The Architectural Treasures of Cuba

Travel is an essential experience for architects, artists, and enthusiasts. When we travel, we explore the skill and ingenuity with which other cultures address local architectural needs. The sights and details we see inform our work, and, perhaps most importantly, the culture we immerse ourselves in broadens our insight into our shared human experience.

I cannot find better evidence for this statement than my recent travels to Cuba with the ICAA, on a trip arranged by Classical Excursions. Cuba’s architectural heritage is remarkable, and its culture filled with a unique spirit despite its political turmoils over the last few decades.

Traveling with the ICAA

I had been wanting to visit Cuba for over ten years, but I knew going alone would have been quite the challenge. So when this trip was announced I immediately reserved my slot, knowing I was in the hands of travel experts with the focus that I was interested in: the architecture of Cuba. The experience did not disappoint. Among our guides were local architects, historians, and tour operators, who eloquently spoke about their areas of expertise. Engaging with local experts really enhanced the educational component of our travels: we weren’t just shown around, rather, we were part of a curated architectural and historical experience.

To top things off, the group with whom I had the pleasure of traveling, was composed of remarkable individuals. We had a good mix of architects, art historians, designers, and consultants just to name a few professions, so each meal became a venue for fascinating conversations. We would always reflect on the sites we had just seen, share related stories, and have a good laugh about each other’s funny anecdotes. It was always a good time. And despite our journey lasting just one week, I can wholeheartedly say I already miss seeing the new friends I made during the trip.

Havana: The Pompeii of the Americas

Michael Lykoudis, former dean of the School of Architecture at the University of Notre Dame, once said that Havana could be considered as the Pompeii of the Americas. While Pompeii was frozen in time due to devastating layers of volcanic lahar, Havana is a city that has remained largely the same ever since Fidel Castro took power in 1959. For those of us architects in the classical tradition, this translates to a unique opportunity to witness a city with little influence of modernism, urban renewal, suburbia, or other late twentieth century architectural and urban experiments. Yes, Soviet-style housing can be seen, but Havana’s historical center remains largely untouched. The result is an urban environment frozen in 1960, with a mix of influences including 18th century colonial architecture, 19th century Beaux-Arts elegance, 20th century Art deco, and mid 20th century modernism.

The experience is a master class in how traditional architecture can adapt to local climates and cultures. For example, the historical center has a rich variety of colonial courtyard typologies, tall ceilings, and narrow streets to enhance ventilation, yet the late 19th century urban expansion of El Vedado has beautiful detached Beaux-Arts homes with different configurations of porches, balconies, and wrap-around verandas. Additionally, familiar European architectural motifs, like the use of the orders, can be found all over, but with a slight touch of imperfection. It’s clear to me that cities like Havana followed a similar pattern to the rest of colonial architecture in the Americas: local craftsmen would build using treatises brought from Europe like Vignola and Serlio, and, using local materials, building techniques, and with the limited skills available for the classical language, they built highly detailed and ornamental works that could only exist in Cuba. A prime example of the adaptation of the classical tradition to local customs.

The architectural splendor we found in Havana rivals that of her sister cities like Santiago, Chile, and Mexico City. We saw the progress of architectural refinement from its colonial buildings in the historical center, like the Captain General’s Palace and Cathedral, to the exceptional art deco in the Bacardi Building, the monumental Capitolio, and the grandeur of French-inspired mansions in El Vedado. Consistent throughout different historical periods was the outstanding woodwork in things like doors, windows, shutters, columns, and brackets, and the ironwork of balconies, window grilles, and gates.

Trinidad and Cienfuegos

After a couple of days in Havana, we ventured southeast to the French-influenced city of Cienfuegos, where we walked its colonial grid and saw a beautifully restored, late 19th century theater. We then arrived at our base for the next two days: the colorful city of Trinidad. With cobblestone streets, tall windows, intricate iron window grilles, terracotta tile roofs, and charming one-storey buildings, Trinidad, founded in 1514, was a colonial powerhouse for the production of sugar. The tour was led by a local historian, who dove into the city’s history, urban form, and even unique construction details. In Trinidad’s surrounding areas, there were hectares of sugar plantations called “ingenios,” each with its own mill and plantation home. As part of our tour, we visited one of these restored homes, together with the Manaca Iznaga Tower, which some of us embarked on the journey to climb atop its 140-foot panoramic deck.

Interacting with the Arts

To complement the banquet of architectural treasures, the ICAA and Classical Excursions made sure we got a taste of Cuban art and music. During our short week, we were treated to private concerts by Havana’s Lyceum Mozartiano Orchestra, and the Cantors of Cienfuegos. Both groups impeccably performed an array of pieces by Cuban composers, as well as known European names like Mozart. Additionally, we attended a rooftop concert in Havana given by Ernán López-Nussa, Cuba’s contemporary foremost authority in Jazz. Finally, we had several unique opportunities to engage with Cuban visual artists and architects in evening cocktail receptions held at local galleries. Artists shared with us their experience, talent, and their individual stories behind the canvas.

The Cuban Reality: An Eye-Opening Experience

To write about the architectural wonders of Cuba without addressing the toll that years of neglect has had on said wonders would be like talking about Pompeii without mentioning Vesuvius. Confronting this reality was as much part of our travels as it was to learn about Colonial architecture.

Over the decades, many beautiful buildings were abandoned, subdivided, and assigned to new uses as schools, daycares, and apartments, often becoming significantly overcrowded. Additionally many structures, though still beautiful, were allowed to deteriorate significantly, and after the collapse of the Soviet Union (which was Cuba’s main trading partner) funding for the preservation of Havana’s historical heritage was further reduced. The result was a rapid decay of the built environment, and Havana became a mere shadow of its former, glorious self. In the midst of this we saw vibrancy in the streets, which were filled with people living their daily lives, children walking to school, and street performers making a living. During our visit, I felt the resiliency of the Cuban spirit and the hope that change has slowly taken root, providing more opportunities for individuals. That said, it is easy for visitors to romanticize the vibrant street life, when the reality is that buildings are so dilapidated and overcrowded that few people can bear being inside. It was heartbreaking: for every restored building I saw, there were perhaps hundreds more in a state of decay. Lively Cuban culture plus dilapidated buildings equals a vibrant street life.

Enter the work of City historian Eusebio Leal Spengler. In the 90’s, Eusebio successfully negotiated with Fidel Castro to direct profits from tourist ventures in Old Havana towards the restoration of buildings around the city. The effort to revitalize Havana was a success. With restored buildings came restored hope and a new mix of uses like restaurants, museums, and hotels, many of which we saw and dined in. Old Havana now feels like a different town than it did fifteen years ago. Mr. Leal Spengler, who received the Henry Hope Reed Award in 2016, passed away in 2020, but his legacy and work continues as buildings in Havana continue to be restored. As a group, we all learned about his clever heroism and saw firsthand the restoration efforts and the effects they’ve had in creating a more lively Havana. Finally we also witnessed how, with the gradual loosening of restrictions, individuals can now begin to invest in the restoration of the homes they inhabit.

However heartbreaking the Cuban reality was for me to see—to say nothing of its colossal complexity—I felt the vibrancy of the Cuban people and witnessed the efforts of individuals to restore their home country to its former glory. I highly encourage everyone to visit Cuba, to admire and emulate its architecture, learn from its history, engage with its people, and be enamored with their energy.

A special thanks to Classical Excursions and their team: Lani Summerville, Chas Miller III, our on-the-ground coordinators and guides Oscar Fernández and Lázaro Rodríguez Calvo, and to the ICAA for organizing this unforgettable travel experience.

Tags: travel