Antonio Luis Quintana Simonetti (April 19, 1919 – September 21, 1993) was a Cuban architect and a forerunner of Modern architecture in Havana.

[1] Dissatisfied as a student with the classical canons, Antonio Quintana participated in 1944 in the so-called "Burning of Vignola" in the courtyard of the School of Architecture of the University of Havana.

Early in his career, Quintana worked with Pedro Martínez Inclán and Mario Romañach in the Barrio Residencial Obrero de Luyanó, a modernist project that consisting of 1,500 houses, eight apartment complexes in four-story buildings, and all the complementary services of the houses: markets, schools, sports fields, and parks.

[2] After the triumph of the Cuban Revolution, in 1959, Quintana decided to stay in Cuba and work for the revolutionary government, unlike many of his colleagues, who preferred to leave the country.

Between 1951 and 1953 he designed, with Alberto Beale, Manuel A. Rubio y Augusto Pérez Beato, the apartment building for Enriqueta Fernández on the corners of 23 and 26 streets, in Vedado, Havana.

It was a very novel structure for its time, supported by only four columns and the building seems to levitate six meters on the sides, as well as the staircase and the elevator seem separated from it and connecting every two floors.

In 1955, economic needs and the search for greater profitability led the ground floor to be occupied by a car dealer, this intervention added new partitions but the original idea and transparency continued to be present, in later years a new cafeteria was added on the ground floor and a restaurant on the mezzanine, nullifying the original conception of the project and making it impossible to distinguish the differentiation of volumes.

[4] Currently, the building houses the Faculty of Economics of the University of Havana, the Talía Theatre, and the L Art Gallery (ground floor).

[5] The Edificio del Seguro Médico Building, located on 23rd street at N corner, is considered an important commercial architectural work of the 1950s in the city of Havana.

Given the high cost of the site, the complexity of the initial project was increased by the need to add rental income from apartments that would help to make the building profitable.

[6] The Seguro Medico was a private company, they were the landlord and owner of the residential tower and thus subject to the new property redistribution instituted by the Castro government.

Similar to the Lever House in Manhattan, Simonetti set up a relationship of two volumes of dissimilar proportion: a box at the lower level containing the Seguro Médico offices, and an eighteen-story residential block.

Similar to the FOCSA Building's podium used only for recreation, the residences are located over the roof of the Seguro Medico offices; a large plane made into a children's playground (garden) as shown in the Quintana sketch-drawing for that area.

They divide the apartments and rooms and are unpainted, set in common, gray mortar, the wall sits on top of a black 152 millimetres (6.0 in) terrazzo baseboard that matches the floors.

The wall enclosing the vestibule in front of the elevators is made of an aluminum frame for glass panel inserts with operable windows.

One, accommodates a horizontal operable window in the middle of the wall, (similar to the FOCSA Building), which is made up of two prefab concrete slabs.