Cultura Ocho
Descrição do Produto
Cultura Ocho; A Community Center Celebrating the Culture of Calle Ocho East Little Havana, Miami, Florida
Prepared by
Ernest Abuin
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PROLOGUE Abstract
Little Havana is one of Miami’s most visited tourist attractions. The residents
of Little Havana come from a variety of Latin American countries, the central
attraction of the area is the predominantly Cuban ambiance that can be seen, heard and tasted by walking on its Main Street: Calle Ocho.
There are few extant historic structures on Calle Ocho. The absence of
historic buildings restraints the celebration of the Cuban identity of Little Havana. Many of the original historic structures have been demolished in order to make
room for newer development. Many times these newer buildings are trying and fail to mimic the architectural character of what existed before. Sadly, entire street blocks fronting Calle Ocho have been cleared and remain as vacant lots. These
empty lots create “islands” of activity along Calle Ocho. Located within one of these fragmented islands of inactivity is a small two story historic building, 1923 Calle
Ocho, built fittingly, in 1923. The building and its site are unique not only because of their architectural aesthetics and history but also because it is one of the few
original buildings on Calle Ocho that is free standing, stepped back from the sidewalk and has open space on the site.
Proposed here is a means for bringing 1923 Calle Ocho back to its former
glory. An adaptive reuse program is proposed which provides a place for the
community to gather, display Calle Ocho’s rich and enduring culture and celebrate
“la Cubanidad” Cuban culture.
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I have a personal connection to Little Havana. My mother, grandfather and
my sister moved to Little Havana in 1977. We lived in a small house on 19th Avenue and six blocks away from Calle Ocho. As a child I remember walking through Calle
Ocho and experiencing its energy. One of my favorite buildings on Calle Ocho was
the Continental Clinic, located at 1923 8th Street. At the time, my sister was studying
nursing worked part time at the clinic and my grandfather, who was a member of the clinic, worked there serving coffee to patients waiting to see the doctor. After
school, the bus would drop me off at the clinic where I had the opportunity to be a part of the many dynamic community interactions happening there.
1923 Calle Ocho was a community clinic, equally important, a center of
activity where the community would gather to socialize and share stories and a cortadito. 1923 Calle Ocho not only healed the community physically but also socially.
Twenty-‐three years after moving out of Little Havana, I was presented with
an opportunity to design a small project on Calle Ocho. A local business owner hired me to renovate the interior of his restaurant. As the onsite architect, I took the
opportunity to walk down Calle Ocho and reconnect with my old neighborhood. This is when I rediscovered 1923 Calle Ocho, abandoned and in poor conditions.
Seeing 1923 Calle Ocho in its present condition triggered many emotions.
This site was an essential part of my community and my childhood. Although my
first feelings and impressions are long forgotten, the building is still there, it is still important; it is still part of the community. This moment triggered an idea that
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brought together my interests in art, community advocacy, architecture and
preservation and set me on a path to preserving and revitalizing 1923 Calle Ocho.
HISTORY OF LITTLE HAVANA -‐ ¡Tremenda muela!
“It is not by chance that we are born in one place and not the other; but in order to testify. I have attended as intensely to what God has bequeathed me; the colors and shadows of my homeland, the customs of the family, the manner of expressing things and the things themselves: dark sometimes, and sometimes light. These ways of looking, listening, smiling will disappear along with me, because they are unique to every man; and as none of our works is eternal, or even perfect, I know that I leave behind, at best, a warning to you, an invitation to be attentive. To be more so than I have been, in what God has bequeathed us.”
-‐Eliseo Diego Cuban Poet From Testamento
Little Havana illustrates the central theme of Miami’s Cuban story. This
neighborhood is known as the emotional center of social, cultural and political activity in
Miami’s Cuban and Latin community. Its year round festivals such as Calle Ocho, Miami
carnival, Viernes Culturales, Art Walk, the Three Kings Parade, Miami Film Festival and others made this community worldwide recognizable and a landmark for tourist and Miamians.
Calle Ocho is the iconic street of Little Havana, where Latin shops, galleries, sidewalk
cafes and bookstores project a Caribbean atmosphere. It has a robust street life, iconic architecture, Latin music, great cuisine and cultural activities. Little Havana is a
predominant Hispanic neighborhood with an estimate of 68,000 residents extending from I-‐95 to the east, 37 Avenue to the west, NW 7TH Street to the north and Coral Way to the
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south. Little Havana has provided a home for Cuban émigrés since the 1930’s, but its population flourished after Fidel Castro’s Revolution of 1960.
According to Dr. Paul George’s Historic Walking Tour and Lecture on Little Havana,
the neighborhood can be traced back to1890 as part of the original Sam Belcher 160 acre
homestead. His home stood on what is now the corner of Southwest Seventeenth Avenue
and Eight Street (Calle Ocho). The landscape was part of the Everglades’ Rockland
ecosystems covered with Dade County Pine trees, a durable hardwood used by the
pioneers to build their homes. As the century ended Julia Tuttle, known as the mother of
Miami and local citrus grower convinced Henry Flagler to expand his railroad to South
Florida. This advancement in transportation led to an increase in population and the need for more real estate. The Army Corps of Engineers was commissioned to build drainage canals and reclaim this part of the Everglades. A real-‐estate boom soon followed in the
1920’s and transformed Miami from a sleepy town into the “Magic City” 1 a name given to the city because of its instant population growth.
The wealthy Brickell family from Cleveland joined Julia Tuttel in her venture to
create a new city. During the 1870’s the Brickells purchased most of the land located at the edge of the Everglades, from what is now known as Coconut Grove to the banks of the Miami River with the intention of starting a citrus plantation. Thirty years later, Mary Brickell, the matriarch of the family, subdivided the land around the Miami River and named it Riverside.
1 http://www.miamidade.gove/info/about_miami -‐dade_history.asp
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Bahamian and other island settlers came to work the citrus groves. They settled
along the fringes between the City of Miami and the Everglades. They lived in shotgun houses built out of Dade County Pine, some of which are still seen in the area. As the
settlement grew, it was surveyed, organized and named Westmoreland. It was one of the
first developments south of Eight Street and lies in the heart of what is today Little Havana. During the 1920’s Southwest Eighth Street was part of the Tamiami Trail, a simple
unimproved road connecting Miami to Tampa. Eighth Street was also the link between Downtown Miami and the growing community in the outskirts of the city. As the
population grew outside the city limits, larger more formal structures such as hotels,
apartment buildings and retail stores began to rise along the street leading to the widening
and paving of the street. Two of these structures still standing today were the Tamiami
United Methodist Church, a once Deep South congregation now a Hispanic church and the iconic Tower Theater. The theater was the entertainment center for the predominantly
white community, mostly retired Jews and Italians from New York, as well as the minority Arab, Bahamian, and Cuban residents. This culturally diverse community, not allowed to
purchase property in nearby Coral Gables, would congregate at the theater and watch first
run movies. The small Cuban population in the community of Riverside primarily consisted of young students attending the University of Miami. During the 1920’s Cuban families sent
their children to Florida for their education. The University of Miami and University of Florida football teams also recruited athletes from Cuba.
By 1925 and unprecedented building boom in Miami drew people from all over the
country. This economic prosperity and interest in south Florida was supported by Henry
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Flagler’s railroad that brought investors from the north in ever increasing numbers. Flagler Street and Little Havana became an active neighborhood.
The population and development boom quickly ended on the night of September 17,
1926 when a killer hurricane ravaged the city for eight hours. As winds suddenly died down, people unfamiliar with hurricanes wandered out to view the damage and were trapped in the eye of the storm. Without warning the winds returned, stranding
unsuspected bystanders outside, killing hundreds. Miami would not see flooding and
destruction at this level until Hurricane Andrew in 1992. As Miami slowly recovered from the Hurricane of 1926, the Wall Street crash and Great Depression brought the construction boom in the area and economic prosperity to a halt.
During the 1940’s as the country prepared to enter World War II, the military sent
thousands of troops to train in south Florida. Servicemen of many nationalities that trained in south Florida, moved back to Miami and settled in the neighborhood of Riverside (Little
Havana). During the post war boom of the 1950’s, Miami became a multi-‐cultural city. The affordability of automobiles and air travel made it possible for vacationers to visit south Florida. The affordability of the automobile encouraged small family owned service stations and retail stores along Eighth Street.
Political unrest in the Caribbean and Latin America during the 1950’s and 1960’s
gave rise to a large exodus of refugees to the United States. This included the emigration of more than 178,000 refugees from Cuba. Cuban refugees sought to live in Miami due to its familiar island weather and geographical proximity to their homeland.
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Contrary to popular belief, the exile of the late 1950’s and early 1960’s was
voluntary, not self-‐ imposed. Most Cubans did not flee under threat of imminent
persecution. Cuban refugees left families, friends, jobs and possessions behind. They
however, remained culturally and emotionally attached to each other and their homeland.
According to a survey in Cubans in Exile Disaffection and the Revolution by Richard Fagan,
when asked what aspects of their lives in Cuba they missed most, 25% answered “la patria”,
the fatherland.
During this first and second wave of emigrants (between 1959 and 1977), more
than 665,000 Cubans left the island by sea out of the port of Camarioca and the “Freedom Flights” from Varadero Beach. These emigrants called “gusanos” (worms) by the Cuban
press, were mostly white, affluent and well-‐educated professionals affected by the political
change. This well-‐connected community was fractured, having to start over socially and financially taking jobs held by African Americans. These jobs consisted of valets, dish
washers, waitressing, delivering newspapers and in the case of my family, all of the above. It was a difficult, humbling experience that was met with a sense of solidarity.
Richard Fagen, in Cubans in exile Disaffection and the Revolution, estimates as many
as 3,000 Cubans were arriving on a weekly basis2. Numbers progressively increased as
stricter new policies were implemented in Cuba and the revolution became more radical,
affecting a larger population of Cubans economically, politically and socially. Cubans fleeing
Castro’s 1960 revolution created a steady stream of immigration into the area,
transforming the culture of the neighborhood and the city more broadly from a diverse
2 Fagan, Richard, Cuban Exiles: Disaffection and the Revolution, Stanford University Press, June 1968, pg 34.
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community to a predominantly Cuban one. According to Commissioner Willy Gort, Little
Havana was appealing to Cubans in the early 1960’s because residents of Riverside were
moving to the suburbs and low rent apartments or “hot apartments” were available within
proximity to downtown jobs. Businesses followed residents to the suburbs and the area
was abandoned. Cuban refugees filled in this population and economic gap. As the Cuban population grew and expanded west to the deteriorated areas of the Shenandoah and
Riverside neighborhoods between 7th Street NW and 8th Street SW and 12th Avenue, the
neighborhood became known within the non-‐Cuban community as “Little Havana”, after
the capital city of Cuba. Little Havana became a kind of capital for the exile community. By the end of the decade the neighborhood was largely Cuban. However, for many of these refugees, the dream of returning to a free Cuba faded with each passing year.
During the late 1970’s and early 1980’s the City of Miami had plans to develop Little
Havana as a prime tourist attraction. In an attempt to gather world recognition, boost the local economy and develop something unique to Miami, The Little Havana Development
Authority (LHDA), offered grants and loans to store owners and renters to remodel their stores. The LHDA also commissioned architects and city planners to devise a
comprehensive street scape plan for a “Latin Quarters” would feed off of the existing
community. As Mayor Maurice Ferre put it “New Orleans has its Super Dome, but it is the
charm of its French Quarter that made New Orleans famous.” 3 Although at the time, these
plans never came to fruition, it did spark interest in the area and the inception of a
weeklong street party called “Latin Summer Fiesta” which later became Miami Carnival, “Calle Ocho”.
3 McMullan, John. “It’s Time to Develop A Real Little Havana”, Miami Herald, Neighbors, 1977
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In the mid 1980’s Little Havana was renamed “Latin Quarters”. Infrastructure and
cosmetic improvements where approved for the area by Metro Commissioners.
Improvements consisted of new traffic signals, resurfacing streets, new curbs and gutters, decorative lighting, brick sidewalks, barrel tile and mansard roofs. These improvements and reasonable rents made the area more appealing to new residents and artist that
opened studios and galleries and began Viernes Culturales (Cultural Fridays) showcase of artwork on Calle Ocho.
Little Havana came of age after the third wave of refugees in the 1980’s. The Mariel
Boatlift was Castro’s solution for relieving economic hardship on the island. Fidel Castro permitted willing participants to leave Cuba and seized the opportunity to empty the
prisons and mental hospitals, forcing what he called “ the scum of the country-‐ anti socials,
homosexuals, drug addicts and gamblers whom the revolution welcomed being rid of ” into boats. It is estimated that over 125,000 refugees came to Miami of which 40% were
robbers, 18% petty criminals and 10% sex offenders. U.S. President Carter granted refuge
to these new arrivals and set up makeshift tent encampment safeguarded by the National
Guard for hundreds of homeless Cuban refugees. After processing, those without relatives
in Miami were relocated to the Orange Bowl Stadium and to a tent city underneath the I -‐95
overpass near southwest Fourth Street and Fourth Avenue. After the Mariel Boat lift,
Cubans in Miami represented 42% of the population. This was an increase since the 2%
after the 1960’s exodus.4 This second exodus was different than the previous. Known as 4 Levine, Robert, M. Cuban Miami, Rutgers University Press, 2000
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Marielitos, most of the refugees were younger and mulatos (mixed race). A great majority were untrained unskilled urban lower class citizens brought up under a socialist regime.
An increase in urban crime and social diversification of Cubans led to an exodus of
Little Havana residents into Miami suburbs. Known as la saguesera, (southwest area of West Miami, Village Green and Westchester) the suburbs were appealing to older
economically established Cubans that could afford a car, larger house and a back yard.
However, moving out of Little Havana did not completely detach these families from the
Cuban neighborhood. Cuban ties still remained strong. According to Heath Meriweather, columnist for the Miami herald, when Cubans wanted good Cuban food or items for specialty stores they would return to the bodegas and almacenes on Calle Ocho.
Today, Little Havana has the highest concentration of Hispanics in Miami. It is a
cultural island, unlike the rest of Miami. Residents could live their entire lives speaking only Spanish. This makes Little Havana appealing to immigrants from Nicaragua, El
Salvador and other Central American countries have found comfort living within Little
Havana’s Spanish speaking community. The emergences of immigrants from other Latin
American countries now outnumber Cubans, changing the demographics in Little Havana. In spite of their assimilation into American Culture, most Cubans have held on to their
customs, traditions and most importantly their language. Although throughout Miami there are many signs of Cubans willing to preserve their rich culture, a small minority have tried to erase their Cuban heritage by changing their names to an Anglo version, not learning
Spanish and attempting to lose their accent. Presently, Cuban –Americans occupy many
top leadership positions in politics, education and the entertainment industry in Miami.
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Cubans brought and kept their institutions, lifestyle and values. They conduct business as they did in Cuba and do their grocery shopping every day. According to Caridad Alvarez,
resident of Little Havana, the key attraction for Latins in Little Havana is lifestyle “one sees
people in the streets-‐ there is movement, friendliness. It is a whole lot more like it was in
Cuba.” Cuban residents in Little Havana and throughout Miami have attempted to recreate another Havana in Miami. This exercise in nostalgia has kept Little Havana frozen in time;
sometimes happy and often sad reminding immigrants what is was like in Cuba. HISTORY OF CALLE OCHO
-‐¿ Que vola con tigo? When one thinks of Little Havana one pictures Calle Ocho, known as Highway 41
Eighth Street, or the Tamiami Trail. It was built between 1915 and 1928 to connect
southeast Florida, from Miami to Tampa. Because it linked these two cities it was named
Tamiami Trail. From the 1930’s through the 1950’s southwest Eight Street was the central
artery crossing through a predominantly Jewish community. This all changed during the latter part of the 1950’s and through the early 1970’s when Cubans moved into the area
and replaced the Jewish community that had been living in Riverside since 1920’s. Cubans
referred to the street as “Calle Ocho” Spanish for Eighth Street.
Calle Ocho is many things to Miami’s Cuban community, a place for Latin artistic
expression, a place of celebration and a place of gathering for political protest related to
personalities and events in Cuba. It is a main feeder to downtown Miami and represents the entrepreneurial and progressive spirit of the Cuban community. With its Spanish style
architecture, vibrant colors, Latin shops, cafeterias and restaurants, and the smell of Cuban coffee and cigars, one imagines needing a visa to visit Calle Ocho.
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A walking tour might be the best way to experience Calle Ocho. Such a tour might
begin on the corner of 13th Avenue where one encounters a somber memorial park with monuments to Cuban icons and patriots such as Jose Marti and Antonio Maceo. There is also a memorial flame honoring fallen members of Brigade 2506, which fought in the in
April 1961 invasion of the Bay of Pigs. Towards the end of the park there is a bronze map
dedicated to the people of Cuba inscribed with Marti’s words, “ideals of people who will
never forget the pledge of making their fatherland free.” A smaller monument is dedicated
to the Virgin Mary representing the Cuban family’s reverence for motherhood and devotion to the Virgin Mary. A popular monument is the “Bronze Titan” a bust of Antonio Maceo, the Afro-‐Cuban general who led troops in Cubans war for independence.
Anchoring the park is massive Ceiba, a sacred tree for the Afro-‐Cuban religion of
Santeria honoring Chango, Santa Barbara with offerings around its base. Although it is a
tours attraction, offerings should be left untouched. Removing any articles from the tree is considered bad luck.
Further west on Calle Ocho we encounter Los Pinarenos Fruteria, a popular open-‐air
fruit stand similar to any in the Caribbean. Vendors sell fresh tropical fruit such as housing mangos, mameys, guanabanas, nisperos, and coconuts all carefully arranged in stands
supported by large sugarcane stalks. Here we can enjoy juices and batidos (shakes) and
guarapo, freshly juiced sugarcane in a lively street setting and get distracted by the passersby and wandering rooster.
Looking down at the brick paved sidewalk, we would come across the Little Havana
Walk of Fame that extends from 12th to 17th avenue. Star shaped plaques along the
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sidewalk commemorate Hispanic celebrities, such as Gloria Estefan, Julio Iglesias, Benny
More the “Mambo King” and Celia Cruz, the “Queen of Salsa”. As we reach 14th Avenue, we
come across Maximo Gomez Park, the loudest and most animated corner of daily life on
Calle Ocho. Maximo Gomez Park is named after Dominican born General Maximo Gomez y Baez, Chief of the Cuban Liberating Army. Locals refer it as Domino Park. This is a place
where older generations of Cubans meet to play dominoes or chess and drink coffee each day. The enclosed area is energized by the loud shuffling and slamming of dominoes and
heated discussions all happening in front of a large mural illustrating the 1993 Summit of the Americas.
Next to the park is the iconic Tower Theater. Built in 1926, it became a hub for
neighborhood activity and center gathering space. Its Art Deco design and colorful neon lights stand out among the rest of the buildings on Calle Ocho. Located next to Maximo
Gomez Park, it is a well-‐known landmark building. Currently it is owned and managed by
Miami Dade College and is used to screen independent films in both Spanish and English.
To continue the walking tour, it is recommended to partake in a Cuban ritual; that is,
the sharing of a colada. There is no better place on Calle Ocho to enjoy a Cuban coffee than El Pub. This is a popular street side cafeteria and gathering spot for the community with
great Cuban cuisine and a street life ambiance. Visitors can sit and enjoy a three course
meal or stand at the window and reenergize with a cortadito. Tourists are drawn to this place to take pictures next to the two large roosters on the street corner.
On the next block one can enjoy a Cuban cigar. Credito Cigar factory is one of many
iconic businesses on Calle Ocho. In 1962, Ernesto Perez-‐Carrillo brought his family owned
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cigar business to Miami where one can see tabaqueros rolling masterpieces and the art of
hand rolled cigars is passed on to other generations. The tour continues west on Calle Ocho. Located on the southwest corner of Eight Street and 19 Avenue, Libreria Cervantes, a
popular community bookstore that carries many tittles by great Latin authors as well as
New York Times best sellers that have been translated into Spanish.
Next door, King’s Ice Cream is a typical old Havana Shop that has been family owned
and operated for many generations since the 1940’s. It offers homemade tropical fruit ice cream, Cuban pizza and churros Latin Americas version of a sugary doughnut. As the tour
nears its conclusion, we come across La Floreria El Camino. This multipurpose shop sells a variety of literature and Santeria paraphernalia. Not to be confused with a voodoo shop,
the store also sells souvenirs and colorful flowers. The tour concludes at 1923 Calle Ocho, a historic building that has been neglected for a few years. Despite its current condition,
1923 Calle Ocho has the potential of recapturing the great energy felt along this street.
Events are celebrated in the community as much as local establishments. Viernes
Culturals (Cultural Fridays) is an arts fair celebrating Latin culture that takes place the last Friday of each month. Events consist of outdoor musical performances of Latin Jazz, Afro
Cuban performances and exhibits down sidewalks, murals, plazas and open galleries, shops,
botanicas, and restaurants. It is a powerful setting for renowned Cuban and other Latin
American artist and entertainers to display their works and an opportunity for visitors and tourists to experience an evening of culture in a diverse Latin community. For those
interested in the history and culture of Calle Ocho, Dr. Paul George, a famed Miami historian offers free walking tours departing at 7:00 from the Tower Theater.
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Starting in 1978, each second Sunday in March Calle Ocho is transformed into the
country’s largest street party. Extending for more than two miles, over one million visitors
attend the event each year. According to City Data Calle Ocho set a Guinness Book of World
Record in 1998 when more than “119,000 people joined in the world’s longest conga line”i.
Week long Mardi Gras street party events consist of dancing, eating, street performances, vendors from the Caribbean and Latin America, and people in costumes celebrating
Miami’s Latin culture. News crews from around the world televise this event each year. 5
BUILDING HISTORY
-‐¿ Que vuleta? Buildings chosen for my proposal are located on Calle Ocho and 19th Avenue. Built in
1923 they are commercial vernacular structure typical of Miami during the 1920’s. As seen on the 1923 permit card, the original site layout shows a diagram with three structures. The main two story building with a carport facing 8th street a small garage towards the rear of the building and at the rear corner a two story structure used for housing and
storage. The cards show that the building’s use was classified as “commercial –funeral
home” and according to the “White Populations City Directory” of 1926, most likely owned by J.W. Buck
5 http:www.city-‐data.com/us-‐cities/The-‐South/Miaami-‐History.hmtl
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Image of 1923 Property Jacket card and Permit Card showing the layout of the site
Image of Real Property Record card showing architecture features and garage structure at the rear of the site
Image showing characteristic of Miami Commercial vernacular building from the 1930’s from Guide to Florida's Historic Architecture and Building Elevation. View of 1923 Calle Ocho
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Architectural significant characteristics of the commercial vernacular building type
consist of a symmetrical layout stucco facing, ground floor arcade and large arched
openings. There is little to no ornamentation applied to the exterior walls. Sanborn Maps dating to 1927 outline all three structures with a description of “wood truss, conc. floors with plaster walls”.
1927 Sanborn Map of 1923 Calle Ocho, Building is listed as “service”.
Although the property changed names many times, from original J.W. Buck Funeral
Home in the 1920’s to Mc Gahn Jos.P.Funeral Home in 1931, to Van Orsdel Mortuaries in 1949, it continued to serve the community as a funeral home.
A Real Property Record dated to 1960 classified 1923 Calle Ocho as commercial-‐
funeral home called Josberger Funeral Home. The record shows a diagram of the site with
three structures and a diagram with the building materials used for construction as well as building features and a program for each room. The foundation is described as concrete block and exterior walls are wood frame finished with stucco with a brick chimney. The
roof was categorized as flat and gabled, probably indicating the mansard roof decoration
covered with asphalt shingles. Room types included an embalming room, six bedrooms, a
kitchen, bath and chapel. The structure, no longer existing, at the rear of the building was a
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garage. An auxiliary building in the northeast portion of the site of is of similar construction and served as storage with living quarters on the second level.
The property record included a renovation proposal for the small rear structure and
enclosure of the carport on the east side of the building. Renovations included an A/C wall unit to be added to the northwest wall. These drawings show the first elevations of the structure. According to the permit drawing, 1923 Calle Ocho had aluminum awning
windows. This window type is popular in South Florida and can still be seen in many historic structures.
Photo 1977 showing all three buildings on the site, window awnings, no fence, some landscaping.
In 1975 owner Joseph McGhan sold the building to Dr. Rogelio G. Vidal. For the first
time in the build’s history it was no longer a funeral home. Dr. Vidal opened a Cuban style clinic named South Florida Sunshine Clinic then renamed it Family Surgical Group. In May
of 1979 Dr. Vidal deeded the property over to his daughter Ana Maria Rivero Esq, she hired architect Jose R. Figueroa to enclose the northeast section of the building to build a medical examining room. Clinics “clinicas” are one of the greatest contributions Cubans made to
their community and to the larger movement for universal access to healthcare. Through small monthly fee members belong to Clinicas Asociadas Cubanas (CAC) that are both
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clinics and social clubs sponsoring recreational activities and a gathering space. The monthly fixed rate included access to affordable healthcare and services such as transportation and group activities for seniors.
The 1979 addition added 540 square feet to the building at a cost of $3,600. This
application was followed by inspections for building foundation, tie beams and framing
which were all satisfactory. It is at this time that the structure to the rear of the building is no longer included in the site drawing. The footprint has either been removed or crossed
out with a note directing to “see new cards”.
In 1983 the interior was remodeled to include 4 doctors’ offices, 3 consultation
rooms and two bathrooms towards the rear of the building. Windows on the façade were
removed and large fixed glass storefront windows and door were installed. The west part of the vestibule was also demolished. Plastic tiles were installed on the floor and a new drop ceiling was added under the existing ceiling. Two A/C units were also installed
According to Property Deed Records, in 1986 Ana Maria Vidal sold 1923 Calle Ocho
to Luis Fonseca. The clinic was renamed Continental Medical Center. The following year
Property Appraisers Office History Card notes that cosmetic work was done to the interior in the main building and also the rear building located on the northeast of the property.
Repair work was also done on the asphalt lot. According to Tax Assessment Building Jacket Cards, in 1989 a new CMU block and metal railing fence was added to the lot fronting Calle
Ocho at a cost of $1,800.
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1923 Calle Ocho as seen in 1988
Images circa 1986 of health clinic staff and community taken within 1923 Calle Ocho
In April of 2001 Zenaida Fonseca, widow of Luis Fonseca sold the Delgado Medical
Center to Esperanza Estrada. The new owner Esperanza Estrada proposes a change of use
for the building. According to a building permit by Micaela Estrada de Arauz proposed a new commercial-‐ restaurant use for the building. The planned renovation consisted of
interior remodeling of 140 sq.ft. of bathroom partitions at a cost of $6,000. Drawings for
this proposal show new handicap parking added facing the northeast side of the building as well as an extension of the building connecting to the storage structure located on the northeast portion of the site. At this time, the building was considered by the county
property appraiser to be in “good condition”. However, perhaps due to the housing market crash and lack of funds, there is no evidence of any work being completed.
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In March of 2010 Frank Cuesta representing owner Fonseca Group Investments
aquired a building permit for “partial demolition of interior walls, removing tile and vinyl floor finishes to the existing subfloor, removing of plumbing fixtures and sewer lines and
the removal of the decorative mansard roof structure” which has been part of the building’s façade since before the 1950’s. Altering the roof structure and adding a more decorative
parapet roofline changed a defining architectural characteristic. One could now classify the structure as a Mission style rather than commercial vernacular. This work was in preparation for a proposed new use for 1923 Calle Ocho.
According to a building permit application filed in, Frank Cuesta, the new owner of
1923 Calle Ocho, proposes a new use for the building. He hired the local firm Ramos-‐
Martinez to design a bar/club for the space at a cost of $153,000. The work consisted of
exterior repairs to the stucco, installation of new windows and doors, interior remodeling
and landscaping. Work on the building was started but soon halted due to lack of funds. This accounts for the building’s current ruinous condition. A physical conditions report
written in September labeled the building to be in “poor conditions” with missing windows, stairs and major water damage in the roof. According to the inspector, its condition is due to deferred maintenance.
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FIELD SURVEY FORM Surveyor(s): Ernest Abuin____________ Date: __January 13, 2013___
Name: 1923 SW 8 Street__________________ APN:___ _______________________ __ Address: 1923 SW 8 Street_ ___City: Miami County: Miami-‐Dade_
x Building Structure Object__ District Landscape Function: Residential X Commercial Industrial Agricultural Institutional Category:
Type (dwllng, barn, bridge, monument, etc):____ _______________________________ (if more than one resource, list in Additional Notes section and key to map)
Total # Resources:
Style: Commercial Vernacular Date of Construction: 1923 X Known Stories: 2___ Bays: Condition:
Estimate
Excellent Good Fair X Poor____
ROOF
Fr. Gable S.Gable Cross gable X Flat Hipped Other:_ _ Material:__X Asphalt Asbestos Built –up tar Standing Seam Terra Cotta Chimney:_1 Number Materials:_X Brick Stone Concrete block Other:_______ Shape:___
Location: West____Details:__Low crenellation parapet with an irregular contour
EXTERIOR MATERIALS
Vinyl Aluminum Asbestos Clapboard Brick Stone X Stucco Foundation: X Poured Concrete Concrete Block Brick Stone Not Visible Walls:
Openings Windows (panes, type, Material and details): Missing, information not available
Entrance(location): North _X Centered Offset Door (type/materials):_Missing doors Door details: Dade County Pine frame in with rot Porch:
full-‐length X portico
Stairs: 2 Details: wooden straight interior stairs located on the east side of the building, missing railing, in poor condition. Steel Exterior U-‐Shape stairs added as part of structural reinforcement
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FIELD SURVEY FORM ALTERATIONS Additions (locations, materials, dates):___Removal of 1933 rear structure and landscape-‐ 1979, Enclosure of porte cochere and interior chimney – 1977, Addition to rear of buildings-‐ 1983, Removal of windows and doors 2009.________________________________________
INTEGRITY & ELIGIBILITY
□ Location x Design □ Setting □ Workmanship □ Feeling□Association
Retains integrity of:
Setting details:____________________________________________________________________
x Eligible □Potentially Eligible □ Not Eligible________
National Register Recommendation:
Additional Notes (outbuildings, ancillary structures, landscape features) __Second structure located at the rear of the site also built in 1923. _____________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ______________________________________________________________ _ SKETCH PLAN
← N
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CONSERVATION PLAN
-‐ ¡Bomba, a quien le venga bien el sayo, que se lo ponga! Given the current conditions of the building and its classification as an “unsafe
structure” by the City of Miami, a conservation plan is necessary to evaluate the building’s
current conditions, determine the appropriate strategies for restoration and prevent further damage to the structure.
As evident in the picture below, the building and site reveal extensive levels of damage as well as long-‐term neglect. These issues include: windows and doors that are missing or
boarded up, are numerous surface cracks in the stucco walls and invasive vegetation along the foundation of the structure. There is also evidence of water infiltration and damage to
the wooden structural frame, the interior of the building and all ground surfaces including the asphalt lot and concrete pads. The Spanish orange terracotta ceramic tile floor is
damaged and weathered. The site around the building has been vandalized and used as a dumping ground for trash and construction debris. CONDITIONS ASSESSMENT
–Tienes un chino atras. Site The site is divided into two portions exhibiting different materials. The west portion of the site is covered in asphalt and the rear of the site is a concrete slab. Large 9-‐inch orange
Spanish terracotta tiles mark the approach to the building. These tiles exhibit evidence of weathering and show severe chromatic fading in over 80% of tiles. Most are severely
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chipped, cracked or missing. Along the main walkway a low concrete block wall defines exterior seating.
The surface in this area consists of a poured concrete slab painted red. This slab also
shows cracks and is slightly tilted north towards the building. The asphalt ground that once covered the parking area is deteriorating: cracks and potholes extend throughout the site allowing for harmful vegetation and giving plants the opportunity to take root and cause
extensive damage. The parking bumpers are still located in their original 1980’s location
and still exhibit some of the original yellow paint and signage (“clinica”). While the concrete bumpers show no sign of visible structural damage, the yellow paint is faded, peeling, and becoming illegible due to the long term effects of weathering, UV rays, and neglect.
A low concrete masonry unity block (CMU) wall added during the 1980’s separates
the site from Calle Ocho. The concrete blocks are in good condition however mortar joints
show visible signs of cracking likely due to differential settling at the ground level. A green metal railing along the top is rusted along the connection to the concrete block and very lose. It does not seem like these features are original to the design of 1923 Calle Ocho however they are meaningful in demonstrating the build’s change over time.
Damaged Spanish tiles and concrete floor Parking bumpers with signage Exterior yellow CMU wall exhibiting lose material
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Exterior Envelope: My conditions assessment revealed many deficiencies in the building’s structure.
The most critical priority, however, is the building’s most visible element: the stucco porch
and façade facing Calle Ocho. As noted in 1927 Sanborn Maps, the structure’s original building materials are wood frame with a stucco exterior finish. An overall exterior
building assessment revealed many compromises to the buildings skin. Most notably are
four missing doors and windows on the façade, currently blocked with plywood. The front
doors are held together by a chain and lock. The solid aluminum rear door is new and is in good condition. There are also anthropogenic punctures throughout the building, most likely caused during the last unfinished renovation and by acts of vandalism.
The combination of weathering and lack of maintenance have also affected the
building’s exterior. The removal of scuppers and poor water runoff from the balcony and
roof has created puddles on the buildings foundation as evidenced in the splashing seen on the buildings’ walls, dark staining, indicating biological growth from increased moisture.
Façade showing different missing elements Rear elevation-‐ water damage and plant growth along the foundation
East elev. Showing modifications Interior fireplace Missing window
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Preventing further damage to the building must begin by sealing its envelope and
enclosing all its unplanned openings including repairing or covering any roof damage and properly installing awning windows and doors to prevent further water damage to the
interior and window frames. Special attention should be placed on the authenticity of the window’s and door’s design as well as on the installation of these elements. In south
Florida windows and doors tend to fail due to improper sealing and poorly installed
flashing around the frames. Secondary intervention will include sealing punctures on the building’s exterior walls.
Damage done to window and doorframes and stills Anthropogenic puncture on exterior wall
Damage on the exterior wall is seen in the deterioration and loss of the stucco. This
damage is most noticeable along the façade where missing window frames and doors have allowed water infiltration into the building and the creation of holes on the east and west elevation where water damage is also evident. Along with dark stains and discoloration,
water damage has manifested in the form of cracks of various sizes and deformations of the stucco surface. There is also detached blistering in certain areas strongly suggesting salts
are present.
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Conditions Mapping and Classification: Visible Slight Moderate Severe Very Severe
Façade and West Elevations
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Interior Surfaces and Finishes: Most of the interior walls and finishes have been stripped away revealing the
building’s wooden structure and modifications made through the years. The removal of interior surfaces and finishes has revealed an important historic feature, the terracotta
brick fireplace. The ceiling has also been removed revealing the second floor structural framing and the roof trusses, visible through the double height space located near the
entrance. The removal of the interior envelope also lets in light and reveals faults and gaps
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in the building. Aside from the fireplace and wooden stairs leading to the second level, there are no other original features in the interior of the structure.
The floor suffered the same neglect as the walls and ceiling. All floor finishes have
been removed revealing the once used hardwood consisting of Dade County Pine floor.
Although the boards appear old and worn, the resilience of Dade County Pine is well know
and the material can easily be refurbished.
Enclosed windows using CMU and wood
Once concealed fireplace Interior view of missing windows Missing and deteriorated finished floor
Building Structure: After a visual inspection, the foundation is unaffected by the buildings lack of
maintenance and long standing neglect. However, there is evidence of structural failure
inside the structure. To stabilize the weakened or structurally deficient load bearing wood walls, a metal frame was added during one of the building’s many renovations. The metal frame and its columns support a series of beams and joists that are deteriorating in some areas and in overall poor condition.
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Added steel structural support frame
Evidence of Change Over Time:
The building has evolved to suit the neighborhood’s needs and changes over time.
Some evidence of change is by design while others the result of necessity. For example,
door openings have been expanded towards the rear of the structure. The carport was
enclosed to add square footage to the building and the original fireplace was sealed behind
drywall. An interior structural steel frame was added to support the weakened structure and the ceiling was opened, creating a double height space in the center of the building.
Another feature added during the last renovation was the exterior staircase and possibly
the ramp in the back. There is evidence of a door being blocked in on the east side of the
building toward the parking lot. As seen in historic photographs the site has also changed
through. The removal of a rear building once used as a garage, removal of landscape and
vegetation and the addition of a concrete block wall and metal gate to the front of the lot. KEY FEATURES INDICATING ARCHITECTURAL, HISTORICAL AND CULTURAL SIGNIFICANCE
-‐ ¡Que tumbao!
Architectural Significance: 1923 is unlike other buildings on Calle Ocho. It is architecturally significant as the
only intact early-‐1920’s Miami Commercial Vernacular structure on Calle Ocho. The
building is mostly noteworthy for its design, massing, materials, details and use of site.
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Unlike the other buildings, it is the only structure set away from the street. It also
has an open area within its property line. 1923 Calle Ocho is also one of few freestanding historic structures on the street. Its unique historic massing is largely intact and the
building’s exterior features have changed little since 1923. Other unique features are the iconic are the porch, original arcade overlooking Calle Ocho, the decorative parapet and
banding, recessed storefront entrance and original stucco exterior. Theses architectural features are typical to Miami “commercial vernacular” style of the 1920’s. Historical Significance:
1923 Calle Ocho is also historically significant as a reflection of the development
trends in Little Havana during the 1920’s. It also possesses important historical
associations with early commercial-‐ mixed-‐use development in Miami and particularly in Little Havana. It is one of the oldest buildings in Little Havana and one of only two
remaining from the 1920’s on Calle Ocho. Cultural Significance:
1923 Calle Ocho is located on Calle Ocho, the Main Street on Little Havana and on
the rout of the Calle Ocho festival. The building has been in continuous use by the Cuban
American community throughout the Cubanization of the neighborhood. 1923 Calle Ocho embodies the Cuban-‐American entrepreneurship spirit. It is the site of a series of cultural institutions serving the Cuban American community; funeral home, clinic, bar-‐restaurant (construction began but not complete).
Most notably, 1923 Calle Ocho was the site of a CAC-‐ Florida Medical Center, one of
Cuban American’s key contributions to the culture of American healthcare. CAC clinics
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(Clinicas Associadas Cubanas) opened in Little Havana in 1970. The CAC healthcare system was based on popular clinicas in Cuba that have been operating since the 1920’s. CAC
clinics in Miami pioneered community medicine in the United States and became a model for Florida’s HMO services to Medicare patients.. Consideration for Historic Designation:
Although there have been minor modifications to the building’s fabric, the original
design intent is easily seen. 1923 Calle Ocho has significance in the historical and
architectural heritage of the City of Miami and possesses integrity of design, setting,
materials, feeling and association. It is eligible for historic designation under criteria 3. The building exemplifies the historical, cultural, political and social trends of the community as it reflects the development trends within Little Havana during the early part of the twentieth century.
It could also be considered under criteria 5. The building embodies distinguish
characteristics of an architectural style. 1923 Calle Ocho is a prime example of a Miami
Commercial Vernacular constructed in the early 1920’s. The building also has a simple rectangular foot print on an elevated continuous slab foundation. The stucco façade is
organized into two distinct zones. The bottom zone was designated to the public and the top was used as offices space or storage. Both zones are divided by a decorative
stringcourse that wraps around the entire structure. Aside the stringcourse and porch, the façade has simple ornamentation. The only other decorative element is a stepped parapet
concealing a flat roof. 1923 Calle Ocho also has large double doors and large display
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windows facing Calle Ocho. These are all features commonly seen in Commercial Vernacular buildings.
1923 Calle Ocho would also satisfy criteria 7. It contains elements of design, detail,
and material of outstanding quality that represent a significant adaptation for the South Florida environment. It has a deep porch, projecting arcade, open balcony, elevated
foundation, large fenestrations arranged for maximum air circulation, a large balcony and a second story mass in response to South Florida’s climate. These design elements are used
as passive cooling strategies by providing shade or assist in air circulation throughout the building.
1923 Calle Ocho illustrates the potential of Little Havana’s historic buildings in a
highly visible manner. The renovation of this structure will inspire pride in the
neighborhood’s historic commercial stock and stimulate revitalization activity in Little Havana. Based on the rarity of existing intact, unaltered historic structures, the
preservation of these types of resources should be a priority. The City of Miami, architects, developers should work with property owners in finding solutions to preserve these disappearing structures.
Comprehensive Conservation Plan Specifications: Method Statement: Surveying 1923 Calle Ocho and comparing it to existing research on problems
endemic to historic buildings in South Florida gathered information. This data helped
classify the type of damage, understand conditions and prioritize treatment. Recommended treatment methods are drawn from the following books, Owner’s Old Building Manual by
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Judith Kitchen and Resourceful Rehab: A Guide for Historic Buildings in Dade County by
Charles Edwin Chase. Special attention was placed on areas where materials changed, site elevations changed, edges between two different materials and areas under direct sun
exposure. This exploration led to a specification of vulnerable areas, such as deflections and
differentials in frame structure, settling of foundation and resulting cracks on the walls.
Priority should be placed on the structure itself as it is in poorest condition, being currently
listed as an “unsafe structure” by the City of Miami.
It is imperative that any treatment of the building such as the cleaning and addition
of stucco be as minimal and nonabrasive to the existing material as possible. It is as
important that special attention be placed on matching new stucco in color and texture as closely to the existing as possible. It might be impossible to match the original wood type, Dade County Pine; the interior framing for missing components should be as modern as
possible. For example, Missing or severely damaged structural framing elements would be replaced by aluminum and missing windows and doors will comply with current Miami
Dade County Hurricane Building codes. This procedure will also leave clues to the buildings evolution over time. Site conditions shall be brought back to their original state. That is to say that damaged, natural landscaping and green systems such as permeable pavers shall
replace hard concrete pads and noninvasive plants shall be incorporated into the design of the site replacing the asphalt in the parking lot. This will prevent the pooling of water on the site, the major factor in damage to the site and building. The overall methodological approach to conserving 1923 Calle Ocho must blend modern technology and building practices with the sites historical aesthetics and “feel” in order to create a respectful representation of not only the district’s past, but also its future.
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PLAN FOR A CULTURAL COMMUNITY CENTER -‐ ¡Eso no pasaba en Cuba! “We are what our environment makes us and if our environment is such as to produce excellent health, beauty, joy and comfort, it will reflect immediately in our lives.” -‐Rudolph Schindler 1936
Immigrant communities often lack a physical space that ties them back to their
culture. After relocation, all that remains are memories, stories and traditions. Immigrants must create new settings to celebrate community rituals in a new environment. Such
gatherings and rituals can bring Cuba back to life. 1923 Calle Ocho, a structure that has
seen and experienced Little Havana since its very beginning, that like the displaced Cuban community of the 1960’s and 1980’s seems out of sync, with its own history and story is the perfect setting for such gatherings and rituals.
The goal of the design is to restore 1923 Calle Ocho as a historic building that
continues to serve the Cuban community, while attracting tourists interested in observing and participating in Cuban rituals and culture.
Looking, touching, palpability of place and form will be inseparable. The experience
of touching the stucco wall, walking on the squeaky wooden floors and passing through
uneven thresholds, contribute to the feeling of the place. The building exists as a whole and it is central to recognize its history. These conditions tell a story of how 1923 Calle Ocho came to be. Communication this story will be key to the renovations being proposed.
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METHEDOLODY; CASE STUDIES -‐ ¡Le ronca el mango!
Burlington Iowa, Old Mill Creative reuse of historic structures has been the driving force behind the
rebranding of Downtown Burlington, Iowa. Many of these new uses focus on visual arts.
Galleries, art studios and antique stores have been opened in many abandoned historic
structures including the Old Mill, bringing new life to both the building and the community. The Burlington Downtown Committee, a grass roots effort, lobbied for a change in building regulation and designed a Conservation building code to ensure sensitive treatment and least destructive action to historic structures. Chippewa Falls Shoe Factory, Wisconsin
Downtown Chippewa Falls searched for a way to reestablish their community after
suburban malls and shopping centers drew customers away from downtown Main Street.
In effort to regain popularity and attract commerce, the Chippewa Falls Main Street
Program spearheaded a downtown beautification program. Part of this program was the
rehabilitation and conversion of empty historic buildings into stores or affordable housing. One such structure was the abandoned Chippewa Shoe Factory. A local developer, Warren Loveland, was hired to convert the abandoned structure into a 32 unit low income
apartments complex that quickly filled up. Once an eyesore, it is now considered prime real estate and an iconic structure in the community.
Eureka, California and Wynwood Walls, Miami Mural artwork was the catalyst used in the redevelopment proposal for Eureka,
California. The historic neighborhood of Eureka suffered from problems similar to Little
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Havana. Failing businesses gave way to abandoned buildings and lowered community
esteem. In Eureka, city officials targeted many of the historic buildings as unfit. A street program was set out by community leaders using thematic and cultural arts as a way to
create a new identity for the area and generate commercial interest. Using grant money
they converted vacant storefronts into movable galleries commissioning local youths to
express themselves graphically on these walls. As in the case in Eureka, Little Havana is attempting to rediscover itself using the arts.
A local example of art used as a generator for preservation is Wynwood Walls.
Community revitalizer Tony Goldman’s idea of using art to transform the largely unsightly, abandoned and neglected Wynwood warehouse district in Miami has become a major
national art venue. Since 2009, Goldman has been using the windowless concrete block warehouse walls as canvases for graffiti and street art. Wynwood Walls has brought
renowned artist and international fame to the area and is a hub of activity during Artwalk, the last Saturday night of every month, and during Art Basel. These walls also serve as
backdrops to many photo shoots, music recitals and poetry readings which further elevate Wynwoods reputation as a major art center in Miami.
These case studies seen in National Main Street Center; Main Street Success Stories
are examples of successful adaptive reuse programs that became catalysts for economic
growth and pride within their communities. In most cases, the community itself through a
grass roots movement that implemented the use of public art to prevent the demolition of a historic structure and also enrich community’s cultural heritage spearheaded them. PROPOSED PROGRAM
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Cultural and Community Rituals of Calle Ocho;
“Culture, which makes talent shine, is not completely ours either, nor can we place it solely at our disposal. Rather, it belongs mainly to our country, which gave it to us, and to humanity, from which we receive it as a birthright.”
-‐Jose Marti Cuban Poet, Patriot and Original Revolutionary
1923 Calle Ocho is proposed as a place for the experience and celebration of Cuban
community rituals of two types. Community rituals are those practiced solely by the Cuban community. By contrast, cultural rituals such as the visual performance art aspect of Santeria can be shared with outsiders.
Santeria is the most practiced of all Afro -‐Cuban religions. Santeria is racial unifier.
Contrary to popular beliefs, it is not only practiced among black or mestizo populations but
also among whites. Initially developed by slaves to Cuba, Santeria is a mixture of West
African polytheistic beliefs and Catholic beliefs. Most practiced in Cuba is “Palo de Ochoa”6
and Abakua. Ceremonies lead by babalaos, are practiced in home or botanicas, where ritual objects are sold.
With such rich and diverse influential elements fashioning Cuban culture it is no
wonder that Cubans have transformed Miami into a vibrant cultural center. Cuban art is
one of the essences of this transformation. According to poet and author Ricardo Pau-‐Llosa, professor at Miami Dade College, there are three major Cuban contributions to South
Florida: “the spirit of autonomy and cosmopolitanism, the appreciation of alternative
6 Jorge, Antonio. Cubans Exiles in Florida, Their Presence and Contributions, Transaction Publishers January 1, 1991, 141
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modernist traditions organizing in Latin America and the valuation of the visual arts as an important expression of power and cultural identity.”7
Pau-‐Llosa believes that only Cuban artists see Miami as unique nourishment for
cultural context central to their cultural continuity. As a background theme in various
works landscapes and architectural elements create surreal settings balancing order and chaos. Such are the works of Jose Mijares, Manuel Mendive, Raphael Soriano and Cundo
Bermudez, this artistic expression perhaps rooted in the cultural history of Cuba is unique.
This sharp cultural contrast is not only seen in Cuban art and religion. Evidence is
subtle, seen in colors and patterns in colors everywhere around south Florida’s Cuban community where cultural and daily rituals are combined to create a sought after and unique identity.
Cultural Ritual Space: One of the most colorful and theatric examples of Cuban culture is Abakua, an Afro-‐
Cuban secret fraternity of Nigerian origin that has been creolized by Cubans. Abakua’s
central beliefs, rituals and art revolve around a pantheon of deities. Practitioners perform
ritual ceremonies plantes, which consist of chanting, drum music and rhythmic dancing
with a visual arts component. Their simple geometric line drawings can be seen throughout Miami in hidden ritual spaces such as the Ceiba tree on Calle Ocho, and have been adopted by many Cuban artists such as Jose Bedida and can be seen in murals, floor patterns and other designs.
7 Jorge, Antonio, 252
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A Ceiba tree is proposed to be located to the rear of the site in order to create a
ritual space. The Ceiba tree is symbolic to Cuban culture. According to El Templete-‐ the
Ceiba tree, was the center point which the first council of Havana was held founding the City of Havana.
Community Rituals: “tradition is the soul of a community… even though I was forced to leave my country, I can still share those traditions with my children and community” –
Emma Cotarelo de Milian (resident of Little Havana)
The renovation of 1923 Calle Ocho will create a place for rituals enjoyed within the
Cuban community. Such popular rituals are Viernes Culturales, Calle Ocho festival, the
celebration of Cuba’s independence on May 20th. Cultural Rituals are of a more intimate scale. These rituals are engagements practiced by families and small groups where la
cubanidad, (Cuban heritage) is taught to children. Such rituals would be the gathering of the elderly community to play dominoes or chess after Maximo Gomes Park closes or
family engagements such as a Fiesta de Quinces, similar to the American Sweet Sixteen’s
party where a young woman makes the transition from childhood to womanhood. The site could also serve the community as a meeting place for local organizations such as Little
Havana Change Makers, YUCA’s (Young Urban Cuban Americans) and other community groups as well as private engagements.
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DESIGN STRATEGIES Exhibition Space:
The interior program of Cultural Ocho would be as fluid as the site program.
Secluded events will express the cultural and community rituals of Little Havana through performing and visual arts. It will be up to leaders of the community to determine what
these events are. The first floor will be designed as an open gallery, with exhibition lighting
and a linear display zone along the west wall. During the evening the area could be used as
a space for the elderly community to meet.
The second level will also be an open space with access to a front balcony looking
over Calle Ocho and rear a balcony overlooking the ritual space with its Ceiba tree. There
will be an educational aspect to this level. A long table extending along the west wall will have portable computer connections. This area could be used by community groups as a meeting place or to present lectures or presentations to members of the community. Site:
It is important to respect the cultural landscape of Calle Ocho. Currently the
pedestrian on Calle Ocho is separated from the site by a low concrete block wall and rusted gate. In order to make the site more inviting and approachable, the non-‐contributing
barrier should be removed. The addition of a Ceiba tree (Silk Cotton), a native species plant will reduce the need for irrigation, provide shade and reduce heat loads on the building. The Ceiba tree would also define a space for community rituals.
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The design approach to the pavement pattern is conceived by overlapping the Old
Havana’s water edge and super imposing it with a street map of Calle Ocho in East Little
Havana. The result is a geometric tartan pattern outlined with a geometrically patterned
edge. Towards the east of the site the edge is transformed into a seating platform facing the building reminiscing of the seating at El Malecon outlining the promenade along Havana’s water edge. Sitting along this bench looking at the building and events in the sculpture
gallery, such as the Abakua dancing and drum performance would be reminiscing of life in Cuba to the immigrant community.
The stark concrete surrounding walls of the site will be animated by art. As in
Wynwood Walls, artists will be commissioned to adorn these walls with themed paintings symbolic of the existing Cuban community or Diaspora. Graffiti or mural art is an
important cultural practice. It is used as an instrument to reallocate an urban space and
transform it into a form of communication. These walls will create an art cradle around the building and an appealing paved promenade around the perimeter of the site.
More than half of the site will be covered with pigmented coquina, a light porous
native concrete with high breathability that easily dries and allows water to drain through millions of microscopic air pockets. The coquina, colored light blue to recall the Florida
Straits, will cover the west portion of the site where it will focus attention on the historic building. This neutral paving will then explode into the tartan pattern created by
permeable pavers and large squares of colorful Cuban tile on the eastern portion of the site. As recommended by the Secretary of the Interior’s Standards, permeable pavers
should be used. The design consists of two types of pavers, 4 “ Unilock Eco-‐Prorra square
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pavers and larger 6” Unilock Turfstone pavers outlining larger sections of colorful ceramic Cuban tile. The use of monochromatic grey pavers will be suitable for chaulk art in which
Abakua artists practice their ritual through colored imaged on the ground surface. Towards the North West portion of the site, where the Ceiba is located, these pavers will be
removable in order to allow the intricate Ceiba root system to expand.
The Secretary of the Interior’s Guidelines also recommends minimal exterior
lighting. Proposed site lighting will be used only for security purposes, events and
exhibitions. The walkway along the murals will be lit using JoBe Lighting surface mounted system integrated within the paving pattern on the ground. The interior of the site will be lit using the ornate street lights found on Calle Ocho. Incorporating the Calle Ocho street lamps will create a sense of human scale on the site and tie the site to activities on the sidewalks and street. Foundation:
According to a site survey taken in 2010, the existing site is uneven and directing
water towards the building. Creating a condition where moisture is gathered and
penetrated through the concrete foundation. It is imperative that proper site drainage be
created through a drain sock around the foundation, especially along the long exterior wall,
to prevent water from pooling around the foundation slab.
The structure is elevated 18 inches off the ground using CMU blocks. According to
Chase, the lack of materials and expense in shipping brick to South Florida made the use of block construction a common foundation system in Dade County. The crawl space
underneath the structure is used to run plumbing and what looks like electrical wires. The
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space is not accessible. Inaccessible hatches makes it difficult to clear trash and debris
deposited in there. The crawlspace has a bare concrete pad and exposed concrete block without insulation. It is hot and muggy and there’s a damp smell throughout the space.
Steps that could be taken to properly insulate the crawlspace consist of properly
grading the ground before the installation of permeable pavers to allow water to drain
away from the building. Covering the surface underneath the structure using 6-‐millimeter poly that should be overlapped and folded up over the foundation blocks can block
moisture from the ground. The next step would be to insulate the gaps between the floor joists with caulking or Icoane spray insulation foam. Replacing and reopening vents will properly ventilate the crawl space. Roof:
The roof is another major source of leaks into the building. It is constructed out of
pitch and asphalt contributing to the heat island effect. A professional inspection should be made to determine the condition of the roof before any work is performed. A visual
inspection revealed sections of discoloring created by pooling from rainwater on the roof.
It is important to ensure a watertight roofing system with working drains flashing. The
flashing around the parapet chimney, plumbing and air vents is detached from the roofing membrane. The roofing membrane around these areas is in bad condition and should be replaced, as should the nine damaged or missing drainage canales around the façade and exterior walls. Adding new flashing and high temperature sealing caulk or polyurethane
foam around these penetrations will help create a tight seal. Since the roofing material is
concealed from the street by a three-‐foot parapet, a cool roof system could be installed by creating a smooth surface asphalt, painted a lighter color to reduce a heat island effect.
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Charles Chases suggests using a metal-‐based paint to reflect the sun’s rays. These additions would not negatively impact 1923 Calle Ocho’s historic architectural character. Building Envelope:
The first step in retrofitting the structure will be an energy audit and detailed
building inspection. An energy audit and inspection might reveal unforeseen conditions which otherwise would go unnoticed. The results would be used to develop a
weatherization plan addressing issues of insulation, air infiltration, moisture, lighting and
duct leakage. An obvious priority would be eliminating infiltration and installing insulation. Less invasive steps such as weather stripping and caulking should be considered before
any major overhaul is performed. These least invasive upgrades would significantly reduce the building’s energy loads. After installation of doors, windows, new weather stripping and caulking, a blower door test will be used to identify the amount of air leakage.
Depending on the results, it is recommended that the envelope be sealed to comply with ASHRAE 62.2 requirements with proper air exchange.
Windows:
Moisture control is crucial when renovating a structure in south Florida. Any
fenestration along the exterior wall creates a potential for water infiltration. It is important
to install missing windows and replace broken windows with operable energy star Low -‐E double glazed efficient windows. Operable Triple glazed Low-‐e doubled glazed windows with FCS wood framing and U value of no higher than 2.0 to reduce heat loss minimize
condensation and provide insulation. Operable aluminum awning windows are preferred
because they are durable, retain the historic character of 1923 Calle Ocho, can be opened in
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the rain allowing for passive cooling. The façade would require two 4’-‐6” x 2’-‐10” top
bottom double awning windows. On the second level, four doors mimicking the look of the awning windows should be installed in order to access the rooftop of the porch. Low E
Anderson Triple Awning Vertical Windows are to be properly installed using manufactures
instructions, with tight air sealed flashing and weather stripping along the sill and head. On the east elevation, seven larger 2’-‐10” x 6’ Low E Anderson Vertical Awning windows
should be installed. Low E windows provide UV protection, noise reduction, provide lower electric and air conditioning bills, provide thermal comfort, condensation resistant and in some manufacturers’ hurricane protection are also an option. The U.S. government also
offers a 10% tax IRS credit of the purchased price for qualifying windows. The Dade County
Pine wood frames, jambs and sills will be treated using a low VOC varnish such as
PolyWhey from Vermont Coatings. A low odor coating made from whey protein containing no toxic heavy metals. Implementing a maintenance program would ensure proper function and longevity of the windows.
Proper trimming of the deciduous oak trees on Calle Ocho will help shade the
building interior from the sun. These trees will provide shade near the roof and windows
and block strong north winds along Calle Ocho. Shade or drapes could be installed in the
interior to block unwanted solar heat gain as long as they do not alter the historic look of the building. Window hardware such as cranks, hinge and locks may be missing or
damaged. Missing or damaged hardware should be replaced using the same style and
performance as the original. Where a security system is appropriate, motion sensors and sound detectors or electric strips should be used. No bars or shutters that can damage important historic material shall be placed in front of any windows or doors.
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Doors: An original door is located on the Calle Ocho façade, recessed within the front wall.
Recessing the door provides shade and protection from the weather. The original large
pane glazed aluminum storefront doors have been damaged. In one door, the glass is
missing and replaced by a large sheet of plywood; on the second, the glass is cracked. The
first step in repairing the existing doors is to replace the glass panes and weather stripping
along the sides of the doorjamb to provide a tight seal. All attempts should be made to preserve the wooden frame and jambs by treatment using a low VOC varnish such as
PolyWhey from Vermont Coatings. The aluminum threshold should also be replaced and fitted to provide a tight seal. Adding new storm doors is an option. Milgrade Ultra
aluminum storm doors match the original in design, size, material and color. Door hardware consisting of hinges, knobs, rails and closures should be replaced using historically accurate design. Attic Insulation:
The attic is currently un-‐insulated. The attic space should be insulated using 4” R-‐60
foam on the interior and formaldehyde free high density polyurethane spray foam between rafters, on the underside of sheathing and on band joist blocking up any openings or holes. Exterior Finishes:
The exterior stucco is not in poor conditions with the exception of areas where
anthropogenic punctures have been made. A qualified professional could easily repair
these perforations as well as the small fissure cracks along the windows and foundation.
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1923 Calle Ocho should be repainted using historically accurate colors. The City of Coral Gables has strict 1920’s color standards for their historic structures and would provide proper guidelines as to what colors and color schemes would be historically accurate. Paint finishes to be used, as per City of Coral Gables Historic Preservation and
Restoration standards, only allow two color schemes using a specific Benjamin Moore color palate. Primary exterior building colors selected by the architect should be the following:
Rainforest Dew (21-‐46-‐50) for the main structure and Daiquiri Ice (20-‐34-‐70) for the porch. Trim color to be used is Wickham Gray (HC-‐171). The light colored paints along with the
smooth stucco finish would reflect sunlight more than darker colors and reduces amount of heat absorbed.
Interior Building Features: Interior walls and ceiling will be constructed using 5/8” gypsum board with a light
texture in order to retain the historic character of the building and insulated with spray foam or polystyrene insulation because it to both seals and insulates. It is important to
reduce air infiltration before adding insulation. According to Fixing a Cold Drafty House by Fred Lugano, cellulose can be blown inside the wall cavity. Packing cellulose inside the
walls stops airflow creating a tight seal, and the process is reversible. Gypsum board would be used to seal the interior portion surface of the wall and would be finished using white
Natura Paint from Benjamin Moore. It that uses zero VOC in its color formula and base
according to Benjamin Moore, Natura Paint contains a 100% free acrylic resin and meets
both Green Seal and Master Painters Institutes Green Performance Standards. The interior color is chosen because it would create an appropriate background color for art
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installations. Culturally; white represents Obatala, the Abakua saint of architects and creativity.
Interior doors shall be Masonite’s Emerald Safe’N Sound sold core interior doors,
composed of wheat straw particle cores and skins made from composite wood. The stiles
and rails are made from FSC certified solid wood and would also be painted white. Floors:
An effort should be made to retain the existing floor. The original dade County Pine
floorboards could be sanded and resealed. If new flooring is required I would recommend
using matching Plyboo Pure bamboo flooring from Smith and Fong. It is FSC certified and is made with low-‐emitting, non-‐formaldehyde polycyanurate binder. It is durable, comes in many colors and requires minimal maintenance. According to the manufacture, it can withstand HVAC Temperature and humidity. Keeping the floor design consistent throughout the space is important in an open floor plan.
Walls, ceiling and floors extending in a six foot wide strip from the fireplace to the
east wall of the building should be left, as they exist. The only work performed in this zone
would be to stabilize its current condition. As the purpose of this building and project is to tell the story of 1923 Calle Ocho and community, the current state of the structure is an important part of this story. Although visually unappealing, 1923 Calle Ocho’s current
condition exhibits the neglect of the structure and, by extension, the neglect of community. This distinct band running across the building would also crate an invisible threshold
separating elements of the building program. Toward the entrance of 1923 Calle Ocho
would be an area where visitors such as tourists would gather for information about Calle
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Ocho. Crossing this threshold towards the back of the building would place one in the
exhibition area and also the “Sala de Juegos” an area where the elderly community would gather after hours to gossip, play chess or dominoes. Lighting:
It is recommended that Energy Star compact florescent lights and task lighting over
counters displays and workspaces be installed. Also recommended are 4” Ceiling Display
Lights by Cree recessed into the ceiling and 5” Cree Exterior LED Ceiling lights in the porch. According to product listings in Home Energy Star, Energy Star bulbs save about $6 a year
in electricity cost and over $40 over its lifetime. They also produce 75% less heat and last 6 times longer than conventional bulbs. Installing task lighting will reduce the need for overall room lighting. Controlling the degree of natural light entering the building is
important. It is recommended to install adjustable interior shutters to control the amount of exterior lighting. Water:
There are many water conservation strategies that can be adopted. The first would
be to install low flow fixtures and dual flush toilets in the bathrooms. One should also
consider reconfiguring plumbing to distribute hot water more efficiently. A solar tank unit on the roof, hidden from street view to reduce energy demand and a rainwater collection system could also be installed.
An Aqus grey water system that captures water from the sink to later be used to
flush the toilet should be used. This can reduce water consumption by approximately 5,000
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gallons a year. The system is installed inside the vanity below the sink and works in
conjunction with standard lavatory pipes. An Aqus system holds up to 5 ½ gallons of water from the sink and directs it to the toilet tank with the use of a small electric pump. Water Heater:
A Sun Cache integral collector and storage is a roof mounted device that preheats
water using polyethylene panels and a copper heat exchanger for domestic use. The water is stored on the 50-‐gallon rooftop tank and directed to the building when the tap is turned
on through the copper heat exchanger. The system is compact, about 99” x 51,” and comes
with mounting brackets and hardware. HVAC:
The Secretary Standards recommends using an energy efficient HVAC system that
would not damage the historic character of the building. A Rheem three-‐ton Energy Star
System could be used to efficiently cool and heat the building. A system of mini ducts, no
larger than 6” diameter could be installed and concealed within the rafters to direct the air throughout the building. The air handler could be installed hidden from view in the
mechanical room located next to the rest rooms. Vents measuring 4” x 8” would be installed flushed against the ceiling and painted the same color. It is important to follow a scheduled examination and maintenance program every six months to ensure the air conditioner is efficiently operating.
Proper ventilation and natural air circulation is important for the health of the
building and its occupants. Install a HRV system to supply fresh air to the building,
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especially the exhibition space and workrooms using a MERV 13 filter. It is important to
vent workrooms and bathrooms to exterior of the building.
Ceiling fans should be used in every room with the exception of the kitchen and
bathrooms to help cool spaces. The fans are usually on when the windows and doors are open for cross ventilation. Using the fans and cross ventilation is a great alternative to running the A/C all year round. Ceiling fans promote better air circulation and quality within the structure and drastically lower electric bills.
Renewable Energy:
Cultura Ocho is a great candidate for the use of photovoltaic panels. The roof of the
structure has a low pitch and is concealed by a 3-‐foot parapet. The height of the parapet and the building’s setback from the street are advantageous for the installation of solar panels in a historic building. Locating the panels away from the façade would help in
hiding them from the line of sight and would ensure that the decorative scuppers would not be damaged. As suggested in the Secretary of the Interior’s Standards for
Rehabilitation, installing the panels horizontally with a vertical pitch instead of vertically
would also keep their heights below the surrounding parapet and keep them from view. If
the panels were seen, it would be towards the rear of the building.
Before installation is made, a thorough structural investigation of the roof should be
made. There is about 1,000 square feet of area on the roof that could accommodate solar panels as well as rooftop space over the rear 1987 addition. Installing solar panes would add considerable weight on the roof that could lead to structural stresses and cause
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unforeseen damage to the building. One also has to consider how to hide the mechanical aspects that come with the solar panels. Prioritization of Work:
Some building problems need immediate attention. The highest priority is addressing
moisture problems inside and outside the structure. Work consists of clearing vegetation on and near the building’s foundation, replacing windows and restoring or replacing
damaged wood around the window frames. Repairing roof leaks would come next,
including replacement of the roof membrane and compromised structural members. A
professional inspection is necessary. An experienced contractor and skilled laborers should make repairs.
The next phase should address damage inside the building. Repairs in this pahse
consist of replacing rotten wood floorboards, doorframes and plaster of the ceiling and walls. To ensure that the work is of good quality, especially when it comes to replacing
portions of the interior wall skilled laborers should be hired. To prevent the reoccurrence
of moisture related issues and the poor ventilation of the structure; a qualified contractor shall be hired to install insulation in the attic and walls and a vapor barrier in the
crawlspace. The final phase would be the most costly. It consists of installing solar panels on the roof. It would be important to consult a structural engineer regarding load being placed on the roof. The City of Miami has strict building codes when it comes to historic homes. However City officials do encourage the use of solar panels and even offer
assistance in looking for energy companies that would comply with their building
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standards. Given the expenses and 41 year payback determined by a solar calculator, this final stage is not a priority. Overview:
Keeping the historical accuracy of the structure is the top priority. All work and
recommendations should comply with the Secretary of the Interior’s Standards for
Rehabilitation. All design updates and repairs must also comply with the City of Miami
Historic Review Board. Complying with these standards would not be difficult as the design work recommended is focused on the interior, which does not have historical significance. Exterior work would not alter 1923 Calle Ocho’s historic appearance. Most of the
modifications proposed consist of sealing the thermal envelope of the building and
reverting to passive ventilation though the use of shading devices, ceiling fans and operable windows. The design of 1923 Calle Ocho favors passive cooling and would remove
haphazard awkward additions made in the 1970’s and 1980’s and return the building to its
1923 appearance.
VISION -‐ ¡Oye, Mi socio, te la comiste!
The proposal, Cultura Ocho unites my passions for architecture, sustainable design
and historic preservation. Cultura Ocho is a place of linking to a unique vibrant community, a way of honoring my Cuban ancestors and celebrates the spirit of Calle Ocho. It is
imperative that better options be proposed to avoid demolition of the few historic
buildings in Little Havana. Miami is losing its built culture at an alarming rate. In its place
we are erecting generic buildings that lack the architectural character, cultural resonance
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and longevity of historic structures. With these new buildings come also the loss of memory and a sense of place. This is felt deeply within a community that is no longer sentimentally attached to a building, space or neighborhood. The loss of memory hurts double for a
community already far removed from its cultural roots in another country.
We must be responsible and maintain our historic buildings in order stay connected
to a place that no longer exists. Cultrua Ocho is specifically designed to do this. It is a
uniquely special space to celebrate the history of Calle Ocho and honor a historic structure by preserving its sprit and energy. The restoration of this building is important. This building encapsulates history; it has seen the evolution of Little Havana from its very
beginning and is associated with past heritage and present community. Preserving and reusing this building will not only add value to the neighborhood but also start to
reestablish a sense of pride to the community through the practice of rituals contributing to la cubanidad.
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BIBLIOGRAPHY
Chase, Charles Edwin. Resourceful Rehab: A Guide for Historic Buildings in Dade County , Metropolitan Dade County, 1987
Constantinides, Ian, Exterior Stucco, www.buildingconservation.com/articles/stucco/stucco.htm. (accessed February 17,2013) Dane, Suzanne G., National Main Street Center; Main Street Success Stories, National Trust for Historic Preservation, 1997 Division of Historical Resources, “Florida Cuban Heritage Trail”, Florida Department of State, Division of Historical Resources, http://archive.org/stream/floridacubi00flor#page/n0/mode/2up (accessed January 17, 2012)
Fagen, Richard, R. Cubans in Exile; Disaffection and the Revolution, Stanford University Press, June 1968 Gonzalez-‐Pando, Miguel. The Cuban Americans, Greenwood Publishing, 1998
Grimmer, Anne, “The Preservation and Repair of Historic Stucco”, Preservation Brief Number 22, www.nps.gov/hps/tps/briefs22.htm, (accessed February 23, 2013)
Grimmer, Anne, Secretary of the Interior’s Standards for Rehabilitation, U.S. Department of the Interior, National Park Service, Washington D.C. 2011
Jorge, Antonio. Cubans Exiles in Florida, Their Presence and Contributions, Transaction Publishers January 1, 1991 Kitchen, Judith. Owner’s Old Building Manual, Ohio Historical Society, June 1983
“Historical Museum of Southern Florida”, http:www.city-‐data.com/us-‐cities/The-‐ South/Miami-‐History.hmtl, (accessed February 27, 2013) Levine, Robert, M. Cuban Miami, Rutgers University Press, 2000
Matkov, Becky. Miami's Historic Neighborhoods: A History of Community,Historical Publishing Network; 1st edition 2001 McMullan, John. “It’s Time to Develop A Real Little Havana”, Miami Herald, Neighbors, 1977 Meriweather, Heath. “Families Leave Little Havana, But retain Area Cultural Ties.” The Miami Herald 22 February 1982.
Pantin, Leslie. Little Havana and Calle Ocho, Miami's Historic Neighborhoods: A History of Community, Historical Publishing Network; 2001
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Parks, Arva. George Merrick's Coral Gables "Where Your 'Castles in Spain' are Made Real!" Centennial Press; 1ST edition, 2006 “U.S. General Service Administration”, http://www.gsa.gov/portal/content/101402 , (accessed February 17, 2013) Sustainable Design Sources
http://www.watersavertech.com/AQUS-‐Diagram.html (accessed March 12, 2013)
http://www.rmasalesco.com/pdf/SunCache.pdf (accessed March 12, 2013)
"10 Mil Vapor Barrier by Americover." 10 Mil Vapor Barrier. N.p.,. Web. http://www.americover.com/10_mil_vapor_barrier_761_prd1.htm (accessed March 12, 2013) "Double Glazing for Thermal Insulation." Low-‐E–energy Saving Glass. N.p., n.d. Web. http://www.double-‐glazing-‐info.com/Choosing-‐your-‐windows/Types-‐of-‐glass/Low-‐E-‐ energy-‐saving-‐glass (accessed March 14, 2013) www.plyboo.com (accessed March 17, 2013)
http://www.sherwin-‐williams.com/(accessed March 5, 2013)
http://yourhome.honeywell.com/home/Products/Ventilation/ (accessed March 12, 2013) "Energy Efficient Windows | Low-‐E." Energy Efficient Windows and Doors. N.p., n.d. Web. http://www.glassflorida.com/Energy-‐Efficient-‐Windows.htm (accessed March 12, 2013)
http://www.toolbase.org/technology-‐inventory/plumbing/low-‐flow-‐plumbing-‐fixtures (accessed March 12, 2013)
http://www.americanaldes.com/library/ventilation-‐solutions/installing-‐hrv/ (accessed March 12, 2013)
"Presenting the 2013 Partner of the Year Award Winners." Home : ENERGY STAR. N.p., n.d. Web. http://www.energystar.gov/ (accessed March 12, 2013)
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APPENDIX
–Ponte las pilas.
Outline Specifications for Renovation of 1923 Calle Ocho: General Description A. This specification provides guidance for determining stucco and wood and their typical failures in the exterior of the building and wood framing in the interior.
B. This specification has been developed for use on the historic property and Capstone Project on 1923 8th Street in Miami Florida and provides an overview of accepted practices. C. All work described herein and related work must conform to the Secretary of the Interior’s Standards for the Treatment of Historic Properties as well as the architect’s design intentions.
D. Contractor shall provide all labor, materials, equipment, and operations required to complete the rehabilitation work indicated herein.
E. All work described and related work must have the approval of the Architects; a Cultural Resources Manager, Conservator, Historic Architect, or other professional who meets the standards outlined in the Secretary of the Interior’s Standards F. Site-‐specific specifications, when appropriate, will be provided by the Architect. Submittals
A. Samples: All materials shall be submitted as requested by the Architect. Contractor shall furnish for the Architect’s approval samples, showing variations in color, texture, and finish. B. Product Literature: The Contractor shall submit supplier’s literature regarding the source of the selected site and building material, and any available testing information regarding the material’s physical properties. Quality Assurance
A. Work Experience: The selected Contractor shall have a demonstrated at least a minimum of 10 year experience in construction conservation with emphasis on South Florida Architectural building construction practices. The Contractor shall demonstrate a working knowledge of The Secretary of the Interior’s Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring & Reconstructing Historic Buildings. B. Contractor shall not change specifications, sources or manufacturers of materials unless approved by the Architect.
C. Warranty: The Contractor shall provide a warranty in writing against defects in material and installation for a period of five (5) years.
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Delivery, Storage and Handling The Contractor shall:
A. Transport and handle all materials in such a manner as to prevent damage and assure safety to workers and others on site.
B. Coordinate deliveries with the construction schedule and sequence. Materials shall be delivered in an order consistent with the order of installation at the project site to ensure safety, security and avoid unnecessary handling of materials. C. Protect materials from the ground and weather and keep them free from exposure to contaminants such as water, mud, dust, or materials that could cause damage.
D. Deliver materials to the site in original packaging, unopened, with manufacturer’s name and product identification clearly visible thereon. All materials shall be protected from contamination by foreign matter and deterioration by moisture or temperature. Contaminated or deteriorated material shall not be used. E. Store materials in such a manner as not to interfere with the operation and daily maintenance of the facility. Proposed storage locations shall be in a secured location and approved by the Owner prior to the delivery of materials. Project and Site Conditions:
A. Interior and exterior work shall be done in proper working conditions complying with OSHA standards and guidelines. All surfaces shall be free of standing water. B. Contractor shall cover the top of the walls, roof and site with strong waterproof membrane at the end of each work day. The Contractor shall protect partially completed walls, site roof and other building elements when work is not in progress. Covering shall extend a minimum of 24 inches on each side of openings and be fastened securely. C. Contractor shall provide all necessary protection and follow all necessary work procedures to avoid damage to existing material assemblies not a part of the work.
D. Contractor shall exercise best safety practices by provide visible barriers and / or warning tape around the perimeter of all work area for visitor protection. Nearby vehicles and adjacent structures and foliage shall be protected from damage during the course of the work. E. Contractor shall coordinate all work and repairs with the other trades involved in site work, exterior and interior restoration and new construction. General Execution:
A. Contractor shall use techniques, methods and materials as similar as possible to those of the original stucco formula. Work should be sequenced not only to assure the stability of the structure and protection of personnel during the work, but also to address a sensible order of construction to integrate new work with existing work.
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B. Contractor shall coordinate all work with the other trades involved site work, exterior and interior restoration.
C. Cleaning shall be completed prior to beginning repair or replacement work. Work must be less intrusive and nonabrasive manner. Recommended would be a water wash method perhaps using a garden hose and a soft brush. Depending on the condition of the stucco and amount of dirt, a moderate water pressure to rinse off any remaining grime. Preparation:
A. Prior to starting work carefully inspect the preparatory work of other sections and verify that such work is acceptable for the work of this section. Report a ll unacceptable conditions to the Architect in writing. Do not begin work in areas of unacceptable conditions until the conditions have been resolved. B. Starting work under this section constitutes contractor acceptance of existing conditions and responsibility for unacceptable work caused by prior foreseeable conditions.
Execution-‐ Replacing Stucco
A. Replace stucco at locations where damaged or missing.
B. Remove inappropriate material and methods of repair and replace with appropriate stucco. Cut out any defective areas that cannot be saved. C. Brush away debris, blow out the dust, and dampen all surfaces of the cavity.
D. Cracks greater than 2mm should be carefully cut out to form an undercut and thoroughly flushed out with water to remove debris before being filled with fresh mortar. Finer aggregate shall be used where the crack is fine or hairline. E. Hollow areas and voids shall be flushed out allowing water to escape. Acetone may be added to the water to assist drying. A 10% solution of Primal WS24 may be injected into the void prior to grouting in order to increase the bond between the grout and interface. F. Observe the surface of the stucco while grouting for escape holes, surface bulging and consequent loss. G. Venerable areas shall be supported until grout has set.
H. Reinstall final surface of stucco to original profile.
Recommended Early Twentieth Century Portland Cement Stucco Recipe 1 part White Portland Cement 2 ½ parts sand
Hydrated lime-‐ to not more 15% of the cements volume Water to workable mix
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Recipe by Anne Grimmer, The Preservation of Historic Stucco, NPS Brief 22 Clean Up
A. Promptly as work proceeds and upon completion, remove excess stucco, smears and droppings.
B. Clean adjacent and adjoining surface of marks arising from performance of work of this Section. Building Use and Maintenance Priorities:
Maintenance priorities must consider the building’s use. Buildings used by the public will face higher levels of stress than private buildings. Public buildings will have greater levels of traffic that can wear down exposed surfaces and require extra attention. It is necessary to design appropriate traffic patterns to reduce amount of damage and structural strains. Maintenance Scheduling:
Sustaining a historic building is not necessarily difficult or costly. It can be easily done by systematic and continuous inspections and monitoring. Keeping a close watch on existing condition and advanced planning can prevent serious and costly damage to the building. Any repair should not be hastily done and a realistic maintenance schedule should be followed.
This method provided by the U.S. General Services Administration Historic Preservation Procedures included guidance and routine cleaning and inspection of historic buildings. It is an overall comprehensive guideline for inspecting the structure. Each area may have more extensive investigation that should be followed with a thorough investigation by a professional. Roof:
The roof is the primary barrier between the outside and the interior. A neglected roof will cause rapid deterioration of the building and costly repairs. Roof should be periodically and inspected for signs of leaks. Look for signs of blistering around the roofing membrane, ponding of water, drip edges, trash buildup, well-‐positioned flashing, missing caulking, and clear drain pipes (canales). Exterior Wall:
Look for accumulates effects of weathering, sun wind, rain, dirt, plant material. Inspect for cracks, staining, loose stucco, blisters, soft spots and falling stucco. Document all findings. Exterior Finish:
Finishes need to be renewed periodically by cleaning and removing loosed paint and applying a fresh coat of primer and paint. Look for signs of peeling, cracks and discoloration.
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Fenestrations, Windows and Doors: Fenestrations are the major source of energy loss. Energy loss can be reduced by weather stripping. Inspect weather stripping for proper installation and condition. Check doorframes and alignment. Check for deterioration and proper operation of hardware. Windows should be checked for proper operation, loose cracked or missing glazing, soundness of weather stripping, cracks and rot of frame. Interior Inspection:
Wood joist and beams should be checked for any structural failures such as sagging, splitting, squeaking and overloading. Wood floors are susceptible to insect and fungus. Look for badly damaged and twisted boards, also for spots that might need refinishing. Check the ceiling for signs of dampness, blistering and peeling. All of these could be signs of water penetration. Conclusions:
Proper maintenance will not only protect 1923 Calle Ocho but also irreplaceable cultural resources. All maintenance should be passive and performed in the lease evasive procedure as possible assuring the security and longevity of the building fabric. Proper and systematic inspections and maintenance reduces the cost of future repairs and need for large scale restoration. It is a sustainable practice that will not only prolong the use of the embodied energy in the building but also provide a source of pride in the community. The Cuban Coffee Break! Colada
A Colada is Heaven. It is Cuban coffee, similar to espresso except sweeter and God’s gift to night owls finishing a thesis project. When brewing a Colada use Cafe Bustelo. Cafe Bustelo can be found in most almacenes (grocery stores or Latin American specialty stores).
Step 1: Crush Bustelo firmly into Espresso Filter. Step 2: Place Crushed Bustelo into Espresso Maker, and ensure that it is locked tightly Step 3: Fill espresso pot with water to desired level. Step 4: Pour desired amount of water into espresso maker. Step 5: Turn Espresso Maker On. Step 6: Place about 3 tablespoons of sugar into cup if you can use Cuban Sugar!!! Step 7: Pour equal amounts of brewed Bustelo into cup. Step 8: After cafe Bustelo and sugar is heavily blended, and granulated sugar is dissolved, pour remaining brewed Bustelo into mixture.
Colada is now ready to share! Each serving should contain a layer of foam on top. WARNING!!!! Recommended in small doses.
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