The Old Havana district of Cuba’s capital was designated a UNESCO World Heritage site in 1982, but there’s much else to see in Havana. Here are just seven of the city’s iconic buildings.

　　Earlier versions of the descriptions of these buildings first appeared in 1001 Buildings You Must See Before You Die, edited by Mark Irving (2016). Writers’ names appear in parentheses.

　　One of the most distinguished of Havana’s domestic buildings, La Casa de la Obra Pía, or House of Charitable Works, began as a fusion of two neighboring properties by Martín Calvo de la Puerto y Arrieta. Completed about 1648, it is one of the city’s largest colonial houses. Its courtyard is surrounded by galleries on three sides with stone columns and arches; it also has a grand stone staircase that leads to the upper floor. The grand entrance was sculpted in Cádiz in Spain and brought in sections to Havana to be assembled on site. The eccentricity of its design, with its imaginative interpretation of the rules of perspective and polychromed Castellón coat of arms, for Nicolás de Castellón who inherited the house, contrasts well with the building’s austere exterior.

　　The dining room has open sides and is located between the courtyard and the rear courtyard in an arrangement typical of the time. The principal courtyard was designed as a tranquil relief from the noise and dust of the streets, and it would have been decorated with plants. The rear courtyard was a service area around which would have been grouped kitchens, storerooms, and stabling. An unusual feature is a long, low construction on the roof that may have housed enslaved people. It is the only one of its kind in Havana; in all the other grand mansions enslaved people lived in mezzanines between the lower and upper floors. (Juliet Barclay)

　　Lesser Basilica of St. Francis of AssisiConstruction of Havana’s great Franciscan church and monastery began in 1591. It was so close to the edge of the harbor that piles had to be driven into the seabed to support its foundations. However, by 1719 the Great Chapel was on its way to collapse. It was demolished, and the new church was completed in 1738. The original plan of the church included a nave and two side aisles with a dome at the crossing, but the latter was destroyed in the great hurricane of 1846, which also toppled the statue of St. Francis from the tower. The church was for many years the most fashionable in Havana. The nave is supported by arcades resting on pillars of cruciform section, and the lateral vaults, which contain skylights, intersect perpendicularly into the principal barrel vault. The tower of the church is 138 feet (42 m) high, and an excellent view of the old city may be seen from the top. The church’s principal entrance is set into a deep, shell-like arch that receives scant appreciation due to lack of space from which to view it, for the street in which it stands is narrow. Attached to the church are two three-story cloisters with perimeter galleries connected by an original staircase enhanced at ground-floor level by an arch with surprising and beautiful perspective. The external entrance to the south cloister consists of three superimposed levels of Tuscan columns, finished with Baroque detailing. (Juliet Barclay)

　　Palace of the Captains GeneralThe Palace of the Captains General (Palacio de los Capitanes Generales) is Cuba’s most celebrated 18th-century building. Built to house the council office, prison, and residence of the captains general, work on the structure began in 1776, and in 1791 Captain General Luis de las Casas moved into the impressive apartments on the upper floor. All the Cuban captains general lived there until the end of Spanish rule and the establishment of the Cuban Republic in 1902, after which the building functioned as the Presidential Palace until 1920. Occupying an entire block in Old Havana, it is monumental but not forbidding; its stately, sober Neoclassical composition is softened by its linear Baroque detailing. The facade is relatively austere, its decorative emphasis being concentrated upon the window surrounds. The first floor is arcaded, and the upper facade is divided by pilasters into five sections. The main entrance hall opens through an arco trilobulado (triple-lobed arch) into an elegant courtyard planted with palms, yagruma trees, lilies, and jasmine. Between the first and upper floors is an entresol, the galleried balconies of which overlook the courtyard. The building was restored in the early 1960s. (Juliet Barclay)

　　Gran Teatro de La HabanaHavana’s Gran Teatro is the result of a sizeable theater having been enveloped by an even larger and more lavish building. The Gran Teatro de Tacón was constructed between 1836 and 1838. It was designed by Gerónimo de León with master mason Antonio Mayo and carpenter Miguel Nin y Pons, and built by enslaved people, local laborers, and ex-prisoners.

　　The current building was erected between 1910 and 1915 by Purdy and Henderson at a cost of over two million pesos de oro, after the theater and surrounding land had been purchased by the Galician Center of Havana for their club building. Designed by Belgian architect Paul Belau, it represents one of the most important architectural expressions of the Cuban Republican period. The structure’s exterior has whimsical visual variations on the Baroque detailing of the city’s earlier buildings. The facade, which overlooks Parque Central, is lavishly embellished with curved balconies, windows, cornices, and sculptural groups in Carrara marble by Moretti. The building is crowned with three towers, each bearing a bronze Nike. Notable interior features of the building include the Sala Garcia Lorca (the original Teatro Tacón); an impressive marble staircase curving elegantly up three floors; murals by Fernando Tarazona; ceilings decorated with exuberant Classical frescoes; and a plethora of decorative plasterwork. (Juliet Barclay)

　　Hotel Nacional de CubaConstructed on a rocky outcrop above the Malecón ocean drive, on the site of an old defensive battery, the Hotel Nacional was the first luxury hotel to be built in Republican Havana. Its construction was initiated by President Gerardo Machado. A deal was struck: the Cuban government would retain a permanent right to use the Presidential Suite, and after 60 years of commercial exploitation by the U.S. developer the hotel would pass to the Cuban state without cost. The Nacional was built in two years and opened on December 30, 1930. It was an immediate hit with important visitors to Havana, including Frank Sinatra, Marlene Dietrich, and Winston Churchill. The main entrance stands at the end of an imposing driveway lined with royal palms—the Cuban national tree. The building is surrounded by broad terraces overlooking the Bay of Havana and encloses an elegant garden with long galleries on three sides; there are several formal restaurants and a high-ceilinged bar. The famous Cabaret Parisién also stands within the hotel at the northern end of the long, ground-floor lobby. The interior is lavishly decorated with hardwoods, bronzes, tiles, and marquetry in a flamboyant combination of styles from Art Deco through Mediterranean Revival, Neo-Baroque, and Neoclassicism to Hollywood Hacienda, with such flair that a remarkable visual coherence is achieved. (Juliet Barclay)

　　The Bacardi Building is one of Havana’s principal landmarks, standing on the western edge of the city’s historical center. Its architect, Esteban Rodríguez Castells, originally won the international competition for its construction with a Neo-Renaissance proposal, but after visiting the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris he completely reworked his design into an extravaganza of Art Deco style. The facade of the 12-story building, which was completed in 1930, is lavishly decorated with red Bavarian granite inlaid with brass embellishments, including a stylized Art Deco version of Havana’s coat of arms. The upper part of the building is faced with glazed terra-cotta reliefs of geometric patterns, flowers, and female nudes by Maxfield Parrish. Its sumptuous interior details include blue mirrors, stucco reliefs, brushed and polished brass, murals, mahogany and cedar paneling, stained and acid-etched glass, marquetry, gold leaf, and pink, pale green, and black marble from Germany, Sweden, Norway, Italy, France, Belgium, and Hungary—the supplier of marble for the building claimed it contained stone from all the nations of Europe. The lamps and other fittings throughout are superb examples of the Art Deco style, and the atmospheric mezzanine bar has retained all its original furniture and decorative details. The restoration of the Edificio Bacardí by the Office of the City Historian of Havana was completed in 2003. (Juliet Barclay)

　　National Schools of ArtFidel Castro and Che Guevara conceived the idea of an art-school complex for the Cuban people while playing golf at the former Country Club in Cubanacán in 1961: the grounds of Havana’s most exclusive club would become the site. Three architects—Ricardo Porro, Roberto Gottardi, and Vittorio Garatti—collaborated with future students and construction workers to build the five new art schools.

　　The schools—Plastic Arts, Drama, Modern Dance, Music, and Ballet—were set on either side of the river that bisects the park. They had sinuous organic plans that responded to the site’s topography; existing ceiba trees were incorporated into the designs. Each school is distinct: the giant stupas of the Plastic Arts; the practice rooms and serpentine corridor of the School of Music; the broad, elevated domes of the Ballet School’s performance spaces; the soaring vaults, and brise-soleils (sun deflectors) of the School of Modern Dance; the courtyards and irregular streets of the Dramatic Arts. The sensuous forms of the schools were an idealistic attempt to express Cubanidad, the potent mix of African and Spanish cultural origins that are the essence of Cuba, distinct from the European tradition.

　　This attempt to express a uniquely Cuban cultural identity became the object of political attack when Cuba aligned itself with Soviet ideology, in which architectural expressiveness was held to be bourgeois. The funding dried up when only three of the schools were fully complete in the mid-1960s. The architects fell from grace and went in to exile, and the site became overrun by jungle. After 2000, however, the schools were reassessed as valuable cultural assets. They have survived as the most striking built testament of Cuba’s revolutionary period. (Charles Barclay)