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Igor B. Polevitzky and the Habana Rivera Hotel

Habana Riviera under construction, early 1957. Credit: Hinman Photography.©

Igor B. Polevitzky (June 21, 1911 – May 5, 1978) was an American architect, most recognized for his contribution to the architectural styling of Miami and Miami Beach hotels, residences and the development of the tropical modern home in South Florida from 1936 throughout 1959. If you visited Miami today and did not see one of his buildings, you would have undoubtedly seen references to his work. A young Russian immigrant then graduate from the Beaux Arts University of Pennsylvania School of architecture, Polevitzky along with few other Miami modernists, transformed a new style of architecture that responded to the coastal climate, the history of the south Florida region and demands of the client.

The style of architecture was so unique it was later coined the term (MiMo), an acronym of "Miami Modernism". Polevitzky’s eminence extends beyond Miami to Havana, Cuba where he completed his first and only international work; the Havana Riviera Hotel. Polevitzky’s firm’s reputation by 1957 attracted casino promoter Meyer Lansky and led to the design of what would be later realized as the epitome of resort-construction in Cuba and one of the world's first "all air-conditioned" hotels. Polevitzky’s contribution to the perception of North American architecture in Cuba, and his relationship with Lansky speaks to a historically important Miami-Havana connection that exists even today.

Comparatively, Polevitzky’s concern with design, climate and how style can help to achieve coexistence between indoor and outdoor spaces, was shared with the architects in Cuba during this same time. As a result, Polevitzky's design for the hotel and willingness to corroborate with local architects and designers of the time, led to the building's relative embrace by architectural critics living in Cuba.

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Miami- Havana Ferry, designing two Marine Terminals

INTRODUCTION
Until October 31, 1962, it was possible to travel by overnight ferry from Miami, Florida to Havana, Cuba. The end of this service, and other tourist-related industries in Cuba marked the closing of an era which saw rapid expanses in hotel, shopping and entertainment establishments. The effects of this tourism were two-directional and profoundly affected the fabric of both cities. While North-American tourism to Cuba has been frequently highlighted, the steady stream of Cuban middle class tourism to Miami was also a significant component of the development of a sustainable industry in Southern Florida.

The physical connection between the cities of Miami and Havana via ferry was crucial for the tourism business, and also of important cultural significance in contributing to the impression of a seamless cultural continuity across the sea. The objective of this project, which I titled “The Miami-Havana ferry connection,” the designing of two marine terminals began with the collection of data on the previous marine ferry-link between Miami and Cuba, and accounts of how the impending exchange would affect the two cultures in which the terminals would be located. My examination of several case study buildings on each side provided the main data of which I would then design the new terminals with key focus on climate and humidity. Then through individual experience and travel to and from the isle between 2008 and 2010, I began to establish how a reconnection of the ferry service and its public exposure would act upon the collective mind in strengthening the link between the two cities, and a gained understanding of their reciprocities in tourist culture, history, art and architecture. The project; to design two separate terminals, one in Havana Vieja in a historic district called Alameda de Paula and a Miami terminal located within Miami’s historic FEC port of marine entry, now proposed Museum Park. I also used period photographs and original construction drawings from the mid-century to analyze how Cuban and American tourism impacted the architecture and presence of buildings during the era. On the Miami side specifically, an emphasis on the power of iconic images produced by the pre-conditioned mid-century architecture that was prevalent in South Florida during that time.

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