Hotel Humboldt, a miracle on the Ávila
The beginning
The epic story of the Hotel Humboldt
is part of the turbulent history of Venezuela
as it was developing halfway through the 20th century
during the military dictatorship
of General Marcos Pérez Jiménez
At that time Caracas was seen by the world as one of the most attractive
and most promising capital cities of the continent
Its rapid growth and highly original architectural development
was converting it into a unique space able to see itself as a peculiar laboratory
of the modern world evolving within it
The main figures of this historic moment were a new generation of architects
engineers and technicians graduating from the Universal Central de Venezuela
and the most prestigious centers
for advanced studies in the United States
Their command of cutting-edge technology allowed an important group
of local medium and large-sized construction companies
brought about the completion of an urban transformation process
helped by the invaluable immigration from Europe
fleeing the effects of the Second World War
These elements, to which one must add the abundant flow of riches from the oil industry
would form part of a very interesting equation
that had an impressive effect on the country
and exercised a significant influence throughout the 20th century
and up until today
"In the 1950s
Venezuela was a country with a very small population;
there were only about 7 million inhabitants in Venezuela,
and its oil production was already very significant
so the income per capita of the Venezuelans was extremely high.
At that time in Europe the only country that exceeded the income per capita
of the Venezuelans was Germany.
The income per capita in Venezuela was higher than Spain's, Italy's, France's,
and if we take into account that these countries are living through an
extremely difficult post-war situation,
Venezuela became a very much sought-after destination."
This coming together of highly-qualified local and foreign human resources
and an economic strength without precedent combine efficiently
with the actions of a government that was guided by a sort of essential doctrine
that served it as a fundamental support.
With the slogan "A New National Ideal"
the President of the Republic at the time,
Marcos Pérez Jiménez lent particular importance
to the transformation and modernization
of Venezuela's physical infrastructure,
at the same time strangling any protest
or attempt at democratization
"Pérez Jiménez takes over the Presidency of the country through electoral fraud
and that was when what he called his "New National Ideal" was put into practice,
and which actually translated into a proposal to transform the physical infrastructure.
Pérez Jiménez, with his extremely practical military way of thinking -
if we could call it that - what he wanted was to construct a Venezuela;
physically transform Venezuela with aqueducts, bridges, highways, buildings.
We should say that Venezuela,
the government of Venezuela, as a result of
the collection of taxes from the oil concessions, had huge resources,
sufficient to carry out this physical transformation,
and we have to admit
that the government - the dictatorship of Pérez Jiménez -
attempted this very successfully in many aspects - and actually implemented that project.
A very different project was democracy, a democratic route that was not part
of Pérez Jiménez's plans."
"The city is a political fact.
A city is not made by an architect or a town planner;
it's the political facts that shape a city.
In the days of Pérez Jiménez there were many, many political facts
that came to represent a change in the architecture and in the town planning."
"At the start of the 50s,
the impact of construction in Caracas was gigantic, unforgettable.
Thanks to the immigration of Spaniards and Italians, Portuguese and Central-Europeans,
a construction laboratory was created that the city had never before experienced.
This laboratory was a reference point for construction, and not only in Venezuela,
in Latin America, and the volume and the quality of the buildings constructed in those days
are still here as witnesses of the best things that occurred at that time."
In a very short time Caracas achieves an extremely high level
of esthetic and infrastructural development, thanks to that blend of talent, resources and interests.
This potential as a country left an indelible mark on the spirit of its inhabitants;
A mark that so many years later surprisingly remains, floating in the environment
like a sort of vision and hope for the future
"Those were years that were brimming with excitement
and a Venezuelan architecture that was hugely dynamic.
You see, those were the years when, although it's not exactly understood as architecture but it's very close,
the highway down from Caracas to La Guaira was constructed
with bridges, the viaducts, that were designed by the great structural designers of the 20th century;
of Eugène Freyssinet,
a French structural designer, renowned throughout the world
and the work of the Venezuelan architects.
And it wasn't only the State.
The State had a very strong presence, the University Campus, the Hotel Humboldt itself,
which was a state project,
the Centro Simón Bolívar, a very important work of Cipriano Domínguez,
also belonging to the State,
but also private investment was going through what were exciting times.
There's the Electricidad de Caracas building de Sanabria;
There's one of the emblematic buildings of the city, of the city and of modern architecture,
a building that is landmark of modern architecture in the world,
which is the Torre Polar
and Teatro del Este of Vegas y Galia
and very many more…"
"And all this architecture
left to one side the historic part of the city and was related more to
the geography, the weather, light, air and of course with transportation.
Caracas, Rio de Janeiro,
if you consider the importance of the geography,
the views, light, the air -
it's an ideal city."
"There can be no doubt that the process of the construction of a Latin American city
comes from the laws of West Indies
but which is at the same time driven by conquest which is no more nor less
than reproducing in Latin America the inheritance of the Mediterranean city.
Now, at the end of the 40s, the Latin American cities, and very particularly Caracas
begin to suffer a fracturing of their Colonial matrix
and enter into a new scale
where networks, highways and buildings strategically positioned in the topography
are going to burst open, are going to reconstruct or deconstruct a new and different structure
to the one they inherited from the Colonial model."
Now Caracas decides to challenge its physical surroundings with the intention of dominating it
and begins to move away from the center, from the Plaza Bolívar, from the Spanish tradition
to join the geography and conquer it.
"The architects are educated,
trained to come up with new ideas
The authorities are interested in creating new conditions.
The economic needs; or the economic possibilities, the possibilities of transportation;
everything's going to plot against this city that's been there for three centuries,
in such a way that this model is practically abandoned."
So it is that although districts like El Silencio still represent an important link with tradition,
the Centro Simón Bolívar,
with its audacious spaces and sturdy towers thus becomes the symbol of a new Caracas.
transformed by the presence of a robust modernity.
For its part, the Hotel Humboldt is to become a kind of metaphor of the conquest
of the challenges presented by the rocky geography.
This project demonstrated once and for all the capacity,
genius and spirit of adventure
of a new generation without any limits to its expression.
"The Hotel Humboldt is an extraordinary lighthouse
that opens onto that gigantic landscape
of the Coastal Mountain Range. It's on the very edge of the Saddle of Caracas and the Avila
and Pico Humboldt. It looks down on the Caribbean;
it looks inwards to the Valley of Caracas
and it's installed right in the middle of a huge park of 78,000 hectares.
That Caribbean nature;
that situation of being in a strategic location 2,600 meters above sea level
staring around 360° lends it a condition which is at the same time unique, unrepeatable,
installed in a landscape that defines it as the proverbial icon of the city of Caracas."
COUNT VLADIMIR DE BERTREN
Yet in the midst of this great effervescence of construction, where did the idea
of constructing a hotel on the top of a mountain come from?
Who had the idea of looking up at the top of the Ávila and proposing such a daring plan?
In 1952 there arrived from the Republic of Argentina Count Vladimir de Bertren
This strange man, originally from France, had been bornin the Russian city of Derbent.
His family was part of the European nobility installed in the court of the Czar.
They had been living in Russia for two generations,
a situation that lasted until 1922
when as a result of Russia's October Revolution they had to flee and return to their country of origin.
After completing his education in France as an engineer he joined the air force
and Count Bertren fought in the Second World War as a fighter pilot
and for his distinguished conduct in combat
France awarded him the Legion of Honor.
As a result of his knowledge and interest in cable car transport systems
Count Bertren installs himself in the city of Caracas with a fixed idea in his head.
After confirming that the time was ripe for plans like his
and that the Ávila had the perfect conditions for installing a cable car for tourism
he decided to approach the government and propose his project.
"In 1953, when I was the Minister of Public Works,
I gave an audience to Mr. De Bertren
who proposed to me the installation of a cable car in the Ávila.
But since I didn't know the Ávila, the only way I could form a clear idea as to
the viability of the cable car he was proposing was to climb up to the top
in order to be better informed about whether it was a good idea and thus suggest it to my President.
Once at the top I realized that the effort had been worthwhile
because of the amazing view of the Valley of Caracas
and the modern and thriving city that was extending along it."
Seduced by Bertren's idea, Minister Bacalao Lara immediately appointed Engineer Gustavo Larrazábal
to lead this project and undertake the necessary studies.
GUSTAVO LARRAZÁBAL - Engineer, Minister of Public Works, Coordinator of the Construction of the Cable Car System and the Hotel Humboldt
"Dr. Julio Bacalao Lara, who was Minister of Public Works
called me in to his office to present me to Mr. De Bertren
who was the one who had the idea of building a cable car from Caracas to the Ávila
and that I take charge of conducting all the studies concerned and then the construction."
Count Bertren's original idea was to construct the cable car to go directly from Caracas to Naiguatá Peak
However, after making the required studies, it was decided to undertake the work in stages.
"We were going to build it in four stages. The first stage was from Caracas to El Ávila;
the second stage from El Ávila to the Coast;
the third stage to Los Castillitos;
and the fourth stage was up to Pico Naiguatá
which was the highest peak of Caracas."
And so it was. On June 1, 1954,
the President of the Republic approved the entire project submitted by Bacalao Lara
which also contemplated the construction of a hotel.
"In June 1954,
Minister Bacalao Lara commissioned me to go to Europe with Mr. De Bertren,
more particularly to the Alps
to study the different types of cable cars in the area of the Alps,
in France, Switzerland, Italy and Germany.
Once we'd conducted the preliminary study
and checked which constructors were available to build the cable car
it was decided to award the contract to the firm of Ernest Heckel."
Once the manufacturer of the equipment had been selected for the cable car system
studies were continued in order to determine its characteristics
and exact location of the stations,
taking into account the nature of the terrain.
"Once we'd made the topographical studies,
it was decided to award the construction project of the Ávila terminal
to Precomprimido Compañía Anónima
and the Passenger Terminal in Caracas to Técnica Constructora."
In parallel, the base camp is installed on top of El Ávila to begin the construction work
while other different measuring activities were taking place, and a trail was being constructed
about 3 m wide, cutting through the steep slopes to arrive down to Caracas.
Along this track and using towers the cables were put into place that would connect both stations.
The Maripérez Station would be located at 995 meters above sea level,
while the upper station would be at 2,105 meters
"It was decided to widen and improve the road between Galipán and Caracas, which already existed,
in order that it could be used to move the equipment and materials required
to construct the terminal in El Ávila."
"It was almost like a mountain pike
with steep slopes and many curves
and the only paving was the mountain itself.
We gradually improved this primitive trail.
On many occasions I had to up in a powerful Unimog jeep
which I myself drove until I had command of the route.
The Germans, with their traditional skills,
installed the towers of the first service cable car
which would enable them to take up all the pieces of the system."
The original idea of building a hotel on the summit had arisen during the first visit that Pérez Jiménez made
to the place where the works were planned to take place.
"The Minister of Public Works, Bacalao Lara,
decided to invite the Planning Minister, the President of the Republic
and the Governor of Caracas
and a series of authorities to go up with him,
So we went up to the summit and from there at the top,
along the whole ridge to the spot where the terminal is now."
There was a superb view of Caracas
that none of these people had seen before.
So, up there, talking, in principle someone commented
that a hotel should be built
with, I don't know, 800 rooms, a very big hotel."
The President of the Republic took up this idea,
and once the construction of the cable car system had begun
the team from the Ministry of Public Works dedicated themselves to developing the project of the hotel
that would be built on the top of El Ávila.
The young architect Tomás José Sanabria was selected to design it
who at that moment enjoyed considerable prestige thanks to the success of his first important work
which was the building of the headquarters of La Electricidad de Caracas.
Sanabria had studied at Harvard University
where he was a disciple of Walter Gropius
German architect an city planner, founder of the famous school of design, Bauhaus.
TOMÁS SANABRIA - (1922-2008) - Architect of the Hotel Humboldt and the Upper Station
"I went up with Gustavo Larrazábal
for the first time to have a look at the land.
I'd never been at the top of the Ávila.
It took us quite a few hours.
I think it was about ten hours to get up there
and the emotions unquestionably rose as we went up.
We took all kinds of things with us
because we'd been told that the snakes in the Ávila
were very dangerous, you know, the coral snakes
so we took all kinds of anti-ophidic serum;
we took tents, everything
and after all this effort we got to the top and it was covered with cloud
so I felt enormously disappointed because after all that effort not being able to see anything
was a bit frustrating.
But suddenly, suddenly,
completely unexpectedly the clouds disappeared
and that marvelous view was revealed
over Caracas which is truly impressive.
Caracas at that time was small, yet the lights we could see from up there
were amazing and that inspired me;
I think it was the greatest moment of inspiration for the concept of the Hotel Humboldt."
As a result of that experience
Sanabria sketched out a first idea that was presented to the President
during a further visit that the head of state made to the top of the Ávila
accompanied by his ministers and most important officials.
"When he climbed up with all the personalities,
all the ministers so that I could show him the first ideas
and sketches that I'd made,
actually in a very direct way
without complications, I went straight to the point
and explained what I thought about it.
When I showed him the sketches and the plans that I'd taken with me
feeling very sure of myself I said 'I think (and still today I continue to think)
that the only way
that a hotel like this in this site could be maintained economically would be
by planning a casino.
And he immediately replied 'In my government there will never ever be a casino'.
So that was a cold shower but I accepted and carried on speaking
and as far as the bedrooms were concerned I think there should be very few and what I've planned is this..
some 13 bedrooms that look out onto sea,
towards the area of Galipán.
He said 'No, no, no, Mr. Architect.
Listen we're building the Hotel Tamanaco
which will be the hotel that's 1,000 meters high in Caracas.
There will be, the architect Malaussena was preparing the projects
for the coastal hotel which will be the hotel zero meters.
Both hotels will have many many rooms
so this will be the hotel at 2,000 meters
which will have to have at least 300 or 400 rooms."
These two observations meant that the young and talented architect went back down to the city
rather unhappy and disappointed.
Nevertheless, in the face of this challenge Sanabria
invited the engineer Oscar Urreiztieta to participate in the work
as the person in charge of making its structural calculations
OSCAR URREIZTIETA - (1928-2008) - Structural Engineer of the Upper Station and the Hotel Humboldt
"Questions of fate, I say.
I was intensely tied up in preparing the zoning of Caracas and was consulting
hundreds of engineers and architect about what could be done in their respective areas
and Tomás (Sanabria) came over to me and asked me if I wanted to collaborate with him in the project of a hotel
to be located on the peak at the top of the Ávila.
Well that was an irresistible opportunity for me.
I'd been studying the theory of structures and mathematics for years and years
and I could easily use this in preparing this project
and I simply said to him yes, when do we start."
Urreiztieta received his engineering degree from the Catholic University of America and
then revalidated at Universidad Central de Venezuela.
Among the postgraduate degrees obtained were those of mathematics at the prestigious
Courant Institute of New York University,
apart from a solid professional training.
Urreiztieta commanded well the latest theories of structures,.
rational mechanics, elasticity and torsional analysis
His contribution to the Humboldt Project was vital
in the generation of the mathematical and physical models
which were transformed thanks to the genius of Sanabria into the construction plans of the works.
"The structural part was essential in this work.
I had the concept but I didn't know how to make it.
Fortunately I had the chance to meet an extraordinarily intelligent structural engineer,
who was Oscar Urreiztieta
and I would say that thanks to him I was able to construct the hotel
because the land was minimal,
there was no way, I had no way of thinking structurally what I'd conceived spatially…"
"If I hadn't shown him the structures, maybe he wouldn't have had the concepts.
When I told him we could make shells 24 meters across without a single column and he said
wow, then let's create spaces like that!
We can make series of arches right up to the shells at the top.
We can make suspended mezzanines - because that type of structure allows you to do that
so we started to do those things; he assembled them in his design."
Influenced by this valuable interchange of ideas of the highest level between the engineer and the architect
at the same time driven by a government that was eager to achieve this monumental work
allowed Sanabria to present, in a very short time, the final project, which was immediately approved.
"In December that year
the study of the functional distribution of masses and style was presented to the President
for the construction of the Hotel Humboldt."
While the architect continued with the design work for the hotel, he was presented with a parallel project
which allowed him to extend the original scope of his work.
"Gustavo Larrazábal said to me
'Tomás, something has to be done because the cable car equipment is about to arrive,
' which was the equipment that was to go from Maripérez to the top of the Ávila,
which is the other extreme of the summit, to the west,
and from there down to the coast
and it was from that point that the special cable car was coming that was to supply or feed the hotel.
I went to see the site; he told me the conditions,
which were going to be the arrival platforms
from Maripérez and the way out down to the coast
and I had to dedicate myself to designing that part that I called the public areas."
Like all the projects of the extraordinary plan of the works of the Office of the President of the Republic
developed in the 1950s,
the construction of the cable car system was executed very quickly and very efficiently
Working between 18 and 24 hours a day,
the installations began to rise and the 6 towers that would support the cables.
To facilitate the rapid ascent of the materials, the service cable car was used with its lifting capacity of 4 tons.
By this same provisional line and using special cabins,
up to 8 people could go up or down at the same time
thus facilitating the inspection of the works' progress.
On December 11, 1955,
the President of the Republic conducted a partial inauguration of the first stage of the cable car
but the opening to the public did not take place until 4 months later.
The length of the trajectory was 3,360 meters
to overcome a difference in altitude between both stations
of 1,100 meters.
Halfway up, in the area known as Papelón there was a station for tensioning the cables
which allowed passengers to alight and take excursions.
The cabins could carry up to 28 passengers
and could travel at a maximum speed of 7.5 meters per second
which allowed for a complete ascent in about 8 minutes.
In January 1956 the tender specifications for the construction of the hotel are published
FRANCISCO MASTROPAOLO - Vice President of Constructora Eneca, S.A.
"Nobody thought it could be built in the specified term
- which was very short
for both the work and the type of work involved.
So much so that my brother, (Giovanni Mastropaolo) President of ENECA S.A., our company,
made a bet with Juancho Otaola
for a considerable sum of money that yes, it could be done and in the established time frame
This bet was, if you like,
the stimulus to dedicate all possible interest and efforts of the company at that time
..and so it was.
The risk taken by ENECA to participate in this work, influenced greatly in its being awarded the construction of
the second stage of the cable car system which went from the Ávila down to the coast.
this work consisted in the installation of all the equipment of the cable car
and the 3 respective stations Galipán, San José de Galipán and El Cojo in Macuto
"While the contract for the Hotel Humboldt was being drawn up,
the second part of the Ávila cable car was tendered
or rather the cable car down to the coast, when we were there with equipment, personnel and problems!
At the site we were selected for the construction of that section of the cable car
for which we had to bring in specialized personnel
and also use a lot of equipment that we already had in place at the site."
On Wednesday, May 16, 1956
a pneumatic drill pointing into a huge rock perforated the top of the mountain with its typical noise
to symbolize the beginning of the construction of the hotel.
Conscious of the huge challenge facing them due to the complexity of the work
and the inhospitable nature of the site due to the difficult access and the deadline that had been established,
the Mastropaolo brothers
took a series of strategic decisions before starting.
The first of these was to create a work group of 600 people,
totally new and independent of all their other works in progress
using all the talent available
and it was decided to work for 24 hours per day in two shifts of 12 hours each.
"We began the work faced with the challenge that many of the people needed for its construction, for its advance
were not available in the country;
so we had to look for technicians and special equipment to take on the job
in the circumstances and in the place
where it was going to be constructed."
The structural and technical planning and selection of cutting-edge equipment was added to the choosing
of immigrant workers from many different places who, together with local talent
and Venezuelan labor turned out to be crucial for undertaking
what seemed to be an almost crazy adventure.
The best Italians, particularly for construction work,
above all for the handling of concrete.
The Portuguese were best, particularly, for the timber work, carpentry, formwork;
the Spanish were very good for the ironwork,
bending structural steel, etc., etc.; they were very good at that;
and the Venezuelans were magnificent operators of machinery."
The work schedule established to control the execution times of the work
indicated that by the 40th day,
the whole structure or skeleton of the tower had to have been raised
which consisted of 11 radial columns,
a central one, and their respective girders and plates,
otherwise it would be impossible to finish the hotel within the deadline that had been set.
On the 37th day following the start of the work this had been completed
and a Venezuelan flag was waving on the last floor, emphasizing the achievement.
A few months later and after consuming 40 million kilos of different materials
and investing 2 million effective man-hours
the miracle had been achieved and Giovanni Mastropaolo went along, enormously satisfied,
to collect the bet he'd made.
"199 days after beginning the work we were able to meet the deadline and deliver on the 199th day
all the works functioning with all their accessories and also the cable car from the coast."
The Hotel Humboldt.
On December 29, 1956 the President of the Republic,
accompanied by his executives and special guests
conducted the formal inauguration of the works.
For the first time the Hotel shows off to its visitors a very special splendor, design and architectural function.
The access to the hotel is via the cable car system, articulated with the area of the lobby.
The spaces of the lobby include four main vaults.
The first covers the area where the guests check in;
the second vault surrounds an expansive social area and there, adapted to its curves
one can appreciate an attractive acoustic ceiling with a Kinetic design
and next to this there is a third vault from which a large part of the floor of the lobby is suspended by means of tensioners.
This area is intended for small groups, separated from the previous space
by a wide flat floor with two chimneys which condition the temperature of both spaces.
The fourth vaulted area protects a long corridor which articulates the hotel's check-in area with
the hall with the elevators of the tower containing the rooms and the main staircase
which connects with the ground floor.
On the ground floor there are the service areas of the restaurant,
bar and dance floor, known as La Boite
originally planned as the site of a future casino.
The restaurant is the most important space of the lower floor
and has a three-tiered floor
with a vaulted roof, covered on the inside with acoustic checkered tiles.
From the vaulted room hang the illuminations, designed by the Architect Sanabria
together with the Catalonian artist Abel Vallmitjana.
The bar has a sunken area for the fireplace and chimney. The dancing area has a revolving floor
surrounded by the seating area and has a secondary kitchen.
On the ground floor there's a beauty salon and a barber's shop, apart from the main service kitchen
both for the restaurant and the guests of the hotel,
and in the service basement there's the acclimatized swimming pool,
protected by a concrete vaulted roof and glass enclosures.
The pool is surrounded in its upper part with a mezzanine and from there
you can appreciate the different gardens, designed by the Brazilian landscape architect Roberto Burle-Marx
The 70 rooms, divided among 14 floors were designed as suites consisting of
a sitting room, bedroom, bathroom, dressing room and balcony.
On the top floor there's the Mirador (Look-Out) Bar with two open-air terraces
which allow you to gaze and take in the views of the city and the coast.
EPILOGUE
"The Hotel Humboldt is an architectural experience,
a reference, in the Latin American context.
It is related to the incredibly interesting architecture and experiences achieved by Félix Candela in Mexico City
or Oscar Niemayer and Lucio Costa in Brazil.
It inherits all the new technologies that came from an Italian way of thinking
led by Gio Ponti and particularly by Pier Luigi Nervi.
Behind all this was Sanabria's background because Sanabria was an architect who was inspired by
the inheritance of Le Corbusier and the inheritance of Mies Van Der Rohe.
So we're standing before a building that's a model;
we're in front of a building that displays a theory, a manifest
of the architectural thoughts of its day and of modernity.
Apart from being an autonomous experience,
a laboratory of architecture, technology, aesthetics and functionality,
the Hotel Humboldt was an instrument; a political instrument tied to the megalomania
of a statist way of thinking which wanted to convert Caracas into a laboratory.
So the Hotel Humboldt was, together with other buildings, an emblematic element, of prestige;
of prestige in technology, the prestige of freedom, the prestige of modernity, the prestige of sheer scope
of internationality and of the great technological documents of its time,
embracing the politics of state with an image of freedom and understanding of contemporaneity
with its great architectural and artistic achievements."
On December 29, 2013 the Hotel Humboldt is 57 years old. During this time it has been a zenithal insignia of Caracas and a contradictory metaphor of the country.
It underscores our ability to achieve when we bring together our vocation to work, sufficient resources and exceptional talent when undertaking a project.
Yet it also underlines our tendency to fall into laziness, reckless spending and lack of respect for the professionals and workers who can make a miracle come true.
Following its inauguration it only operated for just four straight years and never served as a hotel for more than nine.
There have been reopenings and closings as it was misused, under-used and stripped bare without any mercy whatsoever.
This documentary and the book that it is inserted in represent our cry of hope for a time in a brighter future when its terrible past will not be repeated.