![]() Both went unbuilt under Cuba’s growing political tensions. ![]() In 1956–57, Bosch commissioned Philip Johnson for a private residence and Ludwig Mies van der Rohe for an administrative building. In 1954 Sáenz, Cancio & Martín (SACMAG), appearing as both design engineer-architect and architect of record throughout Bosch’s tenure, developed a master plan for the new headquarters near Santiago along the central highway for its “modernity, mobility, and connectedness,” themes that pervaded Bacardi’s ethos. Ermina Odoardo-Ricardo Eguilior Arquitectos designed an addition to a plant in Santiago in the 1950s, as well as the Bacardi International Limited Building in Bermuda in 1972. Enrique Luis Varela designed the Modelo brewery near Havana and laboratories in Santiago in 1948. (Courtesy The Bacardi Heritage Foundation) ![]() Merendero (Centennial Pavilion) with view of El Moro and Old San Juan beyond. Designed by Franklin Hughes, the space on the 35 th floor was inwardly focused, with wooden screens blocking outside views in their place, a mural by Antonio Gattorno, Waiting for Coffee, depicted a pastoral scene of sugar cane fields.īacardi Corporation Plant, Palo Seco, Puerto Rico. A similar tactic was employed in 1938 for the Bacardi Room in the Empire State Building. The bar featured white leather focal points in an otherwise dark space, with a backdrop of a somewhat satirical mural by William Gropper to drive home the Cuban sensibility. Morris Sanders designed the new Bacardi Bar, which would take up space in the historic New York Club. In post-Prohibition New York in 1933, this modern vernacular mix imbibed a Cuban flavor. A visual landmark, the tower’s predominant function was the tasting room,Ī cocktail bar that catered to the largely American Prohibition-era clientele. Yet distinctly Cuban elements were incorporated, such as leaded glass, louvered windows, and local colors and patterns, to provide the building with a local identity. Located in the colonial heart of the capital, the building took a turn for the modern in 1930 when the winning architects, Esteban Rodríguez-Castells and Rafael Fernández Ruenes, changed the facade during construction from Renaissance Revival to a more contemporary art deco. Shulman lays the foundations for Bacardi’s architectural ambitions in the competition for the Bacardi Building in Havana. (Courtesy The Bacardi Archive and Kenneth Treister) Detail of terra cotta frieze attributed to Maxfield Parrish, Esteban Rodríguez-Castells, and Rafael Fernández Ruenes, architects, 1930.
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