October 30: Ducetecture

2016/10/30 § 2 Comments

On this day in 1922 Benito Mussolini was made Prime Minister of Italy.

In his role as Il Duce (first as prime minister, later dictator), Mussolini drew from various cultural sources to foster national pride and the strength of his Fascist party.  Among them, architecture was primary.  Mussolini’s architects had a rich store of precedents from which to draw, as even in their ruined state the buildings of the Roman Empire communicated crushing might and cultural solidarity.  His favorite architect was Marcello Piacentini (1881-1960), planner of the EUR and Via della Conciliazione.  Both of these vast urban projects revisited the ancient Roman preference for sweeping axes, dominant symmetries and massive monumental structures to formalize the urban environment and direct attention to specific symbols of power.  As an architect, Piacentini’s monument to the “martyrs” of the Great War in Bolzano is a triumph of Neo-Classicism on behalf of Fascism:  an imperially-scaled triumphal arch sparsely ornamented with simple figural sculpture and for which the decorative applied and structural columns are replaced by the fasces.

Piacentini was to Mussolini as Speer was to Hitler, but was not his only architect.  Il Duce required a phalanx of designers to complete his many projects throughout Italy, most of them in the stripped Neo-Classical form identified with not only Mussolini but Hitler as well.  Before one rules against the buildings as inherently evil, one must consider how fair the judgement–guilt by association.  Indeed, other governments were using the same language of architecture to express their own strengths, value for the Classical world, and aspirations for global dominance.

Image: Mussolini speaking from the balcony of the Palazzo Venezia (from this source)


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§ 2 Responses to October 30: Ducetecture

  • osakajoe says:

    There is a building close to Termini station (looks like it might have been either a Party building or a police station) that is ringed with little busts of him all around the point where the walls join the roof (no idea what the architectural name is for that).

    He’s still there in his buildings, whether it’s his monumental stuff out at EUR, the Termini Station itself, or all of the resurrected Roman monuments.

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