Meringo's+EE



__***PLAN ON TEST PAGE***__

__**Proposal:**__

I've taken into consideration what you have said and will be looking at (something more or less along the lines of) To what extent do totalitarian (or possibly narrow it down to facist) architecture agree with this statement  " We shape our buildings; thereafter they shape us." - ** Winston Churchill .** Or compare and contrast Mussolini's architecture with that of the Roman Empire. I'm not certain about the title, but i think the first one will be a safer bet, but the topic area seems very interesting and as you said, I can easily go see buildings from Mussolini's time and possibly research other totalitarian states as well. A leading architect it seem is Giuseppe Terragni who helped lead the italian modern movement under 'Rationalism'. He tried to move away from neo-classical and neo-baroque styled work. Mussolini's immediate emblem was to adopt the fasces as a fascist emblem. He wanted to bring the triumphs and glories of ancient Rome into the 1920s and replicate the with his own regime through the means of architecture. New buildings were constructed and old monument restored.Visually, I would go to see the architecture in Eur, foro italico and around stadio olimpico and ofcourse other areas.  If I look at other totalitarian states I will most likely concentrate in Europe so possibly look at Nazi Germany. Here the building were to be overwhelming and intimidating imposing some form of power. Leading architects were Albert Speer, Hermann Giesler, and Fritz Todt. It was mainly used to impress the public as a propaganda stunt, intimidate any foreign diplomats, display power and used to glorify Teutonic past a rural culture. A very minimalist approach was taken. They were influence by ancient Greece and the Romans as well as the baroque period itself. Straight lines were a major detail and were built to last for centuries.Spain under Franco could be another country to search although the majority of buildings were probably destroyed after the civil war.  Overall, this is just a basic start to some research and what areas to look into. I would probably base most of it on fascist italy and possibly compare it to other totalitarian states as well. I think I would look into the main factors and impact that the italian fascist architecture would want to have on its population and the actual background political and economic situation it was constructed in; therefore how the architecture reflects the society in Mussolini's reign. Also leading architects such as Terragni could also be an important factor and interestingly enough was pulling away from ancient roman style of art and into more modern buildings (most probably like the square colosseum in Eur)

 I hope this gives a good idea on what I am planning to do.Thank you for reading my app.

'Does mussolini era architecture in rome have sufficient aethetic merit to exist as more than a reminder of a deposed dictator/fallen totalitarian state?' Thanks Mr M :D How does Mussolini era architecture of Rome reflect the nationalistic ideals of Italy in the 1930s?'  To what extent does Mussolini era architecture in Rome agree with this statement "We shape our buildings; thereafter they shape us."- Winston Churchill  Compare and contrast Mussolini's architecture in Rome with that of the Roman Empire.  To what extent did Mussolini's architecture in Rome influence its surroundings
 * __Title Idea__**s

__**Current Souces:**__


 * The Dark Valley A Panorama of the 1930s by Piers Brendon
 * Interview with Architect
 * //Totalitarian Art// by Seán Lang - Page 7 of 20th Century History Review, January 2008
 * //Mussolini's monsters: Should the Modernist holiday camps of Fascist Italy be saved?// Report by Peter Popham - The Independent, May 15, 2010
 * ** Dictator by Design by Michael Z. Wise (March 2001, // Travel + Leisure) //**
 * // The Role of History of Architecture in Fascist Italy by Henry Millon. Source: Journal of the Society of Architectural Historians, Vol. 24, No. 1 (Mar., 1965), pp. 53-59. Published by: University of California Press on behalf of the Societyof Architectural 59 //
 * ITALY: Mussolini's legacy in modern Rome by Susan Spano, Reporting from Rome. 12:42 PM PDT, October 10, 2009
 * My own photography
 * Eur
 * Foro Italico
 * Possibly a station in Milan if I can get up there


 * __Research__**


 * //The Dark Valley//**
 * The vatican Mussolini said "other small favours to the higher clergy... so that they even declared the war in Abyssinia a holy war." ->tax concessions to the church.
 * Mussolini was believed to of been doing God's work in Ethiopia


 * //Totalitarian Art// by Seán Lang - Page 7 of 20th Century History Review, January 2008**
 * "Dictatorshops have long been alert to the potential of visual imagery to control people's attitudes "
 * " celebrates uniformity "
 * "[focus is] to sink the individual into the collective "
 * "create a personal bond between the citizen and the state, as embodied in the leader, and undermined other focuses for loyalty "

//**Mussolini's monsters: Should the Modernist holiday camps of Fascist Italy be saved?**// **Report by Peter Popham - The Independent, May 15, 2010** **See photo at top of page**
 * Descriptions of some buildings:
 * "a pencil-thin tower with long balconies sticking out like tongues from every floor [...] [look of] diving apparatus for the suicidal"
 * "a white concrete complex, solid and *technocratic like a government ministry but dumped in virgin Alpine countryside"
 * "white concrete centipedes crawling over a beach on the Adriatic Coast; ruinous structures of crumbling cement and smashed glass, graffiti and refuse, spouting broken water pipes which still bring to mind locomotives or battleships or submarines"
 * Holiday camps called " Colonie " served Fascist Italy between the wars.
 * Camps for young people especially from deprived parts of cities "or the backward, swampy, malarial countryside"
 * Colonie's were "a character-forming taste of something completely different from home . [...] And it was those young people who were destined to become the regime's labourers and foot soldiers."
 * from a contemporary magazine article about the colonie "Having come from poor or very modest homes, the majority of these boys and girls will feel disposed here, for the first time, to accept the influence of taste; they will be stimulated, for the first time, to appreciate architectural form."
 * " the buildings where they had learnt to march, wrestle, box, shoot and swim"
 * "Mussolini years were a golden age for Italian architecture."
 * "architecture needs strong patronage and Mussolini, passionately committed to remaking his nation and transforming its image, was quite some patron."
 * "Unlike both Stalin and Hitler [...] Mussolini had sufficient taste to see the beauty of the modern style"
 * 1930 Mussolini declared: "In five years, Rome must appear as vast, ordered, powerful as it was at the time of the first empire of Augustus."
 * drastically remodeled the centre of the capital
 * Fascist Government was "the most prolific Western state in its support of modern architecture" ... "'In sharp contrast to Nazi Germany and Communist Russia, Modernism was never perceived as unsuitable as an architectural idiom.' Nor did Mussolini impose the straitjacket of a single style.
 * "playful picturesque of Garbatella" Italy's first suburb garden in southern Rome, " coexisting with the Rationalism of Florence's magnificent railway station and the Pantheon- and **Colosseum- inspired masterpieces of EUR"**
 * All are still in use today
 * However the colonie lost their function when "the fascist boy scouts and other organizations that used them were dissolved"
 * Institutions forgotten to the point that photographer Dan Dubowitz and architect Patrick Duerden took years to find them all for their book
 * Few have uses like Colonia Elioterpica (Sun Therapy colony) between Turin and Milan is now an archery and gymnastics club.
 * "No one can summon the political will either to tear them down or the rehabilitate them"
 * Colonia Costanza in Miliano Marittima, a resort on the Adriatic coast, is the last expression of Fascist formalism.
 * "enormous concrete frame holding intersecting ramps whose only purpose was for synchronised exhbitions of marching" complete in 1939. In 1945 it was blown up by the Nazis retreat from the peninsula
 * "homeless people were living in the lower parts of the building [...] the building is in a state of collapse [...] the folly of the Fascist utopia revealed by the intervention of reality, time, dereliction and decay ." //**Fascisimo Abbandonato** **by Dan Dubowitz, Patrick Duerden and Penny Lewis** //
 * an exponent or advocate of __technocracy__ -> the government or control of society or industry by an elite of technical experts

//**http://www.michaelzwise.com/articleDisplay.php?article_id=78**// **06/29/2010 11:27 AM**
 * Dictator by Design by Michael Z. Wise (March 2001,** //**Travel + Leisure)**//

<Photo I took at EUR compared to de Chirico painting (below) http://xoomer.virgilio.it/amasoni2002/lucabutipittore/dechirico/05big.jpg Internet address to de Chirico image
 * Foro Mussolini (now known as the Foro Italico) "Benito Mussolini's personal gymnasium still marked with a mammoth M." designed by Modernist architect Luigi Moretti
 * Francesco Dal Co, editor of 'Casabella', says: "The quality of this [the gymnasium's] space is incredible"
 * Government tried privatization of the Foro Italico, but people retaliated. Giorgio Muratore, of the University of Rome said "Next we'll be trying to sell off the Piazza Navona."
 * Importance of Fascist-era to Italians.
 * Foro Mussolini was one of his "earliest efforts to surpass the architectural glories of his imperial predecessors."
 * Venturi describes the architecture as "A lot of it was overpowering and scaleless, but good things did emerge."
 * "many innovative architectural works were built in Fascist Italy"
 * "The Foro aimed to give Italians hard bodies and at the same time strengthen the body politic"
 * Adolf Hitler said after witnessing a spectacle dedicated to himself at the stadium " the Roman state resurrected from the remote tradition to new life."
 * "architecture as propaganda"
 * "55-foot-high obelisk, the largest single piece of marble over quarried at Carrara, [...] inscribed mussolini dux"
 * "Behind the monolith stretches a huge piazza paved with mosaics of muscled athletes, fierce eagles, and odes to the dictator spelled out in black-and-white tiles."
 * "open-air and enclosed swimming pools, tennis courts, and running tracks"
 * Also an "Olympic stadium built for the 1960 games and renovated for the 1990 World Cup."
 * Italian government tries to privatize Foro Italico to pay off italian debt, but Biancamaria Tedeschini Lalli (rector of the state-run University for Sport and Human Movement) managed to form a "coalition of public and private institutions to help restore the Foro and rededicate it entirely to sports. 'Let's put it to proper use," she says, adding that its can no longer be regarded as ideologically loaded 'At this point, I don't think a young person gets a political message from the architecture."
 * Micaela Fagiolo who is studying to be a gym teacher there says: "They're horrible, [...] For me it's not art. I don't like the ideas they stand for; I'm not proud of this history."
 * Foro's chief planner was Enrico del Debbio who favoured " ornamented buildings that harked back to the triumphs of ancient Rome ", but the Foro includes "a luminous example of Italian Modernism" by Luigi Moretti who also designed Mussolini's gym
 * EUR was where Mussolini had "aspired to trumpet his rule by staging a world's fair (before World War II intervened) . In the post war period most of EUR was made into a business center
 * EUR "bears an eerie resemblance to a de Chirico painting"



(left) A photo I took in EUR

(right) de Chirico's painting http://www.uh.edu/~englmi/i/franzRoh/franzRoh-40.jpg


 * The square colosseum is said to be inspired by de Chirico
 * Foro Italico is a design success
 * "thousands come to use its sporting facilities"
 * Piazza Augusto Imperatore "has proved an aesthetic and urbanistic failure. [...] Mussolini had envisioned the circular tomb as his final resting place, and in planning the piazza he had hoped to draw parallels between the Augustan Age and his own epoch. Now pedestrians reguarly shun the square."
 * "In 1937 Mussolini ordered the Ara Pacis moved from another site in Rome. Reliefs on the altar's side portray the emperor Augustus and his children, while Fascist iconography around the Piazza echoes this glorification of family, fecundity, and agrarian life . Mussolini also tapped into the martial aspect of the Augustan Age; [...] Roman armaments alongside [...] gas masks and pistols . The bellicose imagery and the Fascist architectural ensemble of drab stone and red brick add up to a decidedly inhospitable public space."
 * ' "It's great to have a city frozen in time," Meier says, "but to keep it viable some aspect has to move it along." '
 * __'"With the increasing distance between us and Fascism, this architecture has become part of our heritage," says architectural historian Giorgio Ciucci. "Rather than dividing ourselves into pro- or anti- Mussolini, today it's more useful for us to understand that we have a history of light and shadow."'__

__**http://www.jstor.org/pss/988281**__ **The Role of History of Architecture in Fascist Italy by Henry Millon. Source: Journal of the Society of Architectural Historians, Vol. 24, No. 1 (Mar., 1965), pp. 53-59. Published by: University of California Press on behalf of the Societyof Architectural 59** Most Italians would rather forget 'Il Duce's' place in its history, but his imprint can be found around the city if you know where to look. By Susan Spano, Reporting from Rome. 12:42 PM PDT, October 10, 2009
 * "Mussolini stated that the past - interpreted, invigorated, brought up to date - serves as a source of training and encouragement for the advancement of the aims of the nation."
 * "historians of art and architecture in Italy in the late 1930s directly aided the Fascist regime by advocating an expansionist policy based on the scholarly evidence they were able to gather concerning the extent of Italic or Latin control, power, and influence from antiquity to the rise of the Fascist regime."
 * Gustavo Giovannoni (politically most important art historians and intellectually most important scholar of the history of architecture in Italy): "we intend to illustrate Italian monuments, to create around these an awareness and affection, to demonstrate what grand and almost uninterrupted means of a dominant civilization these are still able to document. We have wished that an issue be dedicated almost entirely to our architectural works found in regions that should be returned to Italy by undeniable right of history of lineage."
 * "after Piacentini convinced Mussolini that his approach to building was the only sure way to achieve an architecture that would both demonstrate continuity with the past and provide adequate, permanent evidence of imperial glories of the present, cannot adequately be discussed solely in terms of its forms, lighting, and spaces, nor its technological and industrial achievements. Fascists architecture must also be seen, I believe, in its context, as a social and political document."
 * "one small aspect, which, when it is seen in context of Fascist ideology, aspiration, and propaganda, may help us see what effect imperialist ideas might have had on Italian architecture."
 * "Their mission was persuasion and conversion to the new faith"
 * "demonstrate the superior qualities"
 * "rationalist architecture in Italy that occurred when the 'Gruppo Sette' and the 'Movimento Italiano per l'Architettura Razionale' were wiped out by Piacentini and his followers through a calculated policy of (to use Zevi's words) 'threats, corruption, and compromise.' Nor will I try to trace those movements that exhibit the triumph of 'stripped classicism' over the notable rationalistic works of Terragni, Perisco, Baldessari, Figini, Pollini, and Mazzocchi."
 * Professor A. Annoni remarked "that non-Italians who wrote about Italian art do not know Italian art, and as a result 'wish to minimize the originality of our architectural conceptions.'"
 * When race came into the question Bottai "spoke more concretely about race and attempted to dispell the arguments advanced against connections between 'race' and 'art'."
 * "(Roman or Italian) peoples would save civilization from the barbarians"
 * " relationship between war and architecture, outlines the influence on the Mediterranean world [...] including prehistory, Roman, Christian Rome, medieval maritime cities cities, Renaissance, and vernacular architecture."
 * "I monumenti romani della Tunisia"
 * "Le fortificazione venete di Candia"
 * "Il trofeo di Augusto alla Turbia"
 * Volpe wrote an article finishing it with "the works of the fathers [...] a kind of right and even impose duties. The new Empire of the Mediterranean will be truly formed [...] evaluating in its archeological and historical richness and thereby in its continuity from the Roman fathers to today."
 * __http://travel.latimes.com/articles/la-trw-fascistrome11-2009oct11__** ITALY: <span style="font-family: Arial,Helvetica,sans-serif; font-size: 20px; line-height: normal;">Mussolini's legacy in modern Rome


 * the article discusses Mussolini's mark on Rome
 * Mussolini was " a visionary builder who sought to imbue Italians with a sense of patriotism by reconfiguring their ancient imperial capital."
 * Favourite architect was Marcello Piacentini,
 * Il duce "<span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">cleared out the area below the Vittoriano, creating an open space where crowds gathered to hear speeches from this squat, florid man who held his finger on the pulse of discontent."
 * <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">"The Largo Argentina site was discovered when Mussolini ordered the clearing of what was then a slum as part of a wide-ranging project to <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">facilitate traffic and improve hygiene. <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">" >very pratical
 * "<span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">he vowed that <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">new construction would never obscure the truncated columns and scattered capitals of the Republican-era temples. Largo Argentina remains a time-warping, mind-bending place where the modern and ancient worlds collide."
 * <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">" <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">Excavating and opening access to ruins -- especially those from the age of Il Duce's hero Emperor Caesar Augustus -- became a Fascist fundamental."
 * <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">"Mussolini <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">cared little for the art and architecture of subsequent, decadent periods <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">, resulting in the now-lamented <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">demolition of Baroque churches and whole medieval districts <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">, including the winding lanes on the west side of the Tiber River that took pilgrims to St. Peter's Basilica. In 1936, these were eradicated to make room for the soullessly broad and straight Via della Conciliazione."
 * <span style="font-family: Arial,Verdana,sans-serif;">" <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">A 1937 article in National Geographic magazine acclaimed Fascist urban renewal as "Imperial Rome Reborn.""
 * <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">"Mussolini was constructing harbors, railways, aqueducts, roads, schools, stadiums, hospitals and post offices, often in a cutting-edge, modernist style that makes many visitors cringe. Buildings such as Rome's Fascist-era <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">Termini train station "stand out like monsters people strenuously try to ignore," <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;"> said Terry Kirk, author of "The Architecture of Modern Italy.""
 * <span style="font-family: Arial,Verdana,sans-serif;">" the 420-acre campus was laid out on a classical Roman model. Ten monumental buildings were completed, and an acronym for the exposition stuck as the name of the district: EUR."
 * <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif;">Termini station linked the historic center to EUR
 * <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif;">" <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">Its [the square colosseum's] four corners are flanked by huge equestrian statues with naked Greek heroes <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">, sculpted in the same style as the 60 colossal athletes surrounding the sports stadium at Mussolini's Foro Italico, <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">with smoothed-over details arousing none of the curiosity of more realistically rendered classical nudes."
 * <span style="font-family: Arial,Verdana,sans-serif;">EUR's " Fascist-era monuments seem to reflect an experiment with the future that was abandoned"
 * <span style="font-family: Arial,Verdana,sans-serif;">" Kirk said " <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">At EUR, we see them striking a balance between modernity and classicism <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">[...]"
 * <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">" Palazzo dei Ricevimenti e dei Congressi, a Fascist convention center designed by Adalberto Libera in the late 1930s. It is a standout example of Italian modernist architecture, with a dome that echoes the Pantheon"
 * <span style="font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">" still think of Il Duce clutching the railing of a balcony at Piazza Venezia, boasting of his big new building projects. <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif; font-size: 12px; line-height: 16px;">But now when I walk past Termini station or the Square Colosseum, I see monuments of Italian modernism, not monsters."


 * E UR stands for Esposizione Universale Roma

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 12px; line-height: 16px;">The city plan employed a style called <span style="background-color: #ffff00; font-family: Arial,Helvetica,sans-serif; font-size: 12px; line-height: 16px;"> Italian Rationalism, which has a functional system of wide roads organized in an orderly symmetrical style. <span style="background-color: #ffff00; font-family: Arial,Verdana,sans-serif;"> It uses a strong north-south central axis and east-west multiple cross axes, which divide the city into blocks. The architecture is derived from classic Rome, and uses a consistent form, rhythm, and proportion.
 * <span style="font-family: Arial,Helvetica,sans-serif;"> DEFINITION from http://courses.umass.edu/latour/Italy/Mussolini/index.html **


 * "The city has many outdoor sculptures, arches, colonnades, and an obelisk to recall the strong regional history and unite the people. The scale of the features is proportional in relation to the whole, but the white marble used gives it a sterile alien look, opposed to the godly look of the ancient roman structures. "


 * " All of the historical elements were existing, so the roads seem chaotic in plan view, but they use landmarks to create stability and orientation. Mussolini's regime was short lived, but the contributions he made to Rome survive and benefit the cities inhabitants of the common day by creating a strong connection with its ancient past and glory and broad avenues that open up the city."

Interview Questions (open to suggestions on more questions)

Do you feel that the Mussolini era architecture remains relevant to us in a post fascist era? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">Ritiene che l’architettura dell’era fascista rimanga importante per noi anche ora e nell’era post-fascista?

How do contemporary practitioners of architecture view the Mussolini era architecture within the context of the history of world architecture? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">Nel contesto della storia dell’architettura mondiale, come ritiene che sia vista l’architettura fascista dagli architetti contemporanei?

Mussolini’s architecture is commonly known as “Mussolini’s Monsters”, do you agree with this name? Why? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">Le opere architettoniche originarie dell’era fascista sono comunemente note come le “Mostruosità di Mussolini”. È d’accordo con questa definizione? Perchè?

Is the Mussolini era architecture perceived as enduringly influential? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">L’architettura dell’era fascista è percepita come influente nel tempo?

How does the fascist architecture of Rome reflect previous ages of Roman history? Is it only Emperor Augustus that Mussolini wished to copy? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">In quale maniera l’architettura romana dell’era fascista rispecchia quella delle epoche storiche precedenti? Mussolini aspirava ad imitare solamente l’Imperatore Augusto?

Has Mussolini’s architecture of Rome ‘aged’ as well as other urban architecture of the early/mid 20th century? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; font-size: 13px; letter-spacing: 0px; line-height: normal;">Le opere architettoniche romane di Mussolini hanno resistito agli attacchi del tempo bene come quelle della prima metà del XX secolo?

Can Mussolini era architecture be viewed in formal/aesthetic terms without being burdened with the totalitarian associations? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">È possibile osservare l’architettura fascista dal punto di vista estetico senza che salti agli occhi il suo rapporto con la dittatura?

What effect has Mussolini era architecture had on subsequent urban planning in Rome? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; font-size: 13px; letter-spacing: 0px; line-height: normal;">Quale è stata l’influenza dell’architettura di Mussolini sul successivo piano urbanistico di Roma?

Did Mussolini’s architecture have an impact on the development of architecture? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">Che effetto ha avuto l’architettura di Mussolini sullo sviluppo dell’architettura in generale?

Does Mussolini era architecture dominate the contemporary urban/social/cultural environment of Rome? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">L’ambiente socio-culturale contemporaneo della città di Roma è dominato dall’architettura di Mussolini?

Was Mussolini era architecture a golden age for Italian architecture? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">Quella dell’era Fascista può essere considerata una “età d’oro” per l’architettura Italiana?

Does it compare to ancient Roman, medieval or renaissance eras in terms of inventiveness and quality? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; font-size: 13px; letter-spacing: 0px; line-height: normal;">In termini di inventiva e qualità, si può paragonare l’architettura fascista con quella Romana, medievale o Rinascimentale?

In what ways was the fascist architecture used as a propaganda stunt for Mussolini <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">In quale maniera veniva usata come propaganda l’architettura dell’era fascista?

Do you believe that the buildings at EUR were influenced by the artist de Chirico? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">Ritiene che i palazzi dell’EUR siano stati influenzati dall’artista de Chirico?

"Mussolini stated that the past - interpreted, invigorated, brought up to date - serves as a source of training and encouragement for the advancement of the aims of the nation." is this seen in his architecture? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; font-size: 13px; letter-spacing: 0px; line-height: normal;">“Mussolini affermava che il passato – interpretato, rinvigorito e riportato all’era contemporanea – serve come un mezzo di addestramento e incoraggiamento per il raggiungimento degli obiettivi della nazione”. In che modo ciò è rispecchiato nella sua architettura?

Is there a fair balance of rationalism and classicism in Mussolini’s era architecture? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; line-height: normal;">Il Razionalismo e il Classicismo sono equamente distribuiti nell’architettura dell’era di Mussolini?

Did Mussolini's era architecture help shape the new 'fascist italian' generation and/or nowadays italians? <span style="color: #333333; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; font-size: 13px;">L’architettura fascista ha contribuito a plasmare la nuova generazione dell’“Italiano Fascista” e/o quella dell’Italiano contemporaneo?