National Art Schools (Cuba)

524:, a young artists’ organization under the auspices of the Ministry of Culture. The 1980s in Cuba were a period that produced art that was highly polemical, even protest oriented. The Ministry of Culture had a higher tolerance for discord than the Ministry of Construction, and it was for this reason that young architects sought to associate themselves there. High on their agenda was the restoration of the National Art Schools to Cuba's architectural heritage. This was not necessarily a safe position to take at this time, yet the Ministry of Culture allowed them a certain latitude within which to maneuver. By 1989 John Loomis, a North American architect and scholar, met Roberto Gottardi and the Havana Biennial of Art, and Gottardi conducted him on a tour of the schools. Moved by the compelling architecture and story, Loomis embarked on a decade-long project that produced the book 512:. This article was the last attempt of this period to reconcile the schools with the values of the Cuban Revolution. Consuegra described the formal complexities, spatial ambiguities, and disjunctive qualities of the schools not as in contradiction with but as characteristic and positive values of the Cuban Revolution. However, Consuegra's courageous defense proved to be in vain, and as the schools fell out of institutional favor, they were slowly abandoned. The Schools of Modern Dance and Plastic Arts continued to be used, though with little regard for their maintenance, and the Schools of Dramatic Arts, Music, and Ballet were allowed to fall into various states of abandonment and decay. The School of Ballet, nestled in a shady ravine, became completely engulfed in tropical jungle overgrowth. Ricardo Porro and later Vittorio Garatti were compelled to leave the country. 479:. Production and defense became primary national priorities and the population was militarized. The government began to consider the National Art Schools to be extravagant and out of scale with reality. Construction of the art schools slowed down, as more and more of the workforce was now redirected to areas considered of greater national priority. The architects were also encountering criticism. Many in the Ministry of Construction did not trust the Catalan vault as a structural system. There was also a certain amount of envy on the part of many of the ministry bureaucrats toward the comparatively privileged conditions under which Porro, Gottardi, and Garrati were working. These tensions would prove to escalate. 332:, shifting streets and courtyards. The entry arches form a hinge around which the library and administrative bar rotate away from the rest of the school. The south side of the fragmented plaza is defined by rotating dance pavilions, paired around shared dressing rooms. The north edge, facing a sharp drop in terrain, is made by two linear bars, containing classrooms, that form an obtuse angle. At the culmination of the angular procession, farthest from the entry, where the plaza once again compresses is the celebrated form of the performance theater. 592:—the international attention it had garnered and the many foreign travelers it had attracted to visit the National Art Schools. Unfortunately, the schools were in a far-from-presentable state. Shortly thereafter, Castro declared that the schools would be recognized, restored, and preserved as national monuments. Porro and Garatti were summoned to a meeting in December 1999 with government officials to plan for the restoration. In November 2011, the National Art Schools were declared monuments by the National Council of Conservation. 373: 317: 341: 132:

complex of buildings lay in various stages of use and abandonment, some parts literally overgrown by the jungle until preservation efforts began in the first decade of the 21st century. The schools’ legacy was eventually brought to light by regional and international architectural journals in the 1980s, piquing the curiosity of observers both internationally and within Cuba through the 1990s. This growing interest reached its apex in 1999 with the publication of the book

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aristocrats," with "egocentric" bourgeois formations. The constructive system, the Catalan vault, was now criticized as a "primitive" technology that represented "backward" values of the capitalist past. The Afro-Cuban imagery of the School of Plastic Arts was attacked as representative of “hypothetical Afro-Cuban origins” which had been “erased by slavery” and therefore held no relevance of a society advancing toward a culturally uniform socialist future.

422: 17: 721: 392:, open to the sky like streets, between the positive volumes of the masonry cells. Winding more or less concentrically through the complex, circulation negates the axiality and generalized symmetry that organize the plan. This presents an interesting contradiction between the formal and the experiential. While quite ordered in plan, the experience of walking through the complex is random and episodic. 501:

successfully, and quickly, maneuvered his way up through the ranks of the Ministry of Construction to ever increasing power. His growing authority and outspoken criticism of the National Art Schools helped to determine their fate. In July 1965, the National Art Schools were declared finished in their various stages of completion and incompletion, and construction came to a halt.

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criteria. Also in 1995, the U.S. photographer Hazel Hankin held an exhibit in Havana of photographs of the schools in their state of neglect. The exhibit provoked a strong response, and in 1996, upon the initiative of Cuban cultural officials, the New York architects Norma Barbacci and Ricardo Zurita prepared nomination papers on behalf of the schools for the

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students working from a live model. The studios are organized along two arcs, both of which are curving colonnaded paths. Lecture rooms and offices are accommodated in a contrasting blocklike plan that is partially wrapped by and engaged with the colonnaded path. Ideas of gender and ethnicity converge in the curvilinear forms and spaces of

588:(UNEAC) with the Council of State where the discussion was about the cultural role of architecture in Cuba. When it came to the National Art Schools, several important figures declared that the schools were the greatest architectural achievements of the Cuban Revolution. The ensuing discussion acknowledged the influence of 192:. He conceived of the schools as highly experimental and conceptually advanced to serve the creation of a “new culture” for the “new man”. An innovative program called for innovative architecture, and Castro saw the Cuban architect Ricardo Porro as being that architect who could deliver such architecture. 263:

The architects set up their design studio on the site of the former country club. They decided that there would be three guiding principles for the design of the art schools. The first principle was that the architecture for the schools would be integrated with the widely varied, unusual landscape of

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contribute their contributions to the music. Koppelman saw that this particular journey—a universal human quest to create a better world—played itself out in a heroic and classic literary arc of passion, love, betrayal, despair, and ultimately hope. It is in production to become a multilingual opera

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The three architects also underwent a process of political "rehabilitation". Vittorio Garatti first returned to Cuba in June 1988 for a personal visit. Ricardo Porro returned for the first time in March 1996 for a series of public lectures, which were attended by standing-room-only audiences. Porro

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Non-Cubans have also been inspired by the universal nature of the story of the National Art Schools. Alysa Nahmias was so moved by the schools she saw during her study abroad experience in Cuba as an undergraduate at New York University that she began working on a documentary film about the schools

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that follow a winding path. There are at least five ways to enter the complex. The most dramatic entrance starts at the top of the ravine with a simple path bisected by a notch to carry rainwater. As one proceeds, the terra cotta cupolas, articulating the major programmatic spaces, emerge floating

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begin where a group of curved brick planters step up from the river. This path submerges below ground as the band is joined by another layer containing group practice rooms and another exterior passage, shifted up in section from the original band. Displacements are read in the roofs as a series of

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Porro conceived the modern dance school's plan as a sheet of glass that had been violently smashed and fragmented into shifting shards, symbolic of the revolution's violent overthrow of the old order. The fragments gather around an entry plaza - the locus of the "impact" - and develop into an urban

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also became a major topic of discussion among architects in Havana. At one meeting prior to its publication a government official declared that Loomis, the author, was “an enemy of Cuba, being paid by the CIA, to write a book about the National Art Schools in order to make Cuba and the Revolution

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The School of Dramatic Arts is urban in concept, as are Porro's two schools. Dramatic Arts is organized as a very compact, axial, cellular plan around a central plaza amphitheater. Its inward-looking nature creates a closed fortress-like exterior. The amphitheater, fronting the unbuilt theater at

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The concept for this school is intended to evoke an archetypal African village, creating an organic urban complex of streets, buildings and open spaces. The studios, oval in plan, are the basic cell of the complex. Each one was conceived as a small arena theater with a central skylight to serve

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At the same time, these ideological issues also served to mask a very non-ideological drama. The National Art Schools and their architects were caught in a power struggle, with an architect named Antonio Quintana playing a major role. Quintana was a staunch modernist who, as the 1960s unfolded,

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Cuba's National Art Schools represented an attempt to reinvent architecture in the same manner that the Cuban Revolution aspired to reinvent society. Through their designs, the architects sought to integrate issues of culture, ethnicity, and place into a revolutionary formal composition hitherto

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forms became standard in Cuba. Additionally, the schools were subjected to accusations that their design was incompatible with the Cuban Revolution. These factors resulted in the schools’ near-complete decommissioning and the departure of two of their three architects. Never fully completed, the

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that was presented as part of the Fourth Havana Biennial. Prominent in the exhibition was a photomontage by Rosendo Mesias highly critical of the crumbling state of the schools. In 1995, the schools were nominated for national monument status but were rejected for not being old enough to meet

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optimism into an evermore doctrinaire structure, following models provided by the Soviet Union, the National Art Schools found themselves as subjects of repudiation. The schools were criticized for ideological errors. The architects themselves were accused of being "elitists" and "cultural

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model for architecture, a model that advocated massive prefabricated production – precisely the model upon which architecture was based in the Soviet Union. This model was completely at odds with the site-specific, craft-oriented, formal poetry of the National Art Schools. Quintana quite

565:, with an exhibition of photos of the schools by Paolo Gasparini taken in 1965. The event reunited Ricardo Porro, Vittorio Garatti, and Roberto Gottardi for an emotional first time since 1966, when they had last seen each other in Havana. The MAK Center event was repeated in New York at 544:

returned again in January 1997 to conduct a three-week design charrette with students, and give lectures. Vittorio Garatti also returned later that same year in June and lectured at the Colegio de Arquitectos. Porro returned again in 1998 to lecture, and in that same year an issue of

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Watch List. In November 2010, the National Art Schools were officially recognized as national monuments by the Cuban Government, and they are currently being considered for inclusion on the World Heritage list of sites which have "outstanding universal value" to the world.

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In January 1961, the Cuban revolutionary leaders Fidel Castro and Che Guevara, enjoyed a drink after they finished a game of golf at Havana's formerly exclusive Country Club Park, pondered the future of a country club whose members had all fled the country. The

112: 618:, a Cuban artist, had studied at the National Art Schools and had often marveled at the beauty of the architecture there—especially the magic realist aura evoked by the group of buildings. He had been unaware of their origins until he came upon a copy of 102:

in 1961, and they reflect the utopian optimism and revolutionary exuberance of the early years of the Cuban Revolution. Over their years of active use, the schools served as the primary incubator for Cuba's artists, musicians, actors and dancers.

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The story of the National Art Schools continued to inspire Dulzaides resulting in a performance/installation in 2004 for the Proyecto Invitación in Havana, which was followed by a more extensive, and highly acclaimed, installation titled

252:, all practiced on the margins of mainstream modern architecture. For Porro, Gottardi, and Garatti, this international response to modernism mixed with more region-specific expressions of Hispanic and Latin American identity (long after 288:. When Fidel Castro viewed the plans for the art schools, he praised their design, saying that the complex would be “the most beautiful academy of arts in the whole world”. There were five art schools within the academy: the School of 187:

had just been launched, and with the inspiration of extending the program's success into a wider cultural arena, Guevara proposed the creation of a complex of tuition-free art schools to serve talented young people from all over the

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Liernur, Jorge Francisco. "Un nuevo mundo para el espiritu nuevo: los descubrimientos de América Latina por la cultura arquitectonica del siglo XX," Zodiac 8, International Review of Architecture, Renato Minetto, ed. (1993):

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From the top of the golf course's ravine, one looks down upon the ballet school complex, nestled into the descending gorge. The plan of the school is articulated by a cluster of domed volumes, connected by an organic layering of

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provoked an international incident that posed serious challenges for Cuba. In addition, setbacks across the Socialist world (the assassination of Congolese leader Patrice Lumumba in 1961, the coup against Algerian President

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was dedicated to him and his work. The subsequent issue was dedicated to Roberto Gottardi and his work. Throughout the 1990s there was much debate about the schools and this debate moved to higher and higher levels.

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Bayón, Damián, and Paolo Gasparini. The Changing Shape of Latin American Architecture - Conversations with Ten Leading Architects. trans. Galen D. Greaser, 2nd ed., Chichester: John Wiley & Sons,

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In 1982, a group of young Cuban architects, all critical of the way architecture was taught and practiced in Cuba, began meeting informally. In 1988 they were given official status as a part of the

1409:"Tres decadas de arquitectura cubana: La herencia histórica y el mito de lo nuevo," Arquitectura Antillana del siglo XX, Universidad Autónoma Metropolitana-Unidad Xochimilco, (Mexico City, 1993) 1264:

Boyer, Charles-Arthur, "Ricardo Porro," Dictionnaire de l'Architecture Moderne et Contemporaine. Jean-Paul *Midant, ed., Paris: Éditions Hazan / Institut Français d'Architecture, 1996: 718.

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over lush growth. The path then descends down into the winding subterranean passage that links the classrooms and showers, three dance pavilions, administration pavilions, library and the

540:. The schools were eventually added to the WMF watch list in 2000 and 2002. In 1997, the Cuban National Conservation Institute designated the National Art Schools as a “protected zone”. 108: 94:

suburb of Cubanacán, which was once considered to be Havana's "Beverly Hills", and was then mainly reserved for Communist Party officials. The schools were conceived and founded by

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The 1990s were a decade of political, if not material, rehabilitation for the schools and their architects. In 1991, the Hermanos Saíz organized a provocative exhibit entitled

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The School of Music is constructed as a serpentine ribbon 330 meters long, embedded in and traversing the contours of the landscape approaching the river. The scheme and its

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Segre, Roberto & López Rangel, Rafael, Architettura e territorio nell'America Latina. Saggi & Documenti. *Savino D'Amico, trans. Milan: Electa Editrice, 1982.

1415:“Encrucijadas de la arquitectura en Cuba: Realismo Mágico, realismo socialista y realismo crítico,” Archivos de Arquitectura Antillana, año 4, #9 (Sept. 1999): 57-9. 707: 658:

was also inspired by the schools’ story and sought a medium that would embrace all of the arts: visual arts, music, dance, and theater. His vision was for an opera,

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existed in a broader context of critique and are considered to be notable additions to the spectrum of innovative architecture from the period. Architects such as

662:, named after the book from which he learned the schools’ story. Koppelman is producer as well as librettist along with author (and former NAS faculty member) 577:. The exhibit went on to tour across Europe and the United States; all of the events and press coverage were closely followed by government officials in Cuba. 446:. The essence of the design is not found in the plan but in the spatial experience of the school's choreographed volumes that move with the descending ravine. 61:(Escuelas Nacionales de Arte) of Cuba is one of the most important educational institutions of the Cuban nation and has been declared as "National Monument". 638:—a series of penetrating, and sometimes disquieting, interviews with Gottardi about his artistic quest for meaning during his years in revolutionary Cuba. 521: 1325:"Architecture or Revolution? - The Cuban Experiment," Design Book Review, John Loomis, ed., MIT Press Journals, Cambridge, MA, (summer 1994): 71-80. 1267:

Brandolini, Sebastiano, “La scuola é finita,” Sebastiano Brandolini, la Repubblica delle Donne, supplemento de la Repubblica (Dec. 7, 1999): 99-102.

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Hankin, Hazel. Hazel Hankin Fotografias - Abril 1995. with essays by Eliana Cardenas and Jesús Vega, Havana: Colegio de Arquitectos UNAICC, 1995.

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Martin Zequeira, Maria Elena. "Arquitectura: hallar el marco poético," interview with Ricardo Porro, Revolución y Cultura, no. 5 (1996): 44-51.

773: 1334:"Revolutionary Design," Loeb Fellowship Forum, vol. 2 no. 1, Harvard University Graduate School of Design, Cambridge, MA, (1995 Summer): 4-5. 1187: 622:

in the United States. His artistic response to the story came later that year in the form of a video-documented performance-art piece called

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Freeman, Belmont, “Cuba Turns a Corner and Preserves its Modern Past,” Belmont Freeman, DOCOMOMO National News, New York (Spring 2003): 7.

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at the Gwangju Biennial (South Korea) in 2008 and the Havana Biennial in 2009. This endeavor also evolved into a documentary video titled

1558: 696: 1270:

Bullrich, Francisco. New Directions in Latin American Architecture. New Directions in Architecture, New York: George Braziller, 1969.

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Ross, Kerrie, “Cuba’s Forgotten Art Schools,”interview with John Loomis, Kerrie Ross, Australian Broadcasting Corp (April 27, 1999).

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Segre, Roberto, La Arquitectura de la Revolución Cubana. Montevideo: Facultad de Arquitectura Universidad de la Republica, 1968.

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La Habana - Arquitectura del Siglo XX. Leopoldo Blume, ed., with introduction by Andreas Duany, Barcelona: Editorial Blume, 1998.

1366:“Cinq Aspects du Contenu en Architecture,” PSICON - Rivista Internazionale de Architettura, no. 2/3 (January/June 1975): 153-69. 1521: 1279:

Coyula Cowley, Mario. "Cuban Architecture its History and its Possibilities," Cuba Revolution and Culture, no. 2 (1965): 12-25.

1452: 1328:"Castro's Dream, the Rediscovery of Cuba's National Art Schools," ICON World Monuments Fund, (Winter 2002/2003), New York: 26-31. 1319:

Loomis, John A., "Revolution of Forms - Cuba's Forgotten Art Schools", Princeton Architectural Press, New York, 1999 & 2011.

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Hernández-Navarro, Hansel, “Escuelas de Arte, La Habana,” Cuba 1961-1965, Web Architecture Magazine (WAM), www.iaz.com (2002).

1115: 1412:"La Habana siglo XX: espacio dilatado y tiempo contraído," Ciudad y Territorio, Estudios Territoriales, XXVIII (110), 1996. 1257:

Baroni, Sergio. "Report from Havana," Zodiac 8, International Review of Architecture, Renato Minetto, ed. (1993): 160-183.

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was launched at two high-profile events. In Los Angeles the launch took place at R. M. Schindler's Kings Road House at the

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Seguí Diviñó, Gilberto, "En defensa de la arquitectura," El Caiman Barbudo, vol. 22, no. 254, (January 1989): 12-13, 18.

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stepped, or terraced, planters for flowers. This 15m wide tube, broken into two levels, is covered by undulating, layered

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Ehrenreich, Ben, “Havana and its doubles”, frieze: Contemporary Art and Culture, vol 116, London (2008 Summer): 218-23.

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Oliver, Marisa, “Architecture and Revolution in Cuba, 1959-1969”, Future Anterior, vol. 2, no. 1, New York (2005): 76.

442:-like space of the performance theater. The path also leads up onto its roofs which are an integral part of Garatti's 1339:

López Rangel, Rafael. Arquitectura y Subdesarrollo en America Latina. Puebla: Universidad Autónoma de Puebla, 1975.

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Allen, Esther, “Alma Guillermoprieto," Esther Allen, BOMB, Art and Culture, #87, New York (Spring 2004): 76 & 79.

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Torre, Susana. "Architecture and Revolution: Cuba, 1959 to 1974," Progressive Architecture, (October 1974): 84-91.

1369:"Une architecture romantique," La Havane 1952-1961, Série Mémoires, no. 31, Éditions Autrement, (May 1994): 39-41. 413:

presents an ever-changing contrast of light and shadow, of dark subterranean and brilliant tropical environments.

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wrote a courageous defense of the National Art Schools, and their architects, that was published in the journal

1400:"Continuitá e rinnovamento nell'architettura cubana del XX secolo," Casabella, no. 446, (February 1981): 10-19 1357:

Ouroussoff, Nicolai, “Revolutionary Vision Abandoned,” Nicolai Ouroussoff, The New York Times (March 20, 1999).

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Goldberger, Paul. "Annals of Preservation, Bringing Back Havana," The New Yorker, (January 26, 1998): 50-61.

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that emerge organically from the landscape, traversing the contours of the ground plane. Garatti's meandering

1563: 1392:"Les odeurs de la rue," La Havane 1952-1961, Série Mémoires, no. 31, Éditions Autrement, (May 1994): 27-38. 1251:

Anderson, Frances, “Hope May Be at Hand For Cuba’s Modern Treasures,” The New York Times (Dec. 9, 1999): 3.

851: 1331:“Ricardo Porro: Hotel Complex in San Sebastián,” AULA, no. 1, AULA, Inc., Berkeley, (1999 Spring): 104-6. 497: 384:

what now is the entrance, is the focal point of all the subsidiary functions, which are grouped around it.

128: 1386:

Rowntree, Diana. “The New Architecture of Castro's Cuba,” Architectural Forum, (April 4, 1964): 122-125.

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Rodríguez, Eduardo Luis. "La década incógnita, Los cincuenta," Arquitectura Cuba, no. 347 (1997): 36-43.

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Carley, Rachel. Cuba, 400 Years of Architectural Heritage. New York: Whitney Library of Design, 1997.

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Kelly, Therese, “Choreographing Utopia,” Therese Kelly, Praxis, issue 0, vol. 1 (Fall 1999): 104-111.

777: 140:, the schools attracted even greater international attention and in 2000 they were nominated for the 1309:

Jiménez García, Ernesto. La Escuela Nacional de Artes (Información General), Havana: CENCREM, 1997.

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Barclay, Juliet, “Cuban heroism,” Juliet Barclay, The Architectural Review, London (April 1999): 89.

136:, by John Loomis, a California-based architect, professor, and author. Following the publication of 1288:

Eaton, Tracey, “Monument to revolution revisited,” The Dallas Morning News, Dallas (Aug. 22, 2001).

671: 667: 167: 71:) are considered by historians to be among the most outstanding architectural achievements of the 265: 184: 1568: 471:), marked a turning point and created a sense of isolation and embattlement in Cuba facing the 1282:

Consuegra, Hugo. "Las Escuelas Nacionales de Arte," Arquitectura/Cuba, no. 334, 1965: 14-21.

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Cembalest, Robin, “Havana’s Hidden Monuments,” Robin Cembalest, Art News (June 1999): 102-105.

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Noever, Peter, ed. The Havana Project - Architecture Again. Munich: Prestel Verlag, 1996.

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Elapso Tempore, Ediciones Universal, Miami (2001): 103, 247,335-6, 341-3, 346-7, 387, 351.

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the golf course. The second and third principles were derived from material necessity. The

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Cuba's National Art Schools have inspired a series of art installations under the name of

8: 1363:“Écoles d'Art à la Havane,” L'Architecture d'Aujourd'hui, no. 119, (March 1965): 52-56. 1360:

Porro, Ricardo. "El sentido de la tradición," Nuestro Tiempo, no. 16, año IV (1957).

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look bad”. By October 1999, however, the debate had reached the national congress of the

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of the time. The three architects saw the International Style as the architecture of

158: 1497: 1457: 1123: 615: 439: 426: 377: 225: 213: 209: 153: 72: 21: 1447: 1162: 811: 1543: 1525: 1476: 1426: 1322:"Revolutionary Design," Loeb Fellowship Forum, vol. 2 no. 1, (summer 1995): 4-5. 833: 460: 361: 273: 389: 276:

very costly. The architects therefore decided to use locally produced brick and

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delightfully disorients the user not being able to fully see the extent of the

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Lectura Critica del Entorno Cubano. Havana: Editorial Letras Cubanas, 1990.

372: 233: 1552: 679: 651: 626:, in which he cleans out the watercourses of the abandoned School of Ballet. 434: 406: 345: 340: 321: 316: 297: 281: 205: 163: 79: 44: 31: 1103:

CURRENTS: LOS ANGELES -- REVOLUTIONS; Art Schools Of Cuba, Forgotten No More

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By 1965, however, the art schools and their architects fell out of favor as

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Garatti, Vittorio. “Ricordi di Cubanacán,” Modo 6. (April 1982): 47-48.

353: 293: 289: 124: 95: 87: 1374:

Portoghesi, Paolo. Postmodern. New York: Rizzoli International, 1983.

726: 468: 245: 189: 99: 83: 1481: 356:. Most notable is how the organic spatial experience of the curvilinear 421: 277: 237: 221: 67:'s National Art Schools (Escuelas Nacionales de Arte, now known as the 1466: 557:

1999 proved to be a critical year for the schools. In March, the book

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Nakamura, Toshio. “Ricardo Porro,” A+U 282, (March 1994): 4-93.

1439: 859: 648:, was co-directed by Ben Murray and scheduled to premiere in 2011. 472: 253: 1544:

National Schools of Art, Cubanacán - UNESCO World Heritage Centre

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World Monuments Fund Magazine article on the National Art Schools

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National Schools of Art, Cubanacán - UNESCO World Heritage Centre

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America Latina Fim de Milénio, São Paulo: Studio Nobel, 1991.

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Louie, Elaine, "Cuba, Sí," The New York Times (Apr. 23, 1998).

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Tentative List on February 28, 2003 in the Cultural category.

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and sought to recreate a new architecture in the image of the

174:(named after John Loomis' book) written by Charles Koppleman. 1535: 1462:

by Alysa Nahmias and Ben Murray, via the World Monuments Fund

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in five acts In May 2010, music from the first two acts of

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Category:Academic staff of the National Art Schools (Cuba)

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tile, and for the constructive system they would use the

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World Monuments Fund website on the National Art Schools

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World Encyclopedia of Contemporary Theatre: The Americas

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As Cuba's political environment evolved from one of

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video on conservation of the National Schools of Art

1116:"Revolution of Forms: Cuba's Forgotten Art Schools" 852:"Revolution of Forms: Cuba's Forgotten Art Schools" 491:

Soviet-style functionalism vs. organic architecture

204:The design of the National Art Schools, created by 761:Revolution of Forms - Cuba's Forgotten Art Schools 687:was performed at the New York Opera's VOX series. 134:Revolution of Forms - Cuba's Forgotten Art Schools 933:La mas Hermosa academia de artes de todo el mundo 737:, successor campus to the National Schools of Art 559:Revolution of Forms, Cuba’s Forgotten Art Schools 526:Revolution of Forms, Cuba’s Forgotten Art Schools 1550: 1040:Diez Años de Arquitectura Revolucionaria en Cuba 610: 1224:"New York City Opera | Production Detail/View" 86:structures were built on the site of a former 812:"NATIONAL ART SCHOOLS - World Monuments Fund" 586:National Union of Writers and Artists of Cuba 268:, begun in 1960, had made the importation of 199: 697:Category:National Art Schools (Cuba) alumni 552: 368:School of Dramatic Arts – Roberto Gottardi 892: 890: 888: 886: 884: 882: 166:and Ben Murray, and an opera directed by 595: 420: 371: 339: 315: 105: 15: 1034: 1032: 898:"Castro's Dream - World Monuments Fund" 670:serves as director and designer, while 1551: 1091:In Cuba, Seeds of a Design Renaissance 879: 467:, the newly launched guerrilla war in 336:School of Plastic Arts – Ricardo Porro 312:School of Modern Dance – Ricardo Porro 774:"Cubanacán | MOON TRAVEL GUIDES" 624:Next Time it Rains the Water Will Run 1029: 834:"National Schools of Art, Cubanacán" 177: 417:School of Ballet – Vittorio Garatti 388:takes place in the narrow leftover 260:influence) in the post-WWII world. 13: 1559:Buildings and structures in Havana 701: 396:School of Music - Vittorio Garatti 14: 1590: 1467:Website and trailer for the film 1433: 690: 515: 1515:Charles Koppleman's website for 1188:"South Florida Classical Review" 719: 1216: 1198: 1192:southfloridaclassicalreview.com 1180: 1155: 1137: 1108: 1096: 1084: 1071: 1058: 1045: 1016: 1003: 990: 977: 964: 951: 938: 925: 912: 866: 844: 832:UNESCO World Heritage Centre. 804: 791: 766: 753: 216:, ran counter to the dominant 1: 1490:Felipe Dulzaides website for 1458:Excerpt from the documentary 935:, Noticias de Hoy, 4 May 1963 931:Fidel Castro Ruiz, quoted in 741: 611:Works inspired by the schools 328:scheme of linear, though non- 1531:The Lost Art Schools of Cuba 7: 1579:National Art Schools (Cuba) 1105:, NY Times, March 18, 1999 1093:, NY Times, October 7, 1999 712: 600:This site was added to the 10: 1595: 735:Instituto Superior de Arte 705: 694: 449: 200:Design of the five schools 78:These innovative, organic 69:Instituto Superior de Arte 376:School of Dramatic Arts, 196:unknown in architecture. 553:National monument status 344:School of Plastic Arts, 320:School of Modern Dance, 763:, introduction p. xxiii 284:with its potential for 266:US embargo against Cuba 185:Cuban Literacy Campaign 156:, the documentary film 801:, Taylor & Francis 429: 380: 348: 324: 120: 24: 1206:"Revolution of Forms" 1120:revolutionofforms.com 856:revolutionofforms.com 654:area-based filmmaker 596:World Heritage status 424: 375: 364:journey being taken. 343: 319: 242:Ernesto Nathan Rogers 228:. These critiques of 115: 45:23.08806°N 82.44806°W 19: 1564:Universities in Cuba 1429:Accessed 2009-02-24. 664:Alma Guillermoprieto 571:Cooper-Hewitt Museum 538:World Monuments Fund 456:Cuban Missile Crisis 444:paseo arquitectonico 411:paseo arquitectonico 402:paseo arquitectonico 358:paseo archetectonico 304:, and the School of 152:by the Cuban artist 142:World Monuments Fund 117:World Monuments Fund 59:National Art Schools 1540:, by Humberto Solas 1517:Revolution of Forms 1508:Revolution of Forms 1501:(the Opera) website 1499:Revolution of Forms 1441:Revolution of Forms 1210:watermillcenter.org 1163:"UNFINISHED SPACES" 1079:Revolution of Forms 1066:Revolution of Forms 1053:Revolution of Forms 1024:Revolution of Forms 1011:Revolution of Forms 998:Revolution of Forms 985:Revolution of Forms 972:Revolution of Forms 959:Revolution of Forms 946:Revolution of Forms 920:Revolution of Forms 874:Revolution of Forms 685:Revolution of Forms 660:Revolution of Forms 642:in 2001. The film, 620:Revolution of Forms 590:Revolution of Forms 581:Revolution of Forms 567:Columbia University 218:International Style 172:Revolution of Forms 138:Revolution of Forms 90:in the far western 50:23.08806; -82.44806 41: / 1524:2011-08-13 at the 1475:2020-04-28 at the 1443:(the book) website 797:Rubin, D. (2000), 533:Arquitectura Joven 430: 425:School of Ballet, 381: 349: 325: 250:Frank Lloyd Wright 121: 25: 1484:Unfinished Spaces 1469:Unfinished Spaces 1460:Unfinished Spaces 759:Loomis, John A., 676:Gonzalo Rubalcaba 656:Charles Koppelman 645:Unfinished Spaces 546:Arquitectura Cuba 510:Arquitectura Cuba 504:In October 1965, 465:Sino-Soviet split 248:, not to mention 178:Conceptualization 159:Unfinished Spaces 113: 20:School of Music, 1586: 1236: 1235: 1230:. Archived from 1228:www.nycopera.com 1220: 1214: 1213: 1202: 1196: 1195: 1184: 1178: 1177: 1175: 1173: 1159: 1153: 1152: 1149:Time Out Chicago 1141: 1135: 1134: 1132: 1131: 1122:. 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National Art Schools (Cuba)

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