535:, 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
523:. 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.
490:. 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.
343:, 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.
603:—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.
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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.
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403:, 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.
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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
599:(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
203:. 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.
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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
576:, 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
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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
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629:, 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
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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 InvitaciĂłn in Havana, which was followed by a more extensive, and highly acclaimed, installation titled
263:, 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
299:. 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
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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
1420:"Tres decadas de arquitectura cubana: La herencia histĂłrica y el mito de lo nuevo," Arquitectura Antillana del siglo XX, Universidad AutĂłnoma Metropolitana-Unidad Xochimilco, (Mexico City, 1993)
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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
551:. 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”.
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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 SaĂz 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 & LĂłpez Rangel, Rafael, Architettura e territorio nell'America Latina. Saggi & Documenti. *Savino D'Amico, trans. Milan: Electa Editrice, 1982.
1426:“Encrucijadas de la arquitectura en Cuba: Realismo Mágico, realismo socialista y realismo crĂtico,” Archivos de Arquitectura Antillana, año 4, #9 (Sept. 1999): 57-9.
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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
673:, 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)
588:. 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.
457:. 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.
72:(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".
649:—a series of penetrating, and sometimes disquieting, interviews with Gottardi about his artistic quest for meaning during his years in revolutionary Cuba.
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1336:"Architecture or Revolution? - The Cuban Experiment," Design Book Review, John Loomis, ed., MIT Press Journals, Cambridge, MA, (summer 1994): 71-80.
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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 JesĂşs 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.
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1345:"Revolutionary Design," Loeb Fellowship Forum, vol. 2 no. 1, Harvard University Graduate School of Design, Cambridge, MA, (1995 Summer): 4-5.
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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
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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 RevoluciĂłn 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.
1377:“Cinq Aspects du Contenu en Architecture,” PSICON - Rivista Internazionale de Architettura, no. 2/3 (January/June 1975): 153-69.
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Coyula Cowley, Mario. "Cuban Architecture its History and its Possibilities," Cuba Revolution and Culture, no. 2 (1965): 12-25.
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1339:"Castro's Dream, the Rediscovery of Cuba's National Art Schools," ICON World Monuments Fund, (Winter 2002/2003), New York: 26-31.
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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).
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1423:"La Habana siglo XX: espacio dilatado y tiempo contraĂdo," Ciudad y Territorio, Estudios Territoriales, XXVIII (110), 1996.
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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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Seguà 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.
453:-like space of the performance theater. The path also leads up onto its roofs which are an integral part of Garatti's
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LĂłpez Rangel, Rafael. Arquitectura y Subdesarrollo en America Latina. Puebla: Universidad AutĂłnoma 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.
1380:"Une architecture romantique," La Havane 1952-1961, Série Mémoires, no. 31, Éditions Autrement, (May 1994): 39-41.
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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
1411:"Continuitá e rinnovamento nell'architettura cubana del XX secolo," Casabella, no. 446, (February 1981): 10-19
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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
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1403:"Les odeurs de la rue," La Havane 1952-1961, Série Mémoires, no. 31, Éditions Autrement, (May 1994): 27-38.
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Anderson, Frances, “Hope May Be at Hand For Cuba’s Modern Treasures,” The New York Times (Dec. 9, 1999): 3.
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1342:“Ricardo Porro: Hotel Complex in San Sebastián,” AULA, no. 1, AULA, Inc., Berkeley, (1999 Spring): 104-6.
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what now is the entrance, is the focal point of all the subsidiary functions, which are grouped around it.
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Rowntree, Diana. “The New Architecture of Castro's Cuba,” Architectural Forum, (April 4, 1964): 122-125.
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RodrĂguez, Eduardo Luis. "La dĂ©cada incĂłgnita, 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.
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151:, the schools attracted even greater international attention and in 2000 they were nominated for the
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JimĂ©nez GarcĂa, Ernesto. La Escuela Nacional de Artes (InformaciĂłn General), Havana: CENCREM, 1997.
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Barclay, Juliet, “Cuban heroism,” Juliet Barclay, The Architectural Review, London (April 1999): 89.
147:, by John Loomis, a California-based architect, professor, and author. Following the publication of
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Eaton, Tracey, “Monument to revolution revisited,” The Dallas Morning News, Dallas (Aug. 22, 2001).
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82:) are considered by historians to be among the most outstanding architectural achievements of the
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482:), marked a turning point and created a sense of isolation and embattlement in Cuba facing the
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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
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1374:“Écoles d'Art à la Havane,” L'Architecture d'Aujourd'hui, no. 119, (March 1965): 52-56.
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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
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1333:"Revolutionary Design," Loeb Fellowship Forum, vol. 2 no. 1, (summer 1995): 4-5.
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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.
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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.
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Portoghesi, Paolo. Postmodern. New York: Rizzoli International, 1983.
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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.
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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, SĂ," 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
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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
1127:"Revolution of Forms: Cuba's Forgotten Art Schools"
863:"Revolution of Forms: Cuba's Forgotten Art Schools"
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Soviet-style functionalism vs. organic architecture
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537:Revolution of Forms, Cuba’s Forgotten Art Schools
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1051:Diez Años de Arquitectura Revolucionaria en Cuba
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1235:"New York City Opera | Production Detail/View"
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823:"NATIONAL ART SCHOOLS - World Monuments Fund"
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909:"Castro's Dream - World Monuments Fund"
681:serves as director and designer, while
14:
1562:
1102:In Cuba, Seeds of a Design Renaissance
890:
478:, the newly launched guerrilla war in
347:School of Plastic Arts – Ricardo Porro
323:School of Modern Dance – Ricardo Porro
785:"Cubanacán | MOON TRAVEL GUIDES"
635:Next Time it Rains the Water Will Run
1040:
845:"National Schools of Art, Cubanacán"
188:
428:School of Ballet – Vittorio Garatti
399:takes place in the narrow leftover
271:influence) in the post-WWII world.
24:
1570:Buildings and structures in Havana
712:
407:School of Music - Vittorio Garatti
25:
1601:
1478:Website and trailer for the film
1444:
701:
526:
1526:Charles Koppleman's website for
1199:"South Florida Classical Review"
730:
1227:
1209:
1203:southfloridaclassicalreview.com
1191:
1166:
1148:
1119:
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1082:
1069:
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1027:
1014:
1001:
988:
975:
962:
949:
936:
18:National Schools of Art, Havana
923:
877:
855:
843:UNESCO World Heritage Centre.
815:
802:
777:
764:
227:, ran counter to the dominant
13:
1:
1501:Felipe Dulzaides website for
1469:Excerpt from the documentary
946:, Noticias de Hoy, 4 May 1963
942:Fidel Castro Ruiz, quoted in
752:
622:Works inspired by the schools
339:scheme of linear, though non-
1542:The Lost Art Schools of Cuba
7:
1590:National Art Schools (Cuba)
1116:, NY Times, March 18, 1999
1104:, NY Times, October 7, 1999
723:
611:This site was added to the
10:
1606:
746:Instituto Superior de Arte
716:
705:
460:
211:Design of the five schools
89:These innovative, organic
80:Instituto Superior de Arte
387:School of Dramatic Arts,
207:unknown in architecture.
564:National monument status
355:School of Plastic Arts,
331:School of Modern Dance,
774:, introduction p. xxiii
295:with its potential for
277:US embargo against Cuba
196:Cuban Literacy Campaign
167:, the documentary film
812:, Taylor & Francis
440:
391:
359:
335:
131:
35:
1217:"Revolution of Forms"
1131:revolutionofforms.com
867:revolutionofforms.com
665:area-based filmmaker
607:World Heritage status
435:
386:
375:journey being taken.
354:
330:
253:Ernesto Nathan Rogers
239:. These critiques of
126:
56:23.08806°N 82.44806°W
30:
1575:Universities in Cuba
1440:Accessed 2009-02-24.
675:Alma Guillermoprieto
582:Cooper-Hewitt Museum
549:World Monuments Fund
467:Cuban Missile Crisis
455:paseo arquitectonico
422:paseo arquitectonico
413:paseo arquitectonico
369:paseo archetectonico
315:, and the School of
163:by the Cuban artist
153:World Monuments Fund
128:World Monuments Fund
70:National Art Schools
1551:, by Humberto Solas
1528:Revolution of Forms
1519:Revolution of Forms
1512:(the Opera) website
1510:Revolution of Forms
1452:Revolution of Forms
1221:watermillcenter.org
1174:"UNFINISHED SPACES"
1090:Revolution of Forms
1077:Revolution of Forms
1064:Revolution of Forms
1035:Revolution of Forms
1022:Revolution of Forms
1009:Revolution of Forms
996:Revolution of Forms
983:Revolution of Forms
970:Revolution of Forms
957:Revolution of Forms
931:Revolution of Forms
885:Revolution of Forms
696:Revolution of Forms
671:Revolution of Forms
653:in 2001. The film,
631:Revolution of Forms
601:Revolution of Forms
592:Revolution of Forms
578:Columbia University
229:International Style
183:Revolution of Forms
149:Revolution of Forms
101:in the far western
61:23.08806; -82.44806
52: /
1535:2011-08-13 at the
1486:2020-04-28 at the
1454:(the book) website
808:Rubin, D. (2000),
544:Arquitectura Joven
441:
436:School of Ballet,
392:
360:
336:
261:Frank Lloyd Wright
132:
36:
1495:Unfinished Spaces
1480:Unfinished Spaces
1471:Unfinished Spaces
770:Loomis, John A.,
687:Gonzalo Rubalcaba
667:Charles Koppelman
656:Unfinished Spaces
557:Arquitectura Cuba
521:Arquitectura Cuba
515:In October 1965,
476:Sino-Soviet split
259:, not to mention
189:Conceptualization
170:Unfinished Spaces
124:
31:School of Music,
16:(Redirected from
1597:
1247:
1246:
1241:. Archived from
1239:www.nycopera.com
1231:
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1160:Time Out Chicago
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869:. Archived from
859:
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797:
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787:. Archived from
781:
775:
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735:
734:
733:
627:Felipe Dulzaides
438:Vittorio Garatti
389:Roberto Gottardi
311:, the School of
307:, the School of
303:, the School of
267:but sharing his
237:Cuban Revolution
225:Vittorio Garatti
221:Roberto Gottardi
165:Felipe Dulzaides
125:
84:Cuban Revolution
67:
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33:Vittorio Garatti
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1594:
1560:
1559:
1537:Wayback Machine
1503:Utopia Possible
1493:IMDB entry for
1488:Wayback Machine
1447:
1254:Further reading
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736:
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721:
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713:Notable faculty
710:
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624:
609:
566:
529:
504:
472:Ahmed Ben Bella
463:
430:
409:
381:
349:
325:
285:Portland cement
213:
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91:Catalan-vaulted
60:
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1523:
1517:Short clip of
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1446:
1445:External links
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1245:on 2011-07-20.
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974:
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922:
919:on 2009-10-13.
889:
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873:on 2018-12-11.
854:
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762:
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750:
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742:
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711:
703:
702:Notable alumni
700:
647:UtopĂa Posible
643:UtopĂa Posible
623:
620:
616:World Heritage
608:
605:
586:New York Times
565:
562:
528:
527:Rehabilitation
525:
517:Hugo Consuegra
503:
500:
462:
459:
446:Catalan vaults
429:
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418:Catalan vaults
408:
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161:Utopia Posible
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1580:1960s in Cuba
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1179:
1178:ajnafilms.com
1175:
1169:
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1137:on 2012-03-20
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791:on 2011-09-14
790:
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763:
760:
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747:
744:
743:
739:
728:
720:
709:
699:
697:
692:
691:Dafnis Prieto
688:
684:
683:Anthony Davis
680:
679:Robert Wilson
676:
672:
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664:
663:San Francisco
660:
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558:
552:
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545:
540:
538:
534:
533:Hermanos SaĂz
524:
522:
518:
513:
510:
509:Functionalist
499:
496:
491:
489:
486:alone in the
485:
481:
477:
474:in 1965, the
473:
468:
458:
456:
452:
447:
439:
434:
425:
423:
419:
414:
404:
402:
398:
390:
385:
376:
374:
373:magic realist
370:
366:
358:
357:Ricardo Porro
353:
344:
342:
334:
333:Ricardo Porro
329:
320:
318:
314:
310:
309:Dramatic Arts
306:
302:
298:
294:
293:Catalan vault
290:
286:
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278:
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270:
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230:
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217:Ricardo Porro
208:
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197:
186:
184:
180:
179:Robert Wilson
176:
175:Alysa Nahmias
172:
171:
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146:
141:
140:functionalist
137:
129:
115:
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108:
104:
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92:
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85:
81:
77:
73:
71:
65:
34:
29:
19:
1585:Arts in Cuba
1547:
1527:
1518:
1509:
1502:
1494:
1479:
1470:
1451:
1253:
1252:
1243:the original
1238:
1229:
1220:
1211:
1202:
1193:
1183:28 September
1181:. Retrieved
1177:
1168:
1159:
1150:
1139:. Retrieved
1135:the original
1130:
1121:
1113:
1109:
1101:
1097:
1092:, pp.145-153
1089:
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1071:
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1008:
1003:
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964:
956:
951:
943:
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925:
917:the original
912:
884:
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871:the original
866:
857:
848:
826:
817:
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793:. Retrieved
789:the original
779:
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454:
442:
421:
412:
410:
393:
368:
365:Plastic Arts
361:
337:
305:Plastic Arts
301:Modern Dance
297:organic form
273:
214:
205:
192:
182:
168:
160:
158:
148:
144:
133:
107:Fidel Castro
99:country club
88:
74:
69:
37:
1548:Variaciones
1521:(the Opera)
738:Cuba portal
507:embraced a
401:interstices
397:Circulation
341:rectilinear
257:Alvar Aalto
245:Hugo Häring
201:Third World
111:Che Guevara
95:terra-cotta
59: /
1564:Categories
1141:2011-04-13
849:unesco.org
795:2011-06-02
753:References
717:See also:
706:See also:
574:MAK Center
289:terracotta
249:Bruno Zevi
233:capitalism
138:-inspired
93:brick and
47:82°26′53″W
44:23°05′17″N
1530:the Opera
1156:"Theater"
488:Caribbean
465:The 1962
241:modernism
181:entitled
1533:Archived
1484:Archived
1088:Loomis,
1075:Loomis,
1062:Loomis,
1033:Loomis,
1020:Loomis,
1007:Loomis,
994:Loomis,
981:Loomis,
968:Loomis,
955:Loomis,
929:Loomis,
883:Loomis,
724:See also
580:and the
484:Cold War
451:Pantheon
1327:85-121.
1079:, p.147
1066:, p.129
1053:, p. 87
1049:Segre,
1037:, p.113
1024:, p.116
913:wmf.org
827:wmf.org
495:utopian
480:Vietnam
461:Decline
269:Catalan
1011:, p.45
998:, p.86
985:, p.71
972:, p.65
959:, p.43
887:, p.21
689:, and
613:UNESCO
317:Ballet
255:, and
223:, and
136:Soviet
103:Havana
1272:1979.
933:, p.7
758:Notes
313:Music
281:rebar
265:GaudĂ
1185:2022
283:and
109:and
76:Cuba
68:The
173:by
1566::
1237:.
1219:.
1201:.
1176:.
1158:.
1129:.
1042:^
911:.
892:^
865:.
847:.
835:^
825:.
685:,
677:.
539:.
319:.
251:,
247:,
219:,
86:.
1223:.
1205:.
1187:.
1162:.
1144:.
851:.
829:.
798:.
20:)
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