values of Cultural Heritage, the Getty Conservation Institute defines the term ‘cultural significance’ as, “the importance of a site as determined by the aggregate of values attributed to it. The values considered in this process should include those held by experts – the art historians, archaeologists, architects, and others – as well as other values brought forth by new stakeholders or constituents, such as social and economic values.”5 The extensive conservation of La Fábrica de Cerveza Hatuey relies on a number of stakeholders, all of whom may have differing views and interests for the future of the complex. Figure 6.2.1 identifies the various stakeholders of the Cervezeria.

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Cuba is a unique country for many reasons but the most significant reason is its political structure. Soon after the victorious Cuban Revolution virtually all companies which were privately owned and operated became nationalized. As the sole Communist regime in the Western Hemisphere, the Cuban government plays a primary role in the country’s heritage. The State is now the legal owner of La Fábrica de Cerveza Hatuey and therefore ultimately has control over the future of the Embotelladora. Funding is arguably the largest contributing factor to the deterioration of heritage buildings in Cuba and since the State controls the flow of currency, a strong proposal that aligns with the values of the Cuban government is essential in the conservation of an abandoned building. The largest national budgets currently belong to healthcare and education6 therefore a proposed programme relating to either of those disciplines has the best chance of being accepted for the Embotelladora by the government.

There are various other actors interacting with the site on a daily basis and each of them are considered stakeholders. Interviews with the various participants concerning the conservation of the Embotelladora overwhelmingly pointed to the fact that the future of the Embotelladora is uncertain. The Director of La Fábrica de Cerveza Hatuey, Zuzel María Alba Quintana, oversees the general operations of the facility and is one of the main decision makers of the site. She expressed interest in this research and in the potential of its findings. She also expressed interest in potential research of the Principal Building. However, in its present condition the building is in such a dire state that it was deemed too unsafe to investigate. In an interview with her on March 4, 2016 she revealed that the City Historian’s office had made proposals for the retrofitting of both the Embotelladora and the Principal Building in the past but there was never any follow up. The two buildings have remained untouched since they were abandoned and there are currently no plans for their conservation or re-use. Conservation authorities, architects, engineers and historians are obviously invested in the heritage of the city and play an important role in the future development and understanding of the building. Architect Omar Lopez is the director of the Conservation Office in Santiago de Cuba. He states that much of the funding that the city receives (which comes from the government of Galicia, Spain) goes towards the rehabilitation of houses in the Historic Center.7 Additionally, in a combined effort with the Universidad de Oriente and the Katholieke Universiteit Leuven there has been recent work on a nomination file for the recognition of the Historic Centre of Santiago de

Cuba on the World Heritage List. However, given that the Embotelladora sits on the outskirts of the Historic Center, there have been no efforts as of yet to prioritize any conservation work to the building. If the values of the Embotelladora become evident to the city conservation authorities, there is a chance that the conservation of the building could be included in future conservation efforts associated with the Historic Center. La Fábrica de Cerveza Hatuey employs over 400 workers, all of whom are considered stakeholders of the factory. However, for many of them, the value of the Embotelladora goes unnoticed. During the on-site analysis it was evident that there has been no maintenance to the building. On the contrary, employees of the beer factory divulged the fact that people tend to pillage the abandoned building and take structural elements – roof trusses for example – to use for structural repairs in their own homes. Because the building is not being used and building materials are difficult to attain it seems logical and even resourceful to appropriate them. The citizens of Santiago de Cuba are likewise and equally considered stakeholders. La Fábrica de Cerveza is part of their urban historic landscape and anything done to it in the future will undoubtedly affect their city. The Conservation Office has the desire to focus on the livability of the city and to “improve the living conditions of the area’s residents.”8 Omar Lopez states that the Conservation strategy for the city “includes community work and education to generate ‘civic awareness’ and instill a strong sense of belonging among Santiago residents, allowing them to have a say in what their city should be like, and transforming them from mere ‘spectators’ into ‘active agents’ involved in the project.”9 The residents of the San Pedrito

neighbourhood in particular could potentially benefit from an intervention to the building in the event that it provides employment opportunities, community amenities or urban growth. On the other hand, there is also the potential that they will have to deal with any fallout of a future proposal, if for example the site becomes overrun with tourism. International investors may also be considered in the context of Cuba since funding is an essential aspect for large conservation projects. From the stand point of a foreign investor there would likely be a need to promote a certain product or brand and subsequently a desire to generate profit. Funds could potentially come from tourist activity but there is a risk in this case that the money would not flow back to the city. Tourists themselves are another faction that could be included in the stakeholder identification. If the site can incorporate or accommodate touristic activities in the future there is the potential for tourism to generate necessary funding for maintenance of both the building and the amenities of the site. Bringing tourist activity to the outskirts of the city may also relieve the Historic Center of Although the aforementioned stakeholders offer valuable insight into how the abandoned Embotelladora can be repurposed, ultimately the final decision will come down to the State. As stated previously in section 2.1 of this document, the current Cuban government has always placed a great deal of emphasis on education and healthcare for its citizens. Although La Fábrica de Cerveza does not fall into either category as it stands now, there is potential for the re-use program of the Embotelladora to be supported by the government and be adapted for educational or healthcare functions.

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The Caribbean Capacity Building Programme recognizes that one of the most difficult aspects of management planning in heritage sites is coming to a consensus between the various stakeholdersâ&#x20AC;&#x2122; interests.10 Part of the fine balance includes mediation and compromise and ultimately embraces community involvement.

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6.3 Value Assessment of Study Site 6.3.1

VALUE ASSESSMENT

The on-site analysis of the Embotelladora revealed that the most significant physical value that the building possesses is its façades. However, assessing the values of the Embotelladora goes far beyond its material aspects. In Assessing the Values of Cultural Heritage the importance of considering the context of a heritage conservation project, including its social, cultural, economic, geographical and administrative contexts, to its fullest extent is stressed by author Randall Mason.11 In the specific context of Cuba these aspects are especially unique compared to other international heritage sites and can be used to promote the Embotelladora as a building of outstanding value. Mason and co-author Marta de la Torre argue that, “for purposes of planning and management, a value assessment presents a threefold challenge: identifying all the values of the heritage in question; describing them; and integrating and ranking the different, sometimes conflicting values, so that they can inform the resolution of different, often conflicting stakeholder interests.”12

138

An analysis of the deterioration of architecture, specifically architecture in the Art Deco style, is believed to be caused by:13  Prejudice to the architectural heritage of the twentieth century  Limited protection and management of built heritage by conservation authorities  Incorrect assessments stating that there is a lack of aesthetic, historical, cultural and environmental values of this architecture It is the intention that the following value assessment of the Embotelladora will suitably make a strong case for the conservation of the building. Additionally, it can be argued here that a rehabilitation proposal has the potential to increase the overall value of this heritage building.

6.3.2

NARA GRID

Recognizing the values of the study building requires a thorough analysis of its form and design, its materials, its use and function, the techniques and workmanship that it demonstrates, its location and setting, and its spirit in terms of its artistic, historic, social and scientific dimensions. The Nara Grid, based on the Nara Document on Authenticity (1994)14 and developed at the Raymond Lemaire International Center for Conservation at the Katholieke Universiteit Leuven in Belgium, aids in the analysis of a heritage siteâ&#x20AC;&#x2122;s wideranging aspects and dimensions. The results of a Nara Grid assessment can often support the development of a restoration project15 and can in fact, â&#x20AC;&#x153;strongly shape the decisions that are made.â&#x20AC;?16 The Nara Grid value assessment for the Embotelladora is presented in Figure 6.3.2a.

139

Technical Analysis

140

figure 6.3.2a Nara Grid Assessment

141

[Section 6: Endnotes] 1 UNESCO World Heritage Centre. (2012, November). States Parties – Cuba. Retrieved from http://whc.unesco.org/en/statesparties/cu

11 De la Torre, Marta and Randall Mason (2002). Assessing the Values of Cultural Heritage. Los Angeles: The J. Paul Getty Trust (p.5)

2 UNESCO World Heritage Centre. (2016, June 6). The World Heritage Convention. Retrieved June 22, 2016, from http://whc.unesco.org/en/convention/

12 De la Torre, Marta and Randall Mason (2002). Assessing the Values of Cultural Heritage. Los Angeles: The J. Paul Getty Trust (p.5)

3 UNESCO World Heritage Centre. (2011, July 22). World Heritage Centre - Caribbean Capacity Building Programme (CCBP). Retrieved February 23, 2016, from http://whc.unesco.org/en/activities/475/ 4 UNESCO World Heritage Centre. (2011, July 22). World Heritage Centre - Caribbean Capacity Building Programme (CCBP). Retrieved February 23, 2016, from http://whc.unesco.org/en/activities/475/ 5 De la Torre, Marta (2002). Assessing the Values of Cultural Heritage. Los Angeles: The J. Paul Getty Trust. 6 Rivera, Guillermo Rodríguez. (2007). We, the Cubans. Instituto Cubano del Libro, Ciudad de La Habana. (p.105). 7 Grogg, P. (2009, October 7). Santiago de Cuba Under Restoration. Retrieved May 6, 2016, from Havana Times. org, http://www.havanatimes.org/?p=14761 8 Grogg, P. (2009, October 7). Santiago de Cuba Under Restoration. Retrieved May 6, 2016, from Havana Times. org, http://www.havanatimes.org/?p=14761

142

9 Grogg, P. (2009, October 7). Santiago de Cuba Under Restoration. Retrieved May 6, 2016, from Havana Times. org, http://www.havanatimes.org/?p=14761 10 UNESCO World Heritage Centre. (2011) World heritage centre Caribbean capacity building Programme (CCBP). Available at: http:// whc.unesco.org/en/activities/475/ (Accessed: 15 December 2015).

13 Puente San Millán, E. (2014). Arquitectura Art Decó en el Centro Histórico de la ciudad de Santiago de Cuba. Arquitectura y Urbanismo, XXXV(1), 67–80. 14 ICOMOS. (1994). The Nara Document on Authenticity. Retrieved from http://www.icomos.org/charters/nara-e.pdf 15 Van Balen, Koenraad (2008) The Nara Grid: An Evaluation Scheme Based on the Nara Document on Authenticity. APT Bulleitin, Vol. 39, No 2/3 (2008), p. 39-45. 16 De la Torre, Marta and Randall Mason (2002). Assessing the Values of Cultural Heritage. Los Angeles: The J. Paul Getty Trust (p.5)

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7. Project Proposal

“...the idea that preservation itself is a forward-thinking celebration of life …a way of looking at something that seems to be fading or gone and incubating new life within it. Preservation is always suspended between life and death.” - Rem Koolhaas

7.1 Proposal of Conservation Plan 7.1.1

FRAMEWORK [Context]

help to inform people of the building’s inherent values and help to deter further pillaging of the site.

The decision of whether abandoned architecture should be demolished, preserved, conserved, or adaptively re-used requires a case by case analysis. In the particular case of the Embotelladora, the issue needs to be examined in context of Cuba, the city of Santiago de Cuba, and the factory to which the building belongs.

Part III of The Dublin Principles refers to the conservation of industrial heritage. Section 10 is of particular interest as it states the “appropriate original or alternative and adaptive use is the most frequent and often the most sustainable way of ensuring the conservation of industrial heritage sites and structures.3 Furthermore, presenting an adaptive re-use proposal offers the Embotelladora a new life and essentially has the potential to increase the social and economic values of the building.

The complexities of Cuba are wide ranging and have an impact on the country’s built heritage. A big issue in everyday Cuban life is scarcity and the reality of the situation is that many resources on the island are difficult to attain. Limitations including funding, proper infrastructure, materials and access to international commodities all present a challenge for heritage management and development alike. Co-authors Johannes Cramer and Stefan Breitling make a strong case for the alteration of buildings in Architecture in Existing Fabric. They contend that “…society is growing more aware of ecological issues and the thoughtless demolition of old buildings is now perceived not only as an ecological waste but also as the eradication of local identity, of cultural heritage and of socio-economic values.”1 In the context of Cuba where resources are already limited and where the national identity is so strongly valued it is increasingly difficult to justify the demolition of a heritage asset.

147

Although the Embotelladora is abandoned and is currently not in use, “… investing in its conservation and maintenance retains the possibility of being able to use it at some point in the future. This option value of cultural destinations is akin to an insurance premium.”2 A conservation effort will

Project Proposal

[Policy]

[Safety Measures]

The International Committee for the Conservation of the Industrial Heritage (TICCIH) recommends that “programmes for the conservation of the industrial heritage should be integrated into policies for economic development and into regional and national planning.”4 This provision would provide a layer of protection to industrial buildings which have largely gone overlooked, especially in Santiago de Cuba.

Cramer and Breitling outline decisive steps in implementing new design strategies into existing buildings. As the initial aspect of the planning process they list protective measures and essential repairs to ensure the protection of the building from any form of vandalism and to ensure the protection of people in the vicinity of the building.7 All debris should be cleared from the site to avoid tripping hazards and a fence should be placed around the perimeter of the building as a safety measure for any loose building materials that could detach from the façade.

Part II, Section 6 of The Dublin Principles articulates that “appropriate policies, legal and administrative measures need to be adopted and adequately implemented to protect and ensure the conservation of industrial heritage sites and structures, including their machinery and records.”5 The equipment that was used in Embotelladora while it was still in function has since been moved to the current bottling building. It would be appropriate to make an inventory of this machinery as a measure of posterity.

148

It should be noted as well that because the Embotelladora is part of an active industrial site Section 8 of The Dublin Principles applies. Here it states that “specific technical characteristics and features need to be respected while implementing contemporary regulations such as building codes, environmental requirements or risk reduction strategies to address hazards of natural or human origin.”6

Cuban born conservation architect Beatriz Del Cueto mentions the need for “some type of contemporary physical cover or shelter whether it be short or long term”8 for a building undergoing conservation. The lack of a roof on the Embotelladora has permitted the growth vegetation within the second floor slab which is detrimental to the integrity of the structure. A shelter is also essential for any anticipated future construction on the second level. Since the Caribbean region is an active seismic zone, there is much relevance in shore-up, repair and reconstruction initiatives after an earthquake. And, more important to historic buildings are initiatives to prevent damage to structures in these vulnerable environments. The American Society of Civil Engineers addresses seismic retrofitting in their report entitled Seismic Rehabilitation of Existing Buildings.9

[Documentation] Cramer and Breitling point out that, â&#x20AC;&#x153;â&#x20AC;Śin adhering to general building and planning regulations and fulfilling technical requirements, it is also necessary to consider the given condition and configuration of an existing building, as passed on to us by our predecessors, and the need and wish to integrate this into a future design. In order to achieve this, it is vital to obtain a clear picture of the initial condition.â&#x20AC;?10 Before any physical architectural conservation initiative is applied to the building a thorough documentation of the structure is required, and can ultimately inform a sensitive adaptive re-use design. A detailed recording of the Embotelladora is provided in Section 4 and a Condition Assessment is provided in Section 5 of this thesis research. A copy of these findings has been given to the Universidad de Oriente and to the conservation authorities in Santiago de Cuba. It is the intention that this documentation is - and remains - a publicly accessible asset.

[Preparatory Investigations] Investigations relating to the architectural and structural capacity of the building are essential in understanding both the history and the potential future use of the building. A qualified structural engineering team is required to thoroughly assess the integrity of the existing Embotelladora and provide recommendations on all structural retrofitting that needs to be done. The architectural and technical analyses and the value assessment from Sections 4, 5 and 6 of this document has shaped the following Global Plan of Conservation for the Embotelladora.

Project Proposal

149

7.2.1

GLOBAL PLAN OF CONSERVATION

The Global Plan of Conservation for the Embotelladora is aimed at providing a concise categorization of whether the buildingâ&#x20AC;&#x2122;s elements should be preserved, restored, reconstructed, adapted or demolished. The facades of the Embotelladora are of the highest value and should be preserved as much as possible. Although there is little value to be seen in the material aspects of the interior of the Embotelladora, the spatial quality of the interior and the natural lighting opportunities are two highly valuable aspects of the ambiance of the building that are worth preserving and taking advantage of in the future. The frames of the window openings require restoration and all the glass needs to be replaced. The concrete stairs require reconstruction to meet safety standards and subsequently, the cinder-block wall cutting off access to the stairs can be demolished.

150

On the second floor all fragments of the steel trusses should be removed as their structural integrity has been compromised. However, the steel can be re-used in other construction initiatives on the site. The trusses on the south end of the building (the original Embotelladora) should be reconstructed to provide shelter and recall the historical configuration of the building. All interior treatments on the walls, floors and ceilings should be adapted to complement the future chosen function of the building.

151

Project Proposal

7.2 Adaptive Re-use Precedents 7.2.1

INTRODUCTION

Currently there are no plans for the Embotelladora nor are there any laws protecting it which create an uncertain future for the building. However, this means that there are limitless options for it as well. An adaptive re-use proposal carries with it an offer of a new life for the Embotelladora and a regeneration of the San Pedrito neighbourhood. Adaptive re-use has been defined as â&#x20AC;&#x153;the process of adapting buildings and objects for purposes other than those for which they were designed, giving them a new lease on life, reducing urban sprawl and preserving history in a functional way.â&#x20AC;?11 Architecturally the Embotelladora is ideal for an adaptive re-use approach because of its steel frame construction and large open spaces which allow for any number of retrofitting options to be applied to the building.

152

This practice has become increasingly common which provides designers with a limitless set of examples on an international scale. Before a formal project proposal is decided upon for the Embotelladora it is essential to consider precedents of adaptive re-use scenarios relevant to the context and conditions of the building. Relevant precedents include projects in industrial settings (and more specifically beer factories), projects in South America, architectural programmes that promote healthcare and / or education, projects in vulnerable regions, and projects that address increased tourism to a given location.

7.2.2

PRECEDENTS

As a starting point, one important precedent to observe is La FĂĄbrica de Arte Cubano in Havana, Cuba. This successful adaptation of a former factory in the capital city into an art and culture centre incorporates contemporary art exhibitions, theatre, dance and an upscale lounge and bar area.12 In London, the Battersea Power Station Masterplan illustrates a multifunctional redevelopment of the former Power Station. The programming includes upscale housing, hotels, shopping, restaurants and office space.13 Although the programming of luxury accommodations and amenities is not appropriate in the context of Santiago de Cuba (especially in the San Pedrito neighbourhood), the multi-functional aspect is interesting and could easily be applied to the large scale of the Embotelladora. It is also possible to imagine the future incorporation of the adjacent Principle Building into a multi-functional master plan. Scott Henson Architect showcases a converted the Crown Iron steel work factory into a mixed-use development in Minneapolis, U.S.A. The complex houses a microbrewery and a variety of office spaces. To compete with the grand scale of the former factory, large raised planters have been placed to help fill the unused space and provide greenery to the structure. In this example, architects actually removed sections of the roof to allow sunlight and rain infiltration for the plants.14 Planters on the second floor of the Embotelladora are easy to imagine as vegetation is already growing freely there and the fragments of the roof are much like what is seen at the former Crown Iron Works.

figure 7.2.2a La Fรกbrica de Arte Cubano 12 figure 7.2.2b Battersea Power Station 13

153

figure 7.2.2c Crown Iron Works 14

154

figure 7.2.2d Battersea Power Station 17

Retrofitting old breweries is being common practice and according to architect, writer and researcher Jimmy Stamp, “only seems to be gaining popularity in response to a changing economy and demographic shift toward urban areas.” 15 He notes the inherent features of breweries - large, light-filled spaces “are ideal for conversion into flexible artists lofts and creative spaces.”16 In Zürich, the Kunsthalle took advantage of the large spaces offered by a former brewery to create a gallery and “accommodate a variety of exhibitions and installations.”17 In Baltimore, a social-service nonprofit company has taken over the Weissner and American Brewery. The success of the adaptive re-use for collaborative work and a community center has opened up discussions for the possibility of converting an abandoned bottling building into a school.18 Programming involving culture, the community and education speaks directly to the ideals of Cuban society.

Another relevant adaptive re-use typology is that of inserting a new structure into an existing historic faรงade. Haworth Tompkins architectural practice designed Dovecote Studio which involved stabilizing the lower half of a brick faรงade and inserting a new timber box-like structure within the walls. The resulting building is now an intimate music studio.19 An example like this illustrates how the aesthetics of a faรงade can be conserved and be compatible with a modern intervention.

155

figures7.2.2e + 7.2.2f Dovecote Studio 19

ArchDaily has compiled a list of 20 noteworthy adaptive re-use projects – one of which is a Professional Cooking School in Cadiz, Spain.20 This school, a project completed by Sol89 Architects in 2011, incorporates small courtyards “cultivated with different culinary plants which are used by the students to cook.”21 Aligning with Cuban standards of education, a culinary school could also enhance the cuisine of Santiago de Cuba. Hacedor Maker Arquitectos have reconfigured and adapted an industrial building in Puerto Rico to accommodate a headquarters office for the South American Restaurants Corporation. Most of the original structural components were preserved and focus was placed on bringing natural light into the newly designed interior. 22

156

Renzo Piano has been commissioned to re-develop a former power station in Moscow. The plan is to adapt the site for an art center which is set to include a welcoming center, an area of both permanent and temporary art exhibitions, and an educational facility for aspiring artists. It is said that the project will also incorporate solar cells and geothermal technology.23

figures7.2.2g + 7.2.2h Professional Cooking School, Cadiz, Spain20

figures7.2.2i + 7.2.2j SARCO Headquarters 22

157 figures7.2.2e + 7.2.2f Moscow Power Station 23

7.2.3

INTERVENTION OPTIONS

A variety of proposal has been considered for the future use of the Embotelladora. The options listed below are a collection of ideas generated from the various stakeholder perspectives, the constraints and opportunities of the site, the weaknesses and strengths of Santiago de Cuba, and the previously mentioned adaptive re-use precedents.

[Technology Center]

158

To address emigration from both the city and the country a technology development center is proposed. This proposal considers the attention paid to the high quality of education in Cuba and the fact that as internet resources become increasingly introduced to the island, a generation of tech-savvy citizens will be needed. A technology development center could encourage a younger generation to remain in the city with the prospect of a challenging and fulfilling career. This could also be seen as an environmental initiative as many electronics are currently wastefully discarded in North America as technology becomes obsolete. In Cuba, where resources are scarce, these electronic components could either be repaired or adapted. The facility could be divided into a workshop and an educational center for technology.

[Dance Studio / Performance Space] Art and culture is a highlight of Cuba, and Santiago is especially celebrated for its dance culture. The size and scale of the Embotelladora could accommodate both studio spaces and performances for a large number of participants. The performance aspect could be opened up for tourism which would assist in the necessary funding for employees and maintenance of the building.

[Vehicle Rehabilitation Center] Addressing climate change concerns and the high degree of air pollution in Santiago due to the old vehicles running daily, a vehicle rehabilitation center is presented as a potential proposal. As the embargo is set to be lifted supplies and parts will become more available. The center would offer employment to the many skilled mechanics in Santiago. Furthermore, according to the United Nations western countries should be obliged to help meet environmental goals of developing nations.24 A strong initiative to reduce the carbon footprint in Cuba could potentially rely on international funding as its primary financial source.

[Community Center]

7.2.4

ECONOMIC ANALYSIS

The vulnerability of the San Pedrito neighbourhood would benefit from a community center. Although the region is defined by industrial activity, there are currently many residents that live adjacent to the factory. A center dedicated to the community would foster the vibrant culture of Santiago de Cuba.

The previously mentioned proposals are evaluated and weighted based on their economic potentials. Figure 7.2a describes the criteria the proposals have evaluated on, followed by radar charts illustrating the strengths of each proposal.

[Culinary Institute] A culinary institute is a proposal that engages with the high level of education in Cuba. The institute could be a teaching facility for cooking that also incorporates urban agriculture promoting sustainability and addressing food security. In addition, a restaurant could be part of the institute, giving the students experience working with the public and providing jobs in the service industry. A restaurant could offer a unique experience for tourists in Santiago to an area of the city that is less frequently visited; The vistas from the Embotelladora allow people to enjoy the natural beauty of Cuba away from the bustle of the historic center. Furthermore, to take advantage of the actual function of the existing beer factory complex, the brewed beer could readily be supplied to the restaurant.

159

Project Proposal

VALUE

CRITERIA DESCRIPTION OF VALUE

SOCIAL

educational:

non-instructive [1] to very instructive [5]

1.0

cultural:

narrow [1] to universal [5]

0.7

accessibility:

restricted [1] to public [5]

0.7

tourism:

low [1] to high tourism acitivity [5]

0.5

employment:

few possibilities [1] to several [5]

0.7

site beneﬁts:

few beneﬁts to the site [1] to many [5]

0.7

international:

potential investment from foriegn bodies;

1.0

ECONOMIC

WEIGHT [0.5 -1.0]

low [1] to high [5]

URBAN

aesthetic:

disturbing [1] to beneﬁcial [5]

0.5

compatibility:

compatibility to existing site; low [1] to high [5]

0.7

eﬃciency:

energy loss [1] to energy eﬃcient [5]

0.7

sustainability:

unsustainable [1] to highly sustainable [5]

1.0

climate:

addresses climate change; low [1] to high [5]

0.5

preservation:

destructive [1] to preservation of original elements [5]

1.0

historical:

relation to the history of the site; low [1] to high [5]

0.7

ENVIRONMENTAL 10

160 HERITAGE

SOCIAL SOCIALSOCIAL

educational 1 educational educational cultural 21 cultural cultural public accessibility 32 public accessibility public accessibility ECOMONIC tourism 43 ECOMONIC tourism tourism ECOMONICemployment possibilities 54 employment employment possibilities benefits to thepossibilities site 65 benefits to the site benefits to the site international funding 76 international funding international funding URBAN compatibility with aesthetic 87 URBAN URBAN compatibility with aesthetic compatibility with aesthetic compatility with site 98 compatility with site compatility with site ENV IRONMENTAL energy efficiency 109 ENV IRONMENTAL energy efficiency 10 ENV IRONMENTAL energy efficiency sustainability 11 sustainability 11 sustainability addresses climate change 12 addresses climate change 12 addresses climate change HERITAGE preservation of original elements 13 HERITAGE preservation original 13 HERITAGE relation preservation of elements original elements 14 to theof history the building relation relation to the history the building 14 to theof history of the building

SOCIAL SOCIALSOCIAL

educational 1 educational educational cultural 21 cultural cultural public accessibility 32 public accessibility public accessibility ECOMONIC tourism 43 ECOMONIC tourism tourism ECOMONICemployment possibilities 54 employment possibilities employment possibilities benefits to the site 65 benefits to the site benefits to the site international funding 76 international funding international funding URBAN compatibility with aesthetic 87 URBAN URBAN compatibility with compatibility with aesthetic compatility with siteaesthetic 98 compatility with sitewith site compatility ENV IRONMENTAL energy efficiency 109 ENV IRONMENTAL energy energy efficiency 10 ENV IRONMENTAL efficiency sustainability 11 sustainability 11 sustainability addresses climate change 12 addresses climate change 12 addresses climate change HERITAGE preservation of original elements 13 HERITAGE preservation of original elements 13 HERITAGE relation preservation of original elements to the history the building 14 relation relation to the history the building 14 to theof history of the building

SOCIAL SOCIALSOCIAL

educational educational educational cultural cultural cultural public accessibility

1 21 32

1. Technology Centre Centre Centre 1 1. Technology 41. Technology 4 1 1 1 14 4 4 4 0.7 0.7 20.7 0.7 11 10.7 0.7 0.7 0.7 30.7 0.7 11 10.7 0.7 0.5 0.5 40.5 0.5 41 10.5 0.5 0.7 2.8 50.7 0.7 14 42.8 2.8 0.7 0.7 60.7 0.7 41 10.7 0.7 1 4 7 1 1 14 4 4 4 0.5 0.5 80.5 0.5 31 10.5 0.5 0.7 2.8 90.7 0.7 13 32.8 2.8 0.7 0.7 1 0.7 100.7 0.7 1 0.7 1 1 1 1 1 1 11 1 1 1 0.5 5 2.5 5 2.5 120.5 0.5 5 2.5 1 3 3 13 1 13 3 3 3 0.71 0.7 140.7 0.7 1 10.7 0.7

2. Dance Studio Dance 5 Studio 1 2. Dance 52. Studio 1 1 1 45 5 5 5 0.7 2.8 20.7 0.7 42.8 2.8 0.7 3.54 2.45 2.45 30.7 0.73.5 3.5 2.45 0.5 3 1.5 0.5 3 1.5 4 0.5 3 1.5 0.7 2 1.4 0.7 2 1.4 5 0.7 2 1.4 0.7 2 1.4 2 1.4 60.7 0.7 2 1.4 1 3 3 7 1 1 43 3 23 3 0.5 80.5 0.5 14 4 2 2 0.7 0.7 90.7 0.7 21 10.7 0.7 0.7 1.4 100.7 0.7 12 21.4 1.4 1 1 11 1 11 1 1 1 0.51 0.5 120.5 0.5 41 10.5 0.5 1 4 13 1 14 4 4 4 0.71 0.7 140.7 0.7 1 10.7 0.7

3. V ehicle Rehabilitation ehicle2Rehabilitation 1 3. V ehicle 23. VRehabilitation 1 1 1 12 2 2 2 0.7 0.7 20.7 0.7 11 10.7 0.7 0.7 0.7

T E CH N OLOGY DE V E LO PME NT CE N T RE T E CH TNEOLOGY DE V E DE LO V PME CENT N T CE RE N T RE CH N OLOGY E LONT PME 1 14 5 1 2 1 45 14 25 3 2 13 14 34 4 13 3 23 13 3 12 4 12 2 12 4 12 01 1 0 11 5 0 11 5 11 10 6 10 9 6 10 7 9 8 9 7 7 8 8

3 4 5 6

DA N CE S T U DI O DA N CE U DISO DASNTCE T U DI O 1 5 1 2 1 45 14 25 3 2 34 4 3 13 23 3 4 12 2 4 12 01 1 0 5 0 5 11 6 6 10 9 7 9 8 9 7 7 8 8

14 13 14 13

12 12 11 11 10 10

3 4 5 6

Project Proposal

V E H I CLE RE H A BI LITAT ION CE N T RE V E H I CLE H ARE BI LITAT N T CE RE N T RE V E HRE I CLE H A BI ION LITATCE ION

compatility compatility with site with site sustainability 119 ENV IRONMENTAL energy efficiency ENV IRONMENTAL addresses energy efficiency 10 climate change 12 sustainability sustainability 11 HERITAGE preservation of original elements 13 addresses climate change addresses climate change 12 relation to the history of the building 14 HERITAGE preservation preservation original elements 13 HERITAGE of originalofelements relation to the of the building relation to the history ofhistory the building 14

SOCIAL

educational 1 cultural 2 educational SOCIAL SOCIAL public educational accessibility 31 cultural cultural ECOMONIC tourism 42 public accessibility public accessibility employment possibilities 53 ECOMONICtourism tourism ECOMONIC benefits to the site 64 employment possibilities employment possibilities international funding 75 benefits to the site benefits to the site URBAN compatibility with aesthetic 86 international funding international funding compatility with site 97 URBAN compatibility with aesthetic URBAN compatibility with aesthetic ENV IRONMENTAL energy efficiency 108 compatility compatility with site with site sustainability 119 ENV IRONMENTAL energy efficiency ENV IRONMENTAL energy efficiency 10 addresses climate change 12 sustainability sustainabilityof original elements 11 13 HERITAGE preservation addresses climate change addresses climate change 12 relation to the history of the building 14 HERITAGE preservation original elements 13 HERITAGE preservation of originalofelements relation to the of the building relation to the history ofhistory the building 14

SOCIAL

educational 1 cultural 2 educational SOCIAL SOCIAL public educational accessibility 31 cultural cultural ECOMONIC tourism 42 public accessibility public accessibility employment possibilities 53 ECOMONICtourism tourism ECOMONIC benefits to the site 64 employment possibilities employment possibilities international funding 75 benefits to the site benefits to the site URBAN compatibility with aesthetic 86 international funding international funding compatility with site 97 URBAN compatibility with aesthetic URBAN compatibility with aesthetic ENV IRONMENTAL energy efficiency 108 compatility compatility with site with site sustainability 119 ENV IRONMENTAL energy efficiency ENV IRONMENTAL addresses energy efficiency 10 climate change 12 162 sustainability sustainability 11 13 HERITAGE preservation of original elements addresses climate change addresses climate change 12 relation to the history of the building 14 HERITAGE preservation original elements 13 HERITAGE preservation of originalofelements relation to the of the building relation to the history ofhistory the building 14

SOCIAL

educational cultural educational SOCIAL SOCIAL public educational accessibility cultural cultural ECOMONIC tourism public accessibility public accessibility employment possibilities ECOMONICtourism tourism ECOMONIC benefits to the site

1 2 31 42 53 64

9 0.7 1 10 0.7 0.5 11 1 1 12 0.5 0.7 13 1 14 0.7

0.7 1 1 0.7 2 1 11 4 0.5 1 1 14 0.7 1

1 0.7 1 2 1.4 0.5 11 4 1 0.5 0.7 44 1 0.7

0.7 1.4 1 0.5 4 0.7

3. V ehicle Rehabilitation 1 2 2 3. V ehicle Rehabilitation 0.7 3. V ehicle 1 Rehabilitation 0.7 1 12 2 2 0.71 1 0.72 2 0.7 1 0.7 0.7 0.7 0.5 21 1 3 0.7 1 1 0.7 0.7 0.7 0.7 5 3.5 4 0.5 2 1 0.5 0.7 22 11 5 0.7 5 3.5 0.7 3.5 1 25 2 6 0.7 2 2 1 0.7 0.5 3 1.51 71 12 22 2 0.7 4 2.8 8 0.5 3 1.5 0.5 1.5 0.7 13 0.7 9 0.7 4 4 2.8 0.7 2.8 1 1 1 10 0.7 1 0.7 0.7 0.7 0.5 51 2.5 11 1 11 11 1 1 3 3 12 0.5 5 2.5 0.5 2.5 0.7 15 0.7 13 1 13 33 3 14 0.7 1 0.7 0.7 1 0.7 4. Community Centre 1 3 3 4. Community Centre Centre 0.7 4. Community 5 3.5 11 13 33 3 0.7 5 3.5 2 0.7 5 3.5 0.7 3.5 0.5 15 0.5 3 0.7 5 5 3.5 0.7 3.5 0.7 2 1.4 4 0.5 1 0.5 0.5 0.5 0.7 31 2.1 5 0.7 2 1.4 0.7 1.4 1 22 2 6 0.7 3 2.1 0.7 2.1 0.5 43 2 71 12 22 2 0.7 3 2.1 8 0.5 4 2 0.5 0.7 14 0.72 9 0.7 3 3 2.1 0.7 2.1 1 2 2 10 0.7 1 0.7 0.7 0.7 0.5 11 0.5 11 1 12 22 2 1 4 4 12 0.5 1 0.5 0.5 0.5 0.7 11 0.7 13 1 14 44 4 14 0.7 1 0.7 0.7 1 0.7 5. Culinary Institute 1 5 5 5. Culinary Institute 0.7 5. Culinary 4 Institute 2.8 1 15 5 5 0.71 3 2.15 2 0.7 4 2.8 0.7 2.8 0.5 34 1.5 3 0.7 3 3 2.1 0.7 2.1 0.7 4 2.8 4 0.5 3 3 1.5 0.5 1.5 0.7 4 2.8

11 10

810 9

7 9 7

5 6

V E H I CLE RE H A BI LITAT ION CE N T RE 1 H A BI LITAT ION CE N T RE V E HRE I CLE RE V E H I CLE H A 5BI LITAT ION CE N T RE 14

2 4 3 1 3 1 14 5 14 25 2 4 12 14 13 3 34 13 03 2 212 11 1 54 12 1 0 0 10 6 11 11 5 9 7 810 10 6 9 9 7 8 8 13

2 3 4 5 6 7

CO M M UNIT Y CE N T RE M1 MY UNIT CE N T RE CO M MCO UNIT CE N TYRE 5 14

2 4 3 1 3 1 14 5 14 25 2 4 12 14 13 3 34 13 03 2 212 11 1 54 12 1 0 0 10 6 11 11 5 9 7 10 8 10 6 9 9 7 8 8 13

2 3 4 5 6 7

CU LI N A RY I N S T IT UTE LI1 INNASRY N S T IT UTE CU LI NCU A RY T ITI UTE 5 14

4 3

3 1 14 5

URBAN

compatibility with aesthetic compatility with site with site 9 compatility ENV IRONMENTAL energy efficiency 10 ENV IRONMENTAL energy efficiency sustainability 11 sustainability addressesaddresses climate change 12 climate change HERITAGEHERITAGE preservation of original elements preservation of original elements 13 relation torelation the history of history the building 14 to the of the building

8 0.7 9 0.7 10 111 0.5 12 131 0.7 14

SOCIAL SOCIAL

11 0.7 2 0.7 3 0.5 4 0.7 5 0.7 6 71 0.5 8 0.7 9 0.7 10 111 0.5 12 131 0.7 14

educational 1 educational cultural cultural 2 public accessibility 3 public accessibility ECOMONIC tourism tourism 4 ECOMONIC employment possibilities 5 employment possibilities benefits to the siteto the site 6 benefits international funding 7 international funding URBAN URBAN compatibility with aesthetic 8 compatibility with aesthetic compatility with site with site 9 compatility ENV IRONMENTAL energy efficiency 10 ENV IRONMENTAL energy efficiency sustainability 11 sustainability addressesaddresses climate change 12 climate change HERITAGEHERITAGE preservation of original elements preservation of original elements 13 relation torelation the history of history the building 14 to the of the building

0.5 0.73 0.71 12 0.51 14 0.71

4 2.1 3 0.7 1 22 0.5 1 44 0.7 1

2 2.1 0.7 2 0.5 4 0.7

5. Culinary 5.Institute Culinary Institute 5 1 55 5 4 2.8 0.7 4 2.8 2.1 0.73 3 2.1 1.5 0.53 3 1.5 2.8 0.74 4 2.8 2.8 0.74 4 2.8 13 33 3 0.54 42 2 2.8 0.74 4 2.8 2 1.4 0.7 2 1.4 14 44 4 1.5 0.53 3 1.5 14 44 4 2 1.4 0.7 2 1.4

6 97

6 7

CU LI N CU A RYLIINNAS RY T ITIUTE N S T IT UTE 1 1 14 5 142 5 4 43 13 3 13 3 2 2 4 12 112 1 0 0 11 5 11 10 9

10 8

2 3 4 5

6 97

6 8

163

Project Proposal

7.3 Project Proposal Article 5 of the Venice Charter states that “the conservation of monuments is always facilitated by making use of them for some socially useful purpose.”25 Applying this principle to the Embotelladora leads to an adaptive re-use proposal. The proposal options for re-programming the Embotelladora consider the economic and political complexity of Cuba as well as the threats that the building and the historic fabric of the Santiago de Cuba currently face. Ultimately it is the intention for the final proposal to address the strengths of Cuban culture and society and sensitively consider the limitations of new development in the context of Cuba. The preceding analyses of the aspects relating to the Embotelladora which have been highlighted by the Nara Grid assessment in Section 6, have informed the viable options for a re-use of the structure. Particularly valuable characteristics of the Embotelladora identified in the Nara Grid are its decorative Art Deco façades, its large and open spaces, its unique location connected to the Historic Center but removed from the chaotic urban environment, and its historic importance in industrial architecture in Santiago de Cuba. Section 7.2 illustrates the strengths of the reprogramming options offered for consideration and points to the proposal of a culinary institute as having the overall strongest vision.

164

The proposal of a culinary institute draws on the strengths of Cuban society, namely education and culture, while addressing some of the challenges that Cuba faces. The institute has the opportunity to educate its students in not only culinary skills but also in agricultural skills, and is designed to be complemented by a number of other functions.

Cuba is in a unique position regarding organic agriculture largely thanks to the U.S. embargo which has halted the trade of pesticides to the island. Nationally grown food is, by its very nature, organic because Cuban soil and crops have not been tainted by harmful chemicals found in pesticides. André Viljoen and Katrin Bohn of Bohn&Viljoen Architects believe that urban agriculture is a response to scarcity and has actually been demonstrated by Cuba while facing their economic crisis. In addition they state that urban agriculture is “also being recognized as a way of preventing scarcity, by introducing closed-loop no-waste cultivation systems into cities while reducing food miles and providing heat island mitigation, visual amenity, public health and educational benefits – an array of motives supporting urban development.”26 Urban agriculture was introduced and embraced by both Cuban citizens and the state after the fall of the Soviet Union when Cuba entered its Special Period. Cuban research led to the urban innovation of ‘ogranopónico’ which was essentially raised soil bed gardens placed strategically in the urban environment.27 The elevated beds mean that cultivation does not need to rely on the soil at the site that may be contaminated, especially when dealing with industrial sites. This type of proposal has environmental benefits as it reduces transportation of food and ultimately replenishes itself. Additionally, the Embotelladora requires little adaptation to accommodate raised soil beds on its second level which receives an abundance of sunlight. Due to the grand scale of the building and the stunning vistas provided by the Sierra Maestras, it is also fitting to incorporate a restaurant into the adaptive re-use design. A restaurant has the potential to draw tourists

The roof trusses on the north end of the building are removed and the space remains open to the elements - an ideal environment for urban agriculture.

3D View 1

165

The train tracks remain providing historical context to the building and also providing a dramatic entrance space.

3D View 1

3D Vie

3D View 2

Project Proposal

3D Vie

away from the Historic Centre, bringing them closer to nature and to an authentic dining experience. The design gives patrons of the restaurant the choice of either interior dining on the first floor, or exterior dining on the second floor. The first floor is shared between the educational kitchen and the indoor dining area while the second level is shared between dining and garden areas. The dining area will be partially covered to minimize the direct sunlight but the garden area remains open to take advantage of Cuba’s natural resources of sun and rain water. The incorporation of a restaurant likewise takes advantage of the activities of the beer factory. Hatuey beer can be supplied directly to the building and visitors will have the opportunity to enjoy the beer from the source. The treatment of the wall surfaces will be basic but adorned with Cuban art and floor space will be devoted to live dance and musical performances to promote the local arts. Additionally, the enclosed space on the first floor next to the train tracks has been dedicated to the history of La Fábrica de Cerveza Hatuey. This space will house a small gallery depicting the history, life and evolution of the factory and it will also act as a reception area for the building so that all visitors are confronted with the values of the site.

166

As the factory is relatively close to the Historic Center, the culinary school could also offer day courses geared toward tourists interested in learning authentic Cuban cuisine. Money generated from tourist activity at the site will be used to employ the teaching staff and the restaurant employees, and will contribute toward the maintenance of the building. The multi-functional aspect of the culinary institute addresses the value

placed on the large open spaces of industrial buildings as identified in the Nara Grid. These large spaces are easily adapted and can accommodate a variety of functions. Likewise, the window openings can retain their current size and location maintaining the favourable natural lighting conditions of the building. A culinary institute has the potential to be a testimony to the resourcefulness of Cuban culture and is an appropriate response to the conditions of the site. “Responsiveness to site in any case means that the traces of stories in buildings and cities are not simply vestiges of the past preserved for visiting tourists; rather they become living testimonies, incorporated into the life of the present and enabling the future.” 28 This proposal gives promise of a sustainable endeavor for the future that involves the community of the present and honours the industry of the past.

167

[Section 7: Endnote] 1 Cramer, J. and Breitling, S. (2007) Architecture

9 American Society of Civil Engineers (ASCE). (2007, May). Seismic Rehabilitation of Existing Buildings. Retrieved from http:// ascelibrary.org/doi/pdf/10.1061/9780784408841.fm

2 Mourato, Susana and Massimilian Mazzanti. (2002) Economic Valuation of Cultural Heritage: Evidence and Prospects. Assessing the Values of Cultural Heritage. Los Angeles: The J. Paul Getty Trust, p.51

10 Cramer, J. and Breitling, S. (2007) Architecture in existing fabric planning, design and building. Switzerland: Birkhäuser Architecture, p. 10

3 The International Committee for the Conservation of the Industrial Heritage (TICCIH). (2011, November 28). The Dublin Principles. Retrieved May 10, 2016, from http:// ticcih.org/about/about-ticcih/dublin-principles/

11 Kelly, D. (2015a, February 7). 10 Repurposed industrial buildings that were previously abandoned. Retrieved May 11, 2016, from Art & Design, http://www.urbanghostsmedia.com/2015/02/ adaptive-reuse-10-repurposed-industrial-buildings-abandoned/

4 The International Committee for the Conservation of the Industrial Heritage (TICCIH). (2003). The Nizhny Tagil Charter for the Industrial Heritage the international Committee for the Conservation of the Industrial Heritage (TICCIH). Retrieved from http://ticcih.org/wp-content/uploads/2013/04/NTagilCharter.pdf

12 lahabana. (2014, March 1). Fábrica de Arte Cubano (F.A.C.). Retrieved June 5, 2016, from Art, http://www. lahabana.com/content/fabrica-de-arte-cubano-f-a-c/

in existing fabric planning, design and building. Switzerland: Birkhäuser Architecture, p. 9

5 The International Committee for the Conservation of the Industrial Heritage (TICCIH) (2011). The Dublin Principles. ICOMOS General Assembly, 28 November 2011. Available at: http://ticcih.org/about/ about-ticcih/dublin-principles/ (Accessed: 22 February 2016) 6 The International Committee for the Conservation of the Industrial Heritage (TICCIH) (2011). The Dublin Principles. ICOMOS General Assembly, 28 November 2011. Available at: http://ticcih.org/about/ about-ticcih/dublin-principles/ (Accessed: 22 February 2016)

168

7 Cramer, J. and Breitling, S. (2007) Architecture in existing fabric planning, design and building. Switzerland: Birkhäuser Architecture, p. 29 8 Del Cueto, Beatriz. (2012). Available at: http://www. sofa.aarome.org/2011-1012/beatriz-del-cueto

13 Battersea Project Land Company Limited 2014/2015. (2015). Battersea Power Station. Retrieved May 27, 2016, from https://www.batterseapowerstation.co.uk/#!/portal 14 Scott Henson Architect. (2015). Adaptive Reuse of a Former Steel Work Factory in Minneapolis. Retrieved May 27, 2016, from http://hensonarchitect.com/ adaptive-reuse-of-a-former-steel-work-factory-in-minneapolis 15 Stamp, J. (2012, November 28). A New Life for Old Breweries. Retrieved March 22, 2016, from http://www.smithsonianmag. com/arts-culture/a-new-life-for-old-breweries-146485028/ 16 Stamp, J. (2012, November 28). A New Life for Old Breweries. Retrieved March 22, 2016, from http://www.smithsonianmag. com/arts-culture/a-new-life-for-old-breweries-146485028/ 17 Stamp, J. (2012, November 28). A New Life for Old Breweries. Retrieved March 22, 2016, from http://www.smithsonianmag. com/arts-culture/a-new-life-for-old-breweries-146485028/

18 Stamp, J. (2012, November 28). A New Life for Old Breweries. Retrieved March 22, 2016, from http://www.smithsonianmag. com/arts-culture/a-new-life-for-old-breweries-146485028/ 19 Haworth Tompkins / Built Works. Retrieved May 2, 2016, from Haworth Tompkins, http://www. haworthtompkins.com/built/proj04/index.html 20 Santos, S. (2016, March 17). 20 creative Adaptive reuse projects. Retrieved May 27, 2016, from http://www.archdaily.com/369809/ professional-cooking-school-in-ancient-slaughterhouse-sol89 21 Professional Cooking School in Ancient Slaughterhouse / Sol89. (2013, May 8). Retrieved April 22, 2016, from ArchDaily, http://www.archdaily.com/369809/ professional-cooking-school-in-ancient-slaughterhouse-sol89 22 Pérez, J. F. V. (2015, December 31). SARCO / HACEDOR: MAKER/ arquitectos. Retrieved July 5, 2016, from ArchDaily, http://www. archdaily.com/778740/sarco-hacedor-maker-arquitectos 23 Watkins, K. (2015, October 15). Renzo Piano to Convert Moscow Power Station into an Arts and Culture Center. Retrieved May 29, 2016, from ArchDaily, http://www.archdaily.com/775418/renzo-pianoto-convert-moscow-power-station-into-an-arts-and-culture-center 24 Nelson, S., Karp, M., Geismer, L., Heideman, P., Johnson, C., & Maisano, C. (2016, February 17). The Slow Violence of Climate Change. Retrieved February 23, 2016, from Jacobin, https://www.jacobinmag. com/2016/02/cop-21-united-nations-paris-climate-change/ 25 International Council on Monuments and Sites (ICOMOS). (1964). International Charter for the Conservation and Restoration of Monuments and Sites (The Venice Charter 1964). Retrieved September 13, 2015, from http://www. international.icomos.org/charters/venice_e.pdf

26 Viljoen, A., & Bohn, K. (2012). Scarcity and abundance: Urban agriculture in Cuba and the US. Architectural Design, 82(4), p.18 27 Viljoen, A., & Bohn, K. (2012). Scarcity and abundance: Urban agriculture in Cuba and the US. Architectural Design, 82(4), p.18 28 Perez-Gomez, A. (2016). Attunement: Architectural Meaning after the Crisis of Modern Science. United States: MIT Press.(p. 193)

8. Final Reflections

8.1

REFLECTIONS ON THE RESEARCH

The research conducted was a valuable and insightful exercise with far reaching potential. It shined light on previously disregarded architectural heritage and the activities carried out during the on-site analysis generated a new-found interest in the Embotelladora. Although analyzing the cultural asset through the lens of a foreigner permitted a broad vision of the potential for the site, the absolute necessity of working with locals was undeniable. As mentioned throughout this document, the context of Cuba creates unique challenges for heritage conservation not seen elsewhere in the world. It was through the support of the local residents of Santiago de Cuba that the complexities of the context could be best understood. Furthermore, the resourcefulness of the Cuban population is admirable and many lessons can be learned from the achievements seen in Cuba.

172

8.2

FUTURE RESEARCH

Further technical investigations are required to attain a proper structural survey of the building. Beyond the research done on the Embotelladora it is recommended that the same vigor is applied to the Principle Building. Original brewing equipment still exists in the Principle Building but it is constantly being compromised by the neglect of the structure. Physically the building and its assets are deteriorating and putting the cultural heritage at risk. It is suggested that an adaptive reuse approach also be applied to the Principle Building. The future considerations of how this building can function should complement the function of the culinary institute so that the ensemble of buildings can operate with cohesion as they did in the not too distant past.

173

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Rosa Lowinger on Cuba before Castro: Rosa Lowinger. item/20081010_rosa_lowinger_on_cuba_before_castro

(2008,

October

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Retrieved

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