The Spanish-American War Shaped Architecture in Puerto Rico: Early to Mid 20th Century

The Spanish-American War Shaped Architecture in Puerto Rico:

Early to Mid-20th Century

By: Shayna Scott HIPR 701 Intro to Preservation

Friday, October 31, 2014

Table of Contents

Cover Page ........................................................................................................................................................... 0

Introduction .......................................................................................................................................................... 2

Architecture under the Spanish Rule ..................................................................................................................... 2

The United States: The New Hegemony in Puerto Rico ........................................................................................ 3

American Trained Architects in Puerto Rico ......................................................................................................... 5

The Sugar Cane & Tobacco Industries .................................................................................................................. 6

Global Influences in Architecture ......................................................................................................................... 9

Conclusion ......................................................................................................................................................... 12

Table of Figures .................................................................................................................................................. 14

Bibliography........................................................................................................................................................... 15

The Spanish-American War Shaped Architecture in Puerto Rico: Early to Mid-20th Century 1 | P a g e

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Introduction

Puerto Rico (PR) is a testimony to the dominance of the Spanish empire in the Americas for hundreds of years with

its coble stone roads and Spanish Colonial style buildings throughout the island. However, the Spanish American-

War started a chain reaction that would change the architectural landscape of PR forever. From early to mid-20th

century, four major things shaped the development of architecture: The U.S. financed the construction of several

significant buildings including schoolhouses island wide, American trained architects were very influential in the

architectural development of PR, the sugar cane and tobacco industries exploded, and architecture trends in Europe

and the U.S. inspired architects on the island.

Architecture under the Spanish Rule

Spanish Colonial is possibly the most recognized

architectural style in the Caribbean; a definite

affirmation that the Spanish empire dominated the

area for centuries. Puerto Rico is no exception; large

concentrations of these traditional Spanish buildings

still exist in cities such as Old San Juan, Mayaguez,

Ponce & San German.

Characteristic traits of Spanish Colonial architecture include buildings that were rectangular, with contrasting pastel

colors painted on their façade, and multiple fenestrations leading streets, courtyards and balconies that hang sit

above the narrow, cobblestone roads. The roofs were either flat with parapets, or low-pitched with Spanish tiles on

top of thick masonry walls covered with stucco. Homes have doors made of solid wood, and windows covered with

wrought iron to allow the flow of air. La Fortaleza is a public building that is a highly stylized example of the

style.1

1 La Fortaleza is the residence of the governor of Puerto Rico. It is the oldest executive mansion still in use today in the Americas. (Grupo

Editorial EPRL 2014).

Figure 2. De La Luna (Moon St.). Beginning of the 20th Century


The Cathedral of San Juan Bautista, located in the center of Old San Juan

uses Gothic & Baroque architecture; although Spanish Colonial was the

primary architectural style, others styles from Europe were also applied in

construction throughout the island. The Spanish planned their cities around

Catholic Churches, which were the pillars of the community; there was not

a separation of church and state in the Spanish society.

Under the rule of Spain, education was not a priority; people that had no

formal training in architecture or construction built many buildings and as a

result, only a small percentage of these structures have lasted through the centuries. In 1839, Pedro Garcia, who was

a leading architect for the Spanish empire, and a member of the Spanish Corps of Engineers, said that the quality of

the buildings in Puerto Rico was poor, and he recommended a professional school of architecture. Unfortunately,

the government ignored him and in 1899, hurricane Ciriaco destroyed numerous structures on the island that the new

American government would rebuild to their taste.

The United States: The New Hegemony in Puerto Rico

When the Spanish-American War ended, the United States was the

victor. Theodore Roosevelt, along with several other government

officials had hopes of acquiring Puerto Rico for three reasons: it

was a strategic military location, the island was rich in natural

resources and it would put the U.S. in a position to have control

over the Panama Canal that would open sixteen years later in 1914.

The Treaty of Paris in 1898 officially marked the end of the war

and granted the U.S. possession of Puerto Rico, the Philippines and Cuba, solidifying the U.S. as a new global

power. Shortly after the U.S. took possession of Puerto Rico, it sponsored the construction of many buildings in the

Neoclassical in hopes of severing the islands emotional ties with Spain, and assimilating American ideas into the

culture.

Figure 3. Cathedral of San Juan Bautista

Figure 4. The Signing of the Treaty of Paris.


The Spanish introduced the neoclassical style elements to architecture in buildings like the Teatro la Perla, but it

was used more extensively by the U.S.2 The style was embraced because it was synonymous with the American way

of life; freedom and democracy as compared to life under the Spanish rule which felt oppressive. One of the first

neoclassic buildings financed by the U.S. was Carnegie library, built as part of the new education program; it is

where the U.S. housed documents acquired from the Spanish.3

Natural disasters accelerated the Americanization of architecture in PR, the earthquake of 1918, followed by the

hurricane of 1928 destroyed entire cities; to America’s delight, Mother Nature swept away a large part of the legacy

that Spain left behind. Frequent fires also prompted the U.S. to make changes. City planners, architects and local

officials created new building codes that would ensure the safety and durability of future construction. In 1905, the

planning commission wrote an ordinance that discouraged the use of wood homes in Ponce & Mayaguez. It

required that an “embellished concrete wall,” at least two meters high be

erected around houses constructed with wood.

One of the biggest projects that the U.S. financed in the new colony was the

islandwide construction of new schools. During William Hunts time as

governor of Puerto Rico, the illeteracy rate was reduced by nearly forty

percent. However, these effforts were not puerly for the good of the

people. Schools were named after American presidents like Jefferson, Washington and Lincoln, and national

holidays were celebrated on their birthdays to honor them in an attempt to create patritism among the people,

especailly children who wuld be the leaders in th future. In 1902, Samuel Lindsay said, “Schools are military

barracks for the peaceful colonization of the island.” (Rigau 1992)4

The Spanish Revival and California Mission styles in particular were used in a deceptive manner, they gave people

the false illusion of reconnecting with mother Spain, when in fact the styles were American versions of traditional

Spanish styles found in Spain. (Vivoni-Farage 2014) Trade magazines and journals promoting popular architectural

2 Juan Bertoli Calderoni designed Teatro La Perla (1864); it currently houses the Puerto Rico Museum of Music. 3 Part of the Treaty of Paris agreement was that all documents created by the Spanish government would become property of the U.S.

government. 4 Samuel Lindsay was a commissioner for the U.S. at the time.

Figure 5. High School. Fajardo, PR


styles in the U.S. were heavily circulated as an attempt to further permeate the Puerto Rican culture, and influence

architects.

American Trained Architects in Puerto Rico

It is no coincidence that the most influential architects at the turn of the

century were those who were trained at schools in the U.S. Architects

were trained in four American styles that would come to dominate the

architectural landscape of PR: Neoclassical, Spanish Revival, Art Deco

and Modern.

Manuel Domenech was an architect and an engineer, born in Isabela who studied at Leigh University in Pittsburg

and Rensselaer Polytechnic Institute in New York. He used Neoclassical details and proportions in his works which

are predominantly found in Ponce where he eventually became the mayor. Examples of his work include: The

Rosaly-Batiz House (1897), the Armstrong-Poventud House (1899) and Casa Paoli (1907).

Antonin Nechodoma was an architect of Czech

ethnicity, but he was born in Prague and raised in

Chicago after his parents migrated to the U.S.

Nechodoma was well renowned for his architecture

throughout the Caribbean; he practiced in PR and the

Dominican Republic from 1905-1928. Nechodoma

found inspiration in Prairie style & neoclassic

architecture. It is controversial whether or not he

plagiarized Wright’s work because his designs were nearly identical to drawings found in Wright’s Wasmuth

residential portfolio. (Yosoyelrey 2009)

Regardless of whether or not he plagiarized Wright, his use Prairie style architecture brought modern architecture to

PR. He is responsible for commercial, religious and residential buildings, some of his most famous designs in PR

are: The Missionary Society of Methodist Episcopal Church in missionary style (1907), Casa Kober (1917), Casa

Roig (1921), Mansion Georgetti, demolished (1923) & Banco de Nova Scotia (1924). Since the weather is enjoyed

Figure 6. Rosaly-Batiz House. Ponce, PR

Figure 7. Casa Roig. Humacao, PR


all year long in PR, the concept of harmony between interiors and exteriors brought to the U.S. by Wright after his

studies in Japan remain popular in residential construction.

Francisco Porrata-Doria was an architect born and raised in Ponce; he also studied in the U.S. at Cornell and

Columbia University and eventually held a position as the director of Public Works for the city of Ponce. Porrata

used Neoclassical, Art Deco and Art Nouveau features in his designs, but he is most famous for developing a unique

and modern style known as “Ponce Monumental Architecture.” (Unknown 2014). Some of his most famous

buildings include the Banco de Ponce (1924), Teatro Fox Delicias & the Ponce Cathedral (1931).

Figure 8. Banco de Ponce. Teatro Fox Delicias. Ponce Cathedral. Ponce, PR

The Sugar Cane & Tobacco Industries

One of the main reasons that the U.S. desired possession of PR is

because it was rich with natural resources. As the Spanish-American

War was ending, Theodore Roosevelt wrote a letter to Henry Cabot5

expressing his desire for Puerto Rico to become a possession of the

U.S. (Ayala 2007)

Soon after the U.S. had possession of PR, they began their campaign of exploitation and the sugar cane industry

exploded. Prior to 1989, coffee was the principle export of Puerto Rico, but it was laborious and grew primarily in

5 Henry Cabot was a U.S. senator at the time and Roosevelt was not yet the president.

Figure 9. Tobacco & Sugar Cane Plantation.


the mountains. Already experienced in the growth of tobacco and sugar cane, the U.S. began to develop plantations

that would make PR one of the main exporters of sugar.

As the sugar cane and tobacco industries grew, so did coastal cities where the sugar farms existed. By 1913, sugar

cane was the principle crop produced in the economy, causing Americans, immigrants from all over Europe and the

Caribbean were attracted to the island’s new prosperity. From the years 1878-1898, when coffee was the main

export, the island’s population increased by 160,000, from the years 1898-1918, when sugar cane and tobacco

became exports, it increased by 346,000. (Rigau 1992) As owners became wealthier, they commissioned architects

to build extravagant and exotic homes in underdeveloped areas that would validate their new economic and social

status.

Alfredo Weicher Peretti designed mansions for several of the

newly wealthy families. He was the son of German

immigrants, but was born and raised in PR. After graduating

from high school, he studied at the École Spéciale

D’Architecture School in Paris and then became an

apprentice to Enric Sagnier in Barcelona. (Rigau 1992) In

1910, he returned to PR after he was unable to obtain an

architecture license in Spain.

In the less than nine years, he designed a multitude of exceptional buildings in his famously refined style that was

rooted in Neoclassical and Art Nouveau architecture. In 1919, after claiming that people had persecuted him

because of his German heritage, he left to Barcelona, Spain where he would spend the rest of his life.

In 1911, Weicher designed Casa Villaronga as his own residence and sold it to the Villaronga family fully furnished

before he left to Barcelona. In the same year, he built Casa Seralles for Juan Eugenio Seralles, a leader in the sugar

cane industry and one of the wealthiest men on the island.6 Both Casa Villaronga and Casa Seralles are examples of

grand European neoclassical residences that would set the standard for future mansions in the years soon to come.

In 1913, Casa Oppenheimer was an important residence because it incorporated a garden landscape in the front of

6 Casa Seralles currently houses the Puertorrican Museum of Music.

Figure 10. Casa Villaronga


the house, which was a first for homes in urban areas. Other works of Weicher include, but are not limited to Casa

Blasini, Club Deportivo de Ponce, Casa Vendrell and El Cementerio Civil de Ponce.

Pedro Tomas Vivoni studied architecture in France and designed residential homes with delicate ornamentation that

were in line with European models. His was an architect in San German, where he built his best work: the

Fernando-Rivera House, and in 1913, his own home and a home for his brother. (Rigau 1992)

Blas Silva Boucher was an engineer born in PR, but he received extensive training and education in Spain. In 1910,

he designed the Subira Residence in a unique architectural style he developed called Ponce Creole.7 In 1913, he

designed the Salazar-Candal House using a combination of Neoclassic, Spanish Revival and Art Nouveau

architecture. (United States 2014)8 Boucher also designed Casa Font-Ubides in 1913, another first of its kind; this

building uses organic shapes in its structure.

Figure 11. Casa Salazar-Candal. Casa Subira. Casa Font-Ubides. Ponce, PR

7 Ponce Creole is a style that is a combination of European architectural features and Revival styles on residential design that accommodate for the hot climate of the area. 8 The Salazar-Candal House is now home to the Museum of History of Ponce.


Architectural styles unique to PR were born by architects eager to create a legacy, and satisfy the elite, nouveau rich

clientele that controlled the sugarcane industry. Many of the mansions in Ponce are on the National Register of

Historic Places and remain as museums as a reminder of a time when PR enjoyed great economic success.

Global Influences in Architecture

The Spanish-American War is one of the most important events in the history of America; it led to the acquisition of

Puerto Rico, the Philippines and Cuba, solidifying the U.S. as a new world power. With so much influence in the

world, many followed design trends of American architects, PR was no exception; the people saw the U.S. as their

savior from the oppressive Spanish rule, and they wanted to emulate American life.

Despite the fact that PR was no longer under Spanish rule, it still looked to Spain and the rest of Europe for design

inspiration. The Modernismo movement was a big factor in the success of the Spanish Revival style because it

romanticized the Spanish heritage and a return to the past. The movement popularized orientalism and exoticism

through literature, and it manifested itself in the highly ornate homes of the wealthy as well as in other genres of

architecture.9

9 Orientalism is the use of North African, East Asian and Middle Eastern styles, art and design concepts by civilizations in the Western hemisphere. Exoticism refers to the idea that societies in the Western hemisphere had an interest in the unknown or different. They considered the East very exotic and wanted to emulate those societies in certain aspects.

Figure 12.Casa de España. Ponce, PR


In 1932, a private organization commissioned architect Pedro de Castro de design Casa de España. (United States

n.d.) To this day, Casa de España is one of the most thorough examples of orientalism and the use of exotic

patterns colors. The Georgetti Mansion (1923) by Nechodoma, Frau House (1910) & the Zaldo Nebot House by

Boucher, the Valdes Castle in Mayaguez, Casa Nazario and the Fernando Luis Torro House are all examples of the

orientalism, Moorish architecture being the most influential. (Rigau 1992) Immigrants from the Middle East also

came to PR in the early to mid-20th century. Today, there are several mosques that use traditional Islamic or

Moorish architecture in every region of the island.

In Europe and the U.S., Art Nouveau gained popularity as a rejection

to the linear styles that preceded it. The innovation of reinforced

concrete allowed architects to design buildings with more freedom of

shape. This new technique replaced wood and concrete block as the

primary construction method for residences.

Architects in PR typically paired art nouveau features with the

neoclassic style to supplement the rectilinear lines and create a softer look. Mainstream architects Weicher, Boucher

and Poratta have all used features of the style in their work. In Spain, Antoni Gaudi was renowned for his extensive

use of the style. He is best known for La Sagrada Familia in 1907, which is a combination of Gothic and Art

Nouveau elements, Casa Milla (1906-1910) and Guell Park (1914). The Spanish-American War is the root reason

that architecture in PR took a much more diverse path than it did in Spain.

Like art nouveau, art deco began in France and was popular during

the 1920s & 1930s. The use of metal in construction made this

style the epitome of all things modern and ideal for commercial

construction. Art deco would soon replace the Spanish revival style

in PR because it was less ornate and it appealed to those who

desired a cleaner aesthetic. Art deco was also popular in PR

because it was synonymous with luxury, since Hollywood and Miami adopted the style. The Normandie Hotel

located in San Juan is a unique model of art deco. Organic lines are used, but it still has a very modern, clean feel;

Figure 13. Casa Milla. Barcelona, Spain.

Figure 14. Nomandie Hotel. San Juan PR


Raul Reichard began working on the design of the project in 1938. He

modeled the hotel after the cruise ship liners that port in San Juan where

he met his wife.

Art deco was particularly popular for residential buildings in the three

suburbs of San Juan: Santurce, Condado and Miramar, all three are

currently trendy metro centers. There are more than one hundred

commercial, institutional & mixed-use buildings in different regions of

the island, especially in the San Juan metropolitan area.

Miami is a seven-story apartment building located in Condado and is the most recognized example of the style on

the island. This building is significant because the architect Pedro Mendez Mercado designed it to be a pure

example of art deco both inside and out, extravagant geometric details adorned the façade; he wanted the building to

have the same luxurious feeling as those in Hollywood and Miami Beach. (Morales-Pares 1984) This building was

the prototype for countless other apartment buildings in the area.

As mentioned earlier, Nechodoma introduced Prairie style architecture to PR and it is still to this day, popular in

residential construction. International style was even less ornate than Art Deco, and was ideal for office buildings,

high rises and even modern style residences. Straight lines, plane surfaces, glass curtain walls and open concepts on

the interior characterize this style.

Figure 15. Miami Apartments. Condado, PR

Figure 16. FDR High school. Arecibo, PR & Iglesia Invención de la Santa Cruz. Bayamón, PR


A major advocate for this style in PR was German born architect Henry Klumb. He studied at Staatliche Bauschule

School of Architecture in Cologne, Germany and became the principle drafter for Frank Lloyd Wright. Klumb

worked on several projects in cities across the U.S. alongside Wright. He met Rex Tugwell, who was the trust

planer for the “New Deal” legislation in the 1930s who invited him to move to PR as a key planner in the new, post-

war modern PR. (Henry Klumb House 2014) In 1944, Klumb relocated to PR where he worked for the Housing

Authority of PR and soon after opened a private practice. He was the primary architect and planner for The

University of Puerto Rico including the faculty residences, the Museum of Anthropology, History & Art, the

Agricultural Science building in Mayaguez, the Law School building and the General Library amongst other

buildings. He also helped design the Caribe Hilton Hotel in San Juan, and the Parke-Davis Pharmaceutical

building in Carolina.

Conclusion

The Spanish-American War set off a chain of events that shaped the architectural development of Puerto Rico in the

first half of the 20th century. The U.S. planted the roots for architecture in PR to solidify its hegemony over the

island. The U.S. was strategically planned the Americanization of PR even before they had official possession of the

island. The construction of schools island-wide softened the transition for many who believed that the U.S. cared

more for the people than Spain since they never implemented an education system. The schools were a way to

systematically brain wash people into developing a sense of American pride. Neoclassic architecture was used in

the majority of U.S. funded construction because the style had become tantamount with the freedom and democracy

which the people of PR so desired.

Some of the most influential architects of the time were encouraged to attend American universities for formal

education and training. The U.S. purposefully circulated volumes of trade magazines and journals glorifying the

architectural styles in America. Architects on the island unconsciously began building the “American” way and that

is what the people were programmed to want. Even when Modernismo influenced the return to Spanish roots, the

U.S. deceived the people into adopting the Spanish Revival and California Mission styles, both of which were

American developed versions of styles from Spain. The Spanish revival became a very popular style for residences,

especially the mansions in Ponce that belonged to the sugar cane kings; to this day, features of the style remain


popular in suburban neighborhoods. The occurrence of hurricanes and earthquakes in the beginning of the 20th

century destroyed entire towns, increasing the speed at which Spain’s legacy diminished on the island.

International trends in architecture played a significant role in the shaping of architecture on the island. The

introduction of new construction methods such as reinforced concrete, the use of metal and glass together and

curtain walls contributed to the design of commercial and high-rise residential buildings. Art Deco, International

and Prairie style architecture also saw great success in PR. All three styles became popular because of their minimal

nature in contrast with the more traditional styles that made them less expensive to build. The major metropolitan

areas of today consist almost solely of modern architecture styles introduced in the first fifty years after the Spanish-

American War ended. The architectural development of Spain went on a different path than it did in PR. If PR

were still under Spanish rule, its architecture certainly would have developed differently. The Spanish used more

traditional styles and organic lines and were not as open to the international exchange of ideas.

After researching the history of architecture in PR, it is evident that the U.S. has played a large role in its

development. Not only by imposing American values on architects and the people of PR, but also by capitalizing on

sugar & tobacco, which led to new styles in architecture and extravagant homes that were a secondary product of the

two industries. Over the last seventy years, schools of architecture in Puerto Rico have grown and progressed to

rival those in the U.S. and Europe. Architecture in PR has historically been foreign influenced, but in the second

half of the 20th century, vernacular architecture developed into a modern and sophisticated style of its own. The

Spanish-American war shaped the architectural landscape of Puerto Rico form early to mid-20th century, laying the

foundation for architects to take the island into the 21st century and beyond.


Table of Figures

Figure 1. De La Luna (Moon St.). Beginning of the 20th Century .............................................................................. 2

Figure 2. Cathedral of San Juan Bautista................................................................................................................... 3

Figure 3. The Signing of the Treaty of Paris. ............................................................................................................ 3

Figure 4. High School. Fajardo, PR .......................................................................................................................... 4

Figure 5. Rosaly-Batiz House. Ponce, PR ................................................................................................................. 5

Figure 6. Casa Roig. Humacao, PR ........................................................................................................................... 5

Figure 7. Banco de Ponce. Teatro Fox Delicias. Ponce Cathedral. Ponce, PR............................................................ 6

Figure 8. Tobbaco & Sugar Cane Plantation. ............................................................................................................ 6

Figure 9. Casa Villaronga ......................................................................................................................................... 7

Figure 10. The Subira Residence. The Salazar-Candal House. Casa Font-Ubides. Ponce, PR .................................... 8

Figure 11.Casa de España. Ponce, PR ....................................................................................................................... 9

Figure 12. Casa Milla. Barcelona, Spain. ................................................................................................................ 10

Figure 13. Nomandie Hotel. San Juan PR ............................................................................................................... 10

Figure 14. Miami Apartments.Condado, PR ........................................................................................................... 11

Figure 15. FDR Highschool. Arecibo, PR & Iglesia Invención de la Santa Cruz. Bayamon, PR .............................. 11















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The Spanish-American War Shaped Architecture in Puerto Rico: Early to Mid 20th Century

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