Roma, Città Sportiva - Global Rome: Changing Faces of the Eternal City - page 145

a distinct style that was neither backward- nor forward-looking, but represented
the fascist present. as highly prominent buildings in fascist italy, sports arenas
in particular represented the philosophical contradictions of the regime's broad
cultural influences. by enabling it to market a modern, futuristic, revolutionary
society while extolling the virtues of its Roman past, stadiums evidenced an ar-
chitectural style that remained inclusive but avoided the need to make any con-
crete, potentially problematic, definitions. “more than just training grounds and
'theatres' for the masses, stadia unquestionably served as propaganda vehicles in
the regime's attempt to construct a national culture and community” (martin
2004 , 80).
in its “era of stadiums,” the construction of major, multisport venues was
also intended to demonstrate fascist italy's capacity to host large, prestigious
events. Developing international awareness of the regime, tournaments such as
the 1928 world Diving Championship—held in bologna's littoriale complex—
and the 1934 football world Cup boosted both the economy and the regime's
credibility as an organizer and productive force, essential qualities if mussolini
was to achieve his ultimate desire of hosting the 1940 olympic Games.
The key in fascist italy's olympic ambition was Rome's foro mussolini,
which blended a strong neoclassical interpretation of the ancient past with fascist
mosaics, symbols, and slogans. Contributing to its process of self-legitimization
by association with ancient Rome, sports stadiums were perfect venues to which
the regime “entrusted the materialization of its myth to the architectural world”
(Gentile 1990, 246).
begun in 1928, the complex was inspired and driven by Renato Ricci, head
of the fascist youth organization opera Nazionale balilla, who launched the de-
velopment of an entirely new zone in Rome's northwestern periphery. a direct
response to the 1919 urban master plan that trebled the capital in geographical
size,2 the foro's development on reclaimed marshland on the banks of the tiber
was concrete evidence of fascist bonifica (reclamation) in action. including the
restoration of swampland to constructive use, such programs connected with the
regime's ruralization campaign saw the draining of the pontine marshes, south
of Rome, and, more metaphorically, the physical regeneration of society.
a residential training institute for prospective physical education teachers,
the foro mussolini was celebrated as a physical, scientific, artistic, historic, and
political expression of fascism's intention to regenerate italy. situated at the foot
of the monte mario hill and set in a natural bowl, it too directly referenced the
stadiums and theaters of classical antiquity that were often found in the most
aesthetically pleasing peripheral areas of cities and towns.
overseen by enrico Del Debbio, one of fascist italy's most influential ar-
chitects, the complex's patron, Renato Ricci, was also deeply involved in all de-
sign, architectural, and engineering decisions. one of the largest building sites in
mussolini's Rome, artists and architects informally offered their services to Ricci