Modern Architectures of North AmericaMain MenuHelp! Help! Help!SuburbiaArchitecture Relating to the Natural EnvironmentPatients, Prisoners, PoliticsIdentity: What Lies Beneath Style and FormChange and AdaptationErica Morawski - The Hotel Nacional de Cuba: Making Meanings and Negotiating NationalismsAmanda - Organic Architecture/F.L. WrightSteph - Moorish Revival ArchitectureBrittney - Sustainable Urban DesignsThe Shift: Art Deco & Modernismby Bayleigh BoganTransition to Streamline ModerneSydney - The Coppelia Ice Cream Shop in Havana, Cuba: A Cultural Moment ManifestedKatie - LevittownGenevieve - The Multifaceted Development of Creole ArchitectureThe Former Church of the Holy Communion: A Specific Example of Change and Adaptation of a Single Building Over TimeRe-Purposing a Religious BuildingZarah Ferrari: Tule Lake Segregation Center: Rising Above an Unjust SystemZarah FerrariLaura - The Suburban Kitchen in Levittown, PABy Laura Krok-HortonMarianna Mapes, Disease and the Body Politic: The National Leprosarium at Carville, LouisianaLiz - Eichler, Neutra, and the mid-century Californian SuburbV. Nash- Berkeley City Women's Club (1929), Berkeley, CA, Julia MorganJulia Morgan was a West Coast architect.Metropolitan Museum of Art: A Transition to ModernismBrendan - Academy of Music
Visually representing the Cuban state in the Hotel Nacional.
12016-03-04T08:44:53-08:00Erica Morawskia7252cccd731863566ea2a97321995d06b6810e381804plain2016-03-08T04:12:43-08:00Erica Morawskia7252cccd731863566ea2a97321995d06b6810e3As stipulated in the contract, the Hotel Nacional had to demonstrate that it was THE national hotel of Cuba. McKim, Mead & White incorporated symbols, such as national coats of arms, flags, and other imagery meant to symbolize the nation. The importance of this hotel as a symbol of the nation was so great that Carlos Miguel de Cespedes, secretary of Public Works, originally refused to stamp the contract in 1928, because it was missing the clause that stipulated that the Cuban flag was the only flag that could fly over the hotel. This anti-imperialist statement earned him positive public reception, however this was quickly lost in the following years as he became more and more associated with the corruption of the Machadato. The ransacking of his grand house is during Revolution of 1933 is representative of how he stood as a symbol of what was wrong with the government and the public's desire for reform.
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12016-03-03T13:05:00-08:00Erica Morawskia7252cccd731863566ea2a97321995d06b6810e3Photo of the Hotel Nacional after the violence of October 2, 19331Collection of the New-York Historical Societymedia/1NacionalBombedFacade2NYHS.jpgplain2016-03-03T13:05:00-08:00Erica Morawskia7252cccd731863566ea2a97321995d06b6810e3
