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Acknowledgements
Firstly to the British Academy for generously funding this research.
Thank you to all the following for giving your time and for making my research
so enjoyable –
In Trinidad, la Arq. Nancy Benítez Vázquez for a special inside tour of Trinidad
and for sharing your heritage knowledge, and to Gil and Ana-Sofi a Lemes for
welcoming me in your lovely house with its excellent mosaicos.
In Cienfuegos, Arq, Irán Millán for your considerable time, informative (and
amusing) insight into Cienfuegos, and for specially rooting out documents: Eyda
Nancy González Pérez, Yolanda, Dayana and David of the Offi ce of the City
Conservador for kindly showing me your city, and to Anibal Barrera, for your
valuable practical knowledge.
In Las Tunas, at the Empresa Provincial de Mantenimiento y Construccion,
thanks to Jorge Velasquez Sera, Dignora Menenzes Garcia, Norge Batista
Figarero, Yanciel Samora Pascual for welcoming me to the factory and providing
such clear and useful information. To Frank for the moto-ride and visit to the
excellent mosaico fl oor you had created.
In Santiago de Cuba, to Arq. Omar López Rodríguez for introducing me to
beautiful Santiago and to your colleagues Gisela Mayo Gómez, Arq. Odalis
Quintara Caton,, Marilin Piña, Martha Calderón who kindly showed me the impressive
patrimonial and masterplanning work which provided good context for
a study of heritage mosaicos.
In Baracoa, to Alejandro Hartmann Matos and Indira for taking considerable
time (and at a weekend!) for such a hilarious, sociable and fruitful tour of your
city paradise and its unusual mosaicos hidraulicos.
In Santa Clara, to Omelio for your interest and useful introduction to Felicia
Hernández. Thank you Felicia for sharing your historical and practical
knowledge, and in particular for opening up my interest in post-revolutionary
production.
In Sagua la Grande to Raul Villa for the impromptu whirlwind tour of your
interesting, tourist-free town and of the magnifi cent Casino Espanol.
In Camaguey to Jose Barreras for the introduction to Yaxely, to whom thanks
sharing your architect´s up-to-date knowledge and experience of restoration of
mosaicos.
In Spain, to Arturo Hernandez for your excellent book which was a very useful
reference, for your immediate interest and offer of help. To Jordi Griset for your
time, your driving skills, and swift, generous email responses to my technical
queries. Albert Marti for enjoyable factory visit, email responses and superb
lunch.
In Havana, to José Flores and colleagues at the CUJAE Ofi cina de Trámite
for processing my visa so effi ciently; to staff at the Empresa Constructora de
Monumentos; to Clarita in the library of the Union de Arquitectos e Ingenieros
de la Construccion de Cuba. To Alejandro Alonso, Pedro Contreras Suárez for
giving me Art Decó and Art Nouveau leads. In the Ofi cina del Historiador to Inclán,
to Pedro Diaz for spotting the newspaper clipping for the Las Tunas factory,
to Yamira Rodriquez for sharing all your historical research and sources on
mosaicos, to Daniel Taboada, the maestro, for such an amusing and informative
interview and for sharing your comprehensive knowledge. To Mario Coyula for
your strong support for this research from the beginning.
A huge thank you to Felicia Chateloin Santiesteban for being so closely
involved, hands-on, dedicated, good fun, for steering me along most interesting
intellectual paths.
And fi nally to Aníbal del Prado for your support from the beginning, for
sharing so patiently and kindly your extensive knowledge, thoughts, introducing
me to useful contacts, being so organised, taking such care, and for being such
a delight to know.