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Cuban Mortar Tiles Chapter 8 Production of Mosaicos Hidraulicos after 1959
Loss of Quality in Construction Industry
Quality was neither monitored at the factories, nor was it demanded on site. The
restructuring of the construction industry marginalised the role of the
proyectista, (project manager or directing architect) previously the professional
able to insist on quality of materials. In the large State enterprises the
proyectista, builder and inversionista (person responsible for the project fi nances)
were “divorced” by distance 5 and the lack of communication between them
was detrimental to both project effi ciency and quality. In addition the control of
projects passed (when?) from proyectista to builder and inversionista 6 , whose
interest in quality ran a poor second to their interest in programme and fi nances.
Any proyectista’s requirement for slowly produced, good quality mosaico tiles
was likely to fall on deaf ears.
Green shoots of recovery
In 1987, as part of the Government Programme entitled “Rectifi cation of Errors”
the government recognised that the materials industry had suffered from lack
of investment, with, amongst other complaints, under-maintained and faulty
equipment, and lack of basic materials. Under the reorganised and re-named
Ministerio de la Industria de Materiales de Construccion, several new mosaicos
factories were founded to boost production as part of the revitalised
Micro-brigade movement 7 .
The 1990s saw the odd spurt of tile design prompted by the introduction of dual
currency in 1993. The fl oors in “divisa” (legalised dollar) bars in Remedios for
instance are fi nished with simple patterned cement tiles from local factories 8
(fi g. 90). The tiles are the modern 250mm x 250mm size but the patterns are
reminiscent of the reduced geometric designs of the 1950s. (photographs)
Current Production of Traditional Mosaico Hidraulico
Factories producing the modern plain or jaspeado 250 x 250mm losa hidraulica
can be found in the outskirts of cities and towns across Cuba. The author has
attempted to visit two of these factories (but without success as permission to
enter was withheld in both cases). It has not been possible to fi nd out how many
of these factories exist in Cuba or where they are located.
5. J. de Las Cuevas 500 Years of Construction p.290
6. Felicia Chateloin verbal advice August 7th 2009
7. J de Las Cuevas Libro de Materiales de Construccion
8. Felicia Fernandez in interview August 3rd 2009
However, in addition to the mass production of cement tiles, special factories
have been founded which once again are producing mosaico hidraulico tiles of
fi ne craftsmanship and traditional design. Prompted by the renewed interest in
conservation and restoration of built heritage spearheaded by the work of La
Ofi cina del Historiador de la Ciudad de la Habana, factories have been founded
in Las Tunas and Holguin. The OHC has recently opened a small workshop in
Obrapia in Habana Vieja. Until recently the City Historian’s Offi ce in Camaguey
ran a small workshop producing traditional designs, but this has had to close
due to faulty equipment for which no replacement is currently available.
Las Tunas Factory
The Las Tunas factory was founded in 2003, producing 200x200mm tiles (the
same size as historic tiles) with a range of designs matching traditional tiles.
Its 6 presses (i.e 12 workstations) enable a production 6000m2 /annum. The
Russian-made presses are 20-30 years old. The factory sells to the State and
to religious institutions, but not to individuals. There is an in-house moldero
(mouldmaker) who advises is able to copy designs “from any tile that is brought
to him”.
Materials
Apart from the pigments, all materials are Cuban. Silicate sand is from Pinar del
Rio, feldspar from Holguin, marble dust and calcium carbonate from Granma,
stone dust and white limestone from Las Tunas province, white cement from
Santo Spiritu and grey cement from Camaguey. Pigments are imported from
Mexico.
Examples of work:
La Casa Cultural in Las Tunas and La Ermite de Monserrate in Matanzas both
use the same pattern. Once a trepa has been made, the designs can be offered
as standard. Special tiles can also be commissioned. For instance, the Offi ce of
the City Historian in Santiago de Cuba commissioned copies of the tiles in the
Antiguo Colegio Dolores in Santiago de Cuba. The new tiles exactly match the
originals, both main and border tiles. Another example offered is the Jose Marti
library in Las Tunas where again the new and old are indistinguishable.
It was noted that on the day of the author’s visit, production had been stopped
due to lack of a base material. The hiatus in production lasted a minimum of two
days.