古巴国立艺术学校最初由菲德尔·卡斯特罗和切·格瓦拉在1961年设想，也许是古巴革命中最大的建筑成就。学校的创新设计旨在为国家带来文化素养，体现了革命的激进和乌托邦式的愿景。不幸的是，这个国家的理想主义热情持续了一段短暂的时间，学校很快就失宠了；它们甚至在完成之前就已经衰败了。今天，经过近四十年的忽视之后，建筑师们又回来了，试图把这些废弃的学校带回他们预期的辉煌。

The Cuban National Schools of Arts, originally imagined by Fidel Castro and Che Guevara in 1961, are perhaps the largest architectural achievements of the Cuban Revolution. The innovative design of the schools, which aimed to bring cultural literacy to the nation, encapsulated the radical, utopian vision of the Revolution. Unfortunately, the nation’s idealistic enthusiasm lasted for a fleeting moment in time and the Schools quickly fell out of favor; they were left to decay before even being completed. Today, following nearly four decades of neglect, the architects have returned to try and bring these derelict schools to back to their intended glory.

国家艺术学校是在哈瓦那一个著名的乡村俱乐部的基础上建立起来的，从而把财富和资本的象征变成了一个免费的教育机构。卡斯特罗聘请了古巴建筑师里卡多·波罗(Ricardo Porro)，他是拉丁美洲现代主义者。后来，两位意大利建筑师维托里奥·加拉蒂(Vittorio Garatti)和罗伯托·戈塔尔迪(Roberto Gottardi)加入了这位建筑师的行列；三人

The National Schools of Art were built on the grounds of a famed country club in Havana, thus transforming an emblem of wealth and capital into a tuition-free, educational institute. Castro commissioned Cuban architect Ricardo Porro, a Latin American modernist, who was then joined by two Italian architects, Vittorio Garatti and Roberto Gottardi; the three were given a mere two months to devise a plan for the Schools.

 Castro and Guevara playing golf on the soon to become grounds of the National School of Arts. Image © Alberto Korda

卡斯特罗和格瓦拉打高尔夫很快就成为国家艺术学校的场地。图像C.Alberto Korda

建筑师们遵循三项主要原则：第一，将学校融入场地景观的多样性和野性；第二，使用当地生产的砖块和陶瓷砖，在美国对古巴实行禁运后，这些砖瓦比钢铁和水泥等进口材料便宜；第三，以加泰罗尼亚堡为主导建筑元素，作为其独特的空间形态，与国际风格的几何、“资本主义”建筑有着鲜明的矛盾。

The architects were guided by three major principles: first, to integrate the schools into the varied, wild character of the site’s landscape; second, to use locally-produced bricks and terracotta tiles, which, following the US embargo on Cuba, were cheaper than imported materials such as steel and cement; and, thirdly, to use the Catalan Vault as the dominant architectural element, as its unique spatial formation would stand in bold contradiction to the geometrical, “capitalistic” architecture of the International Style.

 Site plan. Image © John Loomis: Revolution of Forms

现场计划。形象(约翰·卢米斯：形式的革命)

总共建造了五所学校：现代舞、造型艺术、戏剧艺术、音乐和芭蕾舞。所有国家都对材料和结构采取了类似的做法；然而，每一种方法都对该网站提出了不同的解释，并反映了其具体的方案。加拉蒂的音乐学院是一个330米长的蛇形结构，沿着河流的轮廓，辅以加泰罗尼亚拱形空间和两个巨大的音乐厅和练习厅。加拉蒂的另一种设计是芭蕾舞团学校，它由一群覆盖着兵马俑的圆顶展馆组成，中间缠绕着相互交织的道路，鼓励人们在建筑群中偶遇。

A total of five schools were constructed: Modern Dance, Plastic Arts, Dramatic Arts, Music, and Ballet. All shared a similar approach to material and structure; however, each presented a different interpretation of the site and reflected its specific program. Garatti’s School of Music was a 330-meter serpentine structure, which followed the contour of the river, and was complemented by the Catalan Vaulted spaces and two vast concert and practice halls. Another design of Garatti’s was the School of Ballet, which consisted of a cluster of terracotta-covered, domed pavilions, between which wound intertwining paths that encouraged chance encounters within the complex.

 School of Ballet by Vittorio Garatti . Image © John Loomis: Revolution of Forms

芭蕾舞团学校由维托里奥·加拉蒂。形象(约翰·卢米斯：形式的革命)

波罗的舞蹈学校呈现出一个动态的组合，由非直线的街道和庭院组成，这些街道和庭院从一个中央入口广场冒出来，上面覆盖着碎片化的玻璃片，象征着前政权的戏剧性粉碎。波罗在造型艺术学院的设计上采取了不同的做法，该学院受古巴-非洲传统的启发，设想了一个典型的村庄结构，由一系列不同大小的椭圆形展馆组成，与弯曲的、有阴影的柱廊相连。

Porro’s School of Dance presents a dynamic composition of non-rectilinear streets and courtyards that sprout from a central entry plaza, covered by fragmented glass sheets that are symbolic of the dramatic shatter of the previous regime. Porro took a different approach with the design of the School of Plastic Arts, which was inspired by the nation’s Cuban-African heritage and assumes an archetypical village structure made up of a series of oval-shaped pavilions of various sizes, connected with curved, shaded colonnades.

 School of Modern Dance by Ricardo PorroSchool of Modern Dance by Ricardo Porro. Image © Adrián MALLOL i MORETTI

现代舞蹈学校里卡多波洛现代舞蹈学校里卡多波罗。图像(Adrián MALLOL I Moretti)

戏剧艺术学院是罗伯托·戈塔德设计的唯一所学校，里面有一个占主导地位的中央圆形剧场。细胞的，内向的教室创造了一个独特的，亲密的环境；相反，外部，只有小的，没有阴影的小巷一样的小径刺穿，给学校一个堡垒般的外观。

The school of Dramatic Arts, the only school designed by Roberto Gottard, contains a dominant, central amphitheatre. Cellular, inward-facing classrooms create a unique, intimate environment; in contrast, the exterior, punctured only by small, unshaded alley-like paths, gives the school a fortress-like appearance.

 School of Plastic Arts by Ricardo Porro. Image © Adrián MALLOL i MORETTI

里卡多·波罗的造型艺术学院。图像(Adrián MALLOL I Moretti)

随着1962年古巴导弹危机，学校开办期间的热情开始恶化。这些学校似乎与革命不相称：这是一种奢侈的、不必要的资源使用。此外，古巴的新盟友-共产主义苏联-更倾向于匿名务实、实用的建筑，这与波洛、戈塔德和加拉蒂的有机启发、面向工艺、针对具体地点的设计形成了鲜明的对比。这三位建筑师被指控宣扬个人表达的理想，被冠以“资产阶级”、“文化精英”的标签，被迫离开这个国家。

The enthusiasm that accompanied the schools' inception began to deteriorate with the Cuban Missile Crisis of 1962. The schools seemed out of scale with the Revolution: an extravagant, unnecessary use of resources. Furthermore, Cuba’s new ally, the communist Soviet Union, preferred anonymously pragmatic, functional architecture, which stood in striking contrast to the organically-inspired, craft-oriented, site-specific designs of Porro, Gottard and Garatti. The three architects were accused of promoting ideals of individual expression, branded as “bourgeois,” cultural elitists, and compelled to leave the country.

 School of Modern Dance by Ricardo Porro. Image © Adrián MALLOL i MORETTI

里卡多·波罗现代舞蹈学院。图像(Adrián MALLOL I Moretti)

1965年7月，尽管学校有不同的完工阶段，但建设工作完全停止。在接下来的几年里，学校成了棚户区和破坏者的避风港；牛和野生丛林植被很快就占领了这片土地。此外，到了20世纪70年代，人们开始对场地进行改造，建造预制混凝土宿舍以及道路和小径，满足了实际需要，但破坏了原来的设计。

In July 1965, and despite the schools’ various stages of completion, construction came to a complete halt. In the years that followed, the schools became a haven for squatters and vandalizers; cattle and wild jungle vegetation soon took over the site. In addition, by the 1970s, people began to adapt the site, constructing prefabricated concrete dormitories as well as roads and paths, which answered pragmatic needs but disrupted the original design.

 School of Ballet by Vittorio Garatti . Image © Adrián MALLOL i MORETTI

芭蕾舞团学校由维托里奥·加拉蒂。图像(Adrián MALLOL I Moretti)

1999年，美国建筑师和历史学家约翰·卢米斯(JohnLoomis)出版了一本名为“形式革命”的书，这使古巴被遗忘的学校的故事引起了国际社会的关注。同年，古巴全国作家和艺术家联合会全国理事会主席JoséVilla宣布学校是古巴革命最重要的建筑作品。

Changes began to unfold in 1999, when the American architect and historian John Loomis published a book titled Revolution of Forms, which brought the story of Cuba’s forgotten schools into international awareness. That same year in Cuba, José Villa, the chair of the National Council of the National Union of Cuban Writers and Artists, declared the Schools the most important architectural work of the Cuban Revolution.

 School of Modern Dance by Ricardo Porro. Image © Wikimedia Commons

里卡多·波罗现代舞蹈学院。图像C维基媒体共享

最后，卡斯特罗的个人注意力被激起，他宣布恢复他年轻时钟爱的计划的时候到了。学校的完成成为一个由文化部长亲自领导的国家特派团。Porro和Garatti被邀请回哈瓦那，在那里他们和Gottard一起参加了一次历史性的会议，他们在会上讨论了恢复他们被遗弃的杰作的挑战。作为该计划的一部分，世界著名建筑师诺曼·福斯特被邀请重新设计芭蕾舞团学校；然而，到目前为止，由于全球金融危机，古巴政府已经暂停了恢复工作。

At last, Castro’s personal attention was piqued and he declared that the time had come to restore the beloved project of his youth. The completion of the schools became a national mission, led by the Minister of Culture himself. Porro and Garatti were invited back to Havana, where they joined Gottard for a historical meeting in which they discussed the challenge of restoring their derelict masterpieces. As part of the plan,the world renowned architect Norman Foster was invited to redesign the school of Ballet; however, as of now, the Cuban government has paused the restoration due to the global financial crisis.

 School of Modern Dance by Ricardo Porro. Image © Adrián MALLOL i MORETTI

里卡多·波罗现代舞蹈学院。图像(Adrián MALLOL I Moretti)

哈瓦那负责建筑保护的建筑师马里奥·科尤拉(Mario Coyula)恰当地阐述了该项目：“在大多数情况下，建筑必须适应人类的需要，但在特殊建筑作品的情况下，人类的需求应该适应建筑。”

Mario Coyula, the architect in charge of preservation in Havana, aptly stated of the project: “In most cases, architecture must adapt itself to human need, but in cases of exceptional works of architecture, human need should adapt itself to architecture.”

 School of Modern Dance by Ricardo Porro. Image © Adrián MALLOL i MORETTI

里卡多·波罗现代舞蹈学院。图像(Adrián MALLOL I Moretti)

看看由Alysa Nahmias和Benjamin Murray导演的令人难以置信的纪录片“未完成的空间”的预告片，它讲述了学校的故事，并以对建筑师的采访为特色。

Check out the trailer to the incredible documentary Unfinished Spaces, directed by Alysa Nahmias and Benjamin Murray, which tells the story of the schools and features interviews with the architects.

参考文献：形式革命，世界古迹基金，维基百科。

References: Revolution of Forms, World Monuments Fund, and Wikipedia.

建筑师Ricardo Porro，Vittorio Garatti和Robert Gattardi Location 134，哈瓦那，古巴类别学校项目，1961年，通过Place拍摄Adrián Guerra Rey照片。

Architects Ricardo Porro, Vittorio Garatti and Robert Gattardi Location 134, Havana, Cuba Category Schools Project Year 1961 Photographs Adrián Guerra Rey via places.designobserver.com, John Loomis: Revolution of Forms, Adrián MALLOL i MORETTI, Norma Barbacci/World Monuments Fund, Flickr user: ckeech, Isabel Rigol, Flickr user: travfotos, Wikimedia Commons, Alberto Korda