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  • “How to” on submitting projects to Architecture Caribbean

    Posted on May 14th, 2010 Architecture Caribbean No comments

    Firstly, thanks to all our members and readers for your commitment to design and to Architecture Caribbean.  A few of our readers have had problems submitting their projects to our site for publishing. We apologize for your troubles and have placed the submission process steps to aid you in submitting your great works. Continue sending in your works in Architecture, Visual Arts, and Design; we look forward to them!

    Submit work process

    1. Become a Member
    2. Sign in
    3. Please Click home page
    4. Submit work
    5. Select Appropriate  Section
    6. Click submit button.

    Let us know if you need any further clarification.

    Thanks from Architecture Caribbean

  • National Academy for the Performing Arts, Port of Spain, Trinidad

    Posted on February 8th, 2010 Architecture Caribbean No comments
    National Academy for the Performing Arts, Trinidad

    National Academy for the Performing Arts, Trinidad

    National Academy for the Performing Arts in Port of Spain, Trinidad & Tobago.

    Read previous Blogs on the Performing Arts Center:

    To contribute your Flickr images:
    Join and add photos to the architecture caribbean pool, and/or
    Tag your photos architecture caribbean

  • Caribbean Architecture

    Posted on October 15th, 2009 Architecture Caribbean No comments

    Brief video presentation of architecture in the Caribbean.

    To contribute your Flickr images:
    Join and add photos to the architecture caribbean pool, and/or
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  • Interview with Caribbean Artist – Jackie Hinkson – Pt.1

    Posted on October 7th, 2009 Architecture Caribbean No comments
    Jackie Hinkson

    Jackie Hinkson

    Jackie Hinkson is an artist who describes himself as “a Trinidadian who spent his childhood and youth with…broad-minded parents and five siblings.” He spent most of his youth in the heart of Port-of-Spain. The urban and extensive early rural experiences left an indelible impression on his mind. Here is a portion of the interview, see below for the entire interview.

    Country House, Gran Couva

    Country House, Gran Couva

    Architecture Caribbean: Who are your favorite artists (Caribbean and International Artists)?

    Jackie Hinkson: There are many and they change from time to time. I am not familiar with the work of Caribbean artists outside of Trinidad. Sadly, there is very little exchange and communication between the Caribbean islands. Locally, in my youth, I greatly admired Sybil Atteck, Leo Basso, MP Alladin and Carlyle Chang. On the local contemporary scene I like the drawings of Eddie Bowen and some of the work of Lisa O’ Connor and Sundiata, and much of the work (particularly their earlier pieces) of the recently deceased James Boodhoo and Boscoe Holder The international artists I admire most (living and dead) are the early Renaissance painters Giotto and Piero della Francesca, the Venetian Titian, the Spaniards Francisco Goya and Diego Velasquez, the French painter Simeon Chardin, the impressionist Paul Cezanne, the American watercolorist Winslow Homer and the American Edward Hopper, to name a few.

     Estate Cocoa Dry House

    Estate Cocoa Dry House

    Architecture Caribbean: You were commissioned by the Trinidad & Tobago government in 1982-1985 to produce One Hundred pieces of work showing the “disappearing architecture” of the country, tell us more about this experience.

    JH: Perhaps because I grew up in a typically fine example of an early 20th century wooden, gabled-roof, fretwork ornate house, and perhaps because the humble wooden homes, the shops and barrack yards of Port-of-Spain and the rural and plantation architecture of Trinidad had left such an indelible mark on me, I devoted a large number of years to the capturing the traditional and disappearing architecture of the island. This Government project was an important chapter in this commitment. I traveled throughout the country searching for fine examples of the vernacular architecture and rediscovering many from my childhood experiences in the rural and coastal districts. Importantly, I always felt, when executing these works, that I was trying to do more than just record or chronicle, I was also exploiting these images for their emotional and symbolic potential, to allude perhaps to ideas about age or change or death or decay or simply to pay tribute.

    Roadside Vendor, Tobago

    Roadside Vendor, Tobago

    AC: What’s the most challenging part of your work?

    JH: There are several but if I had to choose one I would say to be completely honest to my vision (in my work) and to be not seduced by any notions, no matter how current or popular, that are not consistent with that vision.

    Click here to read Interview Pt. 1>>

    Jackie Hinkson’s artwork is rich in detail and recording history. His works on Caribbean architecture are a breath of fresh air, reminds us of days gone by, and serves as a record. It is a reference for our history in architectural detailing and elements of Caribbean architecture. It is valuable because it enables us as architects to find innovative ways to pay homage to our history in our contemporary designs and detailing. What are your opinions of the work of Jackie Hinkson?

  • Interview with Courtenay B. Williams, President of The Art Society of Trinidad & Tobago

    Posted on August 2nd, 2009 Architecture Caribbean No comments
    “Tic Tac Toe” by Peter Sheppard

    “Tic Tac Toe” by Peter Sheppard

    Architecture Caribbean
    presents its interview with Courtenay B. Williams, President of The Art Society of Trinidad & Tobago to discuss the Wall Projects recently unveiled at the Queens Park Oval and the Hyatt Waterfront Art Gallery in Port of Spain. This is a portion of the interview, see below for the entire interview.

    Architecture Caribbean: can you tell us about the Wall Project?
    Courtenay Williams: The Wall Project was the result of collaboration between the Label House Group who assembled the technology to print large scale reproductions and to use software to obtain as true a color reproduction as is possible of the original pigments used in the paintings.

    AC: How did the idea come about?
    CW: We were approached by the Label House Group to help in the selection of artists and execution of the project.

    AC: How were artists chosen for the project?
    CW: Initially the launch date for the project was so close to when we were first approached, that we had to have resort to Art Society members for selections to be made for the first phase along Tragarete Road. The intention was that every six months or so, the work would be retired but whilst up, a theme would be announced and artists would paint for that theme so that when the first set of work came down there would be new work ready for installation drawn from artists who responded to the theme (whether they were Art Society members or not). It was the intention that works would be juried by the Art Society using the kind of criteria we use for our own shows.

    AC: What benefits have arisen from the Wall Project?
    CW: People have become alive to the possibility of embracing art and what it says about them as human beings when they respond to it. It is not for the middle classes, it is our expression of the human condition which touches us all.

    AC: What is the present state would you say of art and artists in Trinidad & Tobago and the Caribbean?
    CW: That is a very very broad question which it is impossible to answer within the confines of this short interview process. I will say this: the Caribbean has a unique story to tell and even within the Caribbean, the Cuban experience is different to the Jamaican experience which is different to the Trinidad and Tobago experience which is different to the Surinamese experience and so on. I lament in Trinidad and Tobago that the general perception is still that children are not being encouraged to pursue careers in art because it is still perceived that artists cannot make a decent living from it.

    AC: Is there a particular space in the city or country that you would love to do a grand exhibition for artists if you had the opportunity?
    CW: A biennale or a true art festival is a dream of ours.

    AC: What concerns do you have with regard to the Arts in the Caribbean/ T&T?
    CW: Art is still perceived in some countries as not available to the general public, and that it is elitist.

    AC: What advice would you give to young artists?
    CW: Stay the course and improve your craft and technique and if it is your intent to do so, source good help and formal education and use it as best you can.

    AC: What do you think about Architecture Caribbean and its goal to highlight Architecture and the Arts in the Caribbean and other parts of the world?
    CW: I support it.

    Read entire interview>>

  • National Academy for the Performing Arts – Trinidad & Tobago

    Posted on July 29th, 2009 Architempo 2 comments
    National Academy for the Performing Arts - Trinidad

    National Academy for the Performing Arts - Trinidad

    Project Information
    Location: Port of Spain, Trinidad
    Design & Build – Shanghai Construction Group
    Project Managers – UDeCOTT
    Estimated Cost – US$60 million
    Executing Agency – Ministry of Community Development, Culture and Gender Affairs

    The National Academy for the Performing Arts is currently under construction in the capital city of Port of Spain, Trinidad & Tobago. It will be the permanent home for the development of the Performing Arts, with particular focus on our national instrument, the steel pan, which was born in the 1940’s in Trinidad & Tobago. It is the only acoustic musical instrument invented during the 20th century. Besides the steelpan, Trinidad and Tobago is also the birthplace of calypso (music). The steel pan developed from a “rustic invention of the urban poor into an astonishingly versatile musical instrument, a transformation that for many Trinidadians symbolizes their progress from colony to independent nation.” (Dudley, Shannon. 2002).

    National Academy for the Performing Arts

    National Academy for the Performing Arts

    The architectural design of the Academy is reminiscent of the Chaconia, the national flower of Trinidad and Tobago. The grand building will rise up to 100 feet enhancing the state-of-the-art acoustics, and offering an inspirational setting for the enjoyment and training of the performance arts.

    The 429,093 sq. ft. facility will feature:

    • A 1500 seat acoustically designed performance hall
    • Two practice halls
    • Teaching rooms
    • State of the art lighting and sound features
    • Stages designed to showcase pannists and other performance artistes
    • A hotel (for visiting performers)
    • Parking and
    • Landscaped surroundings including seating areas, water features and greenery.
    Academy of Performance Arts (under construction)

    Academy of Performance Arts (under construction)

    Having visited the site, I am impressed with the scale and the design of the project thus far. I applaud the commitment to support the Arts by providing a spectacular home for them. I see this project as an opportunity for Trinidad and Tobago to promote Cultural Tourism. A growing number of tourists are forsaking the Mediterranean beaches for the palm-fringed delights of Asia and the Caribbean.

    What is Cultural Tourism? It is defined as ‘the movement of persons to cultural attractions away from their normal place of residence, with the intention to gather new information and experiences to satisfy their cultural needs’ (Richards, G. 1996). It is an “important way to celebrate, preserve and promote a state’s unique heritage, increase opportunities for artists, promote public arts participation and boost economic development” according to the National Assembly of State Arts Agencies. I look forward to the completion, and more importantly, the putting to use of the Academy as it sets the stage for cultural projects, and becomes the stage on which we promote this part of our culture.
    …more images


    Noel, Vernelle. A New Parliament Complex for Trinidad & Tobago: The Architecture of the Calypso Culture. Diss. Howard University, December 2006.

    Dudley, Shannon. The Steelband “Own Tune”: Nationalism, Festivity, and Musical Strategies in Trinidad’s Panorama Competition; Black Music Research Journal, Vol. 22, 2002.

    Sankar, Celia. Soaring Scales of the Silver Basin; Americas (English Edition), Vol. 49, July-August 1997.

    Richards, G. Cultural Tourism in Europe. CABI, Wallingford 1996.