11 11 Analysis, Daniel Alonso

The following writing will explore the 1111 building on the west end of Lincoln road. It will first analyze the building architecturally in an inwardly focused manner then analyze the outward expression and urban qualities of the building and site.

The building is really to be experienced via the car, it is, after all, a parking garage. The ramp and promenade can be somewhat of a Corbusian quotation, but the main idea here is how the ramp transforms from what is typically seen, to something that is more akin to that of a rollercoaster. Even the curbs inside the building are of bent steel tubing reminiscent of a rollercoaster’s tracks. When one pays to park there the fact you get a parking space feels more like a bonus then the purpose of the building. One of the elements that make the promenade so successful is the expert use of expansion and contraction manipulated by varying floor to floor height and lighting. Each floor offers a different experience and the construction type allows for one in a car to feel as if they are moving in section through the building. This is also evident if one walks up or down the central stairs. There are certain moments in the procession that allows one to see floor plates, ramp and parking area as if looking in section. Also this sets this garage apart from others by not having parking space efficiency take the front seat, but space creation and car promenade as the priority, making this project much less about number of cars and more about spaces created and transition through them. Another interesting element of the building is the negation of a typical façade, for the parking portion. Usually it is the only element architects can have some freedom with in a parking garage, but was deleted in this project to display its internal features.

Although the building is a beautiful built form, the urban qualities of the site still leave something desired. The expansion by Raymond Jungle is a beautiful reinterpretation of the Lincoln road paradigm in plan, but in practice loses the scale held by the majority of Lincoln road. In fairness, the areas at the west and east ends of Lincoln road both have this scale change that can be seen as appropriate, almost as entrances from the city to the pedestrian walk. They do not however completely relate to Lincoln road. The major culprit of this disassociation is the manipulation of scale. Where Lincoln road keeps a very low awning and dense tree canopy the 1111 building along with the landscape do not exactly complete these goals. Now the spaces are wide and airy, not intimate and cozy which is the feel, and success of Lincoln road.

Also, proper attention was not given to the sidewalk and façade condition on the side parallel to Alton road. They employed the same storefront and canopy technique they used on the Lincoln road side, and these conditions could not be more different. It also seems to be the only area that has not been occupied by a business. Perhaps because the space is made uncomfortable by keeping the same height line overhead from the Lincoln road side, for a space that horizontally has shrunk immensely. It feels as if the building is pushing you out into the street. Another odd, albeit interesting gesture is the passageway through the building. I understand the stair and elevators need an entrance, but when one walks through this passage they feel they are about to stumble upon a hidden gem (like what happens at books and books) but are sadly disappointed. I like the passage but feel that this could have been made with more intention.

The building overall is truly a success and a wonderful addition to Miami’s list of buildings, It just seems that some extra care would have taken the building a bit farther urbanistically.


An example of the idea of viewing the building in section thought the promenade. This is also the beginning and ending point of the ramp


Scale of the Lincoln road facade and vegetation


Expanding and contracting floor plates


scale of the Alton road facade and uninhabited spaces

Thiago Menezes 1111 Cognition of Scale

This reading seeks to critique and analyze Herzog & de Meuron's 1111 mixed use parking garage, located on Lincoln road, as it relates to human sensory perception through spatial procession. It will attempt to explain the journey taken by the body and mind as physical and phenomenological experiences take place.

As we move through, we will look at three main levels of scale awareness to be referred to as "the across", "the adjacent" and "the within" and two in between states of mind and body.

The Across:
As suggested by its title, the across is a place far enough away where one is able to see the building in its entirety, (i.e. across the street) and therefore perceives it as an object. Positioned across from 1111, both its form and scale seem to be very apparent and well understood, allowing one to easily picture oneself in and around the building as if one had been there before. It is here where the physical and phenomenological aspects of ones surroundings interfere with ones perception of the scale. Placed next to the theatre and having tall trees adjacent to it, the garage seems to be well proportioned, only slightly larger that its surroundings.
It is at "the across" where the mind accepts and welcomes the scale. See figures 1 and 2.

Figure 1

Figure 2

In between 1:
As one accepts the garage for what it is, and moves towards it, the mind begins to question itself as to the previously made judgement. As one nears the structure and looks up, one begins to ponder 1111's monolithic qualities.

The Adjacent:
As the mind succumbs to the physical world, one's thoughts vanish as they encounter the shops located at the bottom of the structure. Now focused on "the adjacent" the body and mind release themselves of any deeper thoughts and engage in frivolous and materialistic activities. Scale is no longer a factor. Both 1111's architecture and its surroundings inform one's body and senses that verticality is no longer a variable, thus engaging the body into the flat, one story space.
Here the mind is at a lethargic state, not focusing on its surroundings, but rather on what is displayed. See figures 3 and 4.

Figure 3

Figure 4

In between 2:
Climbing out of its lethargic state, the mind once again engages the space, and wonders what else might be up there. Referring back to "the across" the mind grows curious and challenges its own state of being, asking to be informed.

The within:
Having questioned itself, the mind again muses on 1111's monolithic properties. It is on the way up where perception and ideas begin to concretize, and one's thoughts move forward and realize the true scale of the multi-story structure. However, one's body and mind aren't truly in sync until one steps out onto the vibrating poured concrete slabs. Here, both the body and mind perceive altitude and the idea that one is no longer grounded, but stands within a structure. This realization of scale reaches its final moments as one walks out towards the metal wires,and looks out into the city. Yet, true cognition of scale is only achieved as one realizes that one is still standing under a double story height reachable only by private residents. See figures 5 and 6.

Figure 5

Figure 6

1111 Lincoln Road_Amanda

1111 Lincoln Road located between Alton Road and Lincoln Road functions not only as a parking garage but also as a retail space. The building becomes an outstanding sculpture and a vertical extension of Lincoln Road. The 1111 and the Bank of America building, between Washington Avenue and Lincoln Road, delineates the beginning and the end of the broad pedestrian access of Lincoln Road, and creates a vertical balance on both edges.

The 1111 Lincoln Road becomes a sculpture representing the already existing ones along Lincoln Road. The Lapidus’ sculptures are linear and have angles; the columns, in some of them, as they are in the fountain sculpture, in the middle of Lincoln Road, are in angles as the columns in the parking garage. The columns help remove the image of a parking garage by giving people an illusion of being fragile and light, the opposite of its actual use.

In the second floor, there is a sculpture that represents the unusual structure of the building and enhances the already given illusion of fragility and lightness of the 1111. The ends of each concrete slab are thin, so they produce the false impression that the structure of the building is composed of the same thin flat concrete slabs used in the different pavilions through Lincoln Road. Therefore, it continues the same language vertically.

To maintain the idea of having canopies, the slab in the second floor is the canopy for the storefronts.

The parking garage becomes a vertical extension of Lincoln Road by having retail spaces in different levels. The ground floor integrates the pedestrian access inside the building with the hallway crossing it. The same idea of having a garden in Lincoln Road gets carried away to the end of the hallway, where they have a small garden.

The hallway invites people to go in because the storefront wraps inside the hallway, and the grand stair is at the beginning of the hallway. The stairs encourages people to explore the other floors because starting from the second floor, the staircase was designed in an unusual shape, and it merges each floor. In the fifth floor, there is another retail space, and in the seventh floor, there is a restaurant. The 1111 Lincoln Road is a mix-use building that continues Lincoln Road vertically and portrays its unique characteristic.1111 Lincoln Road located between Alton Road and Lincoln Road functions not only as a parking garage but also as a retail space. The building becomes an outstanding sculpture and a vertical extension of Lincoln Road.

The 1111 Lincoln Rd

The 1111 Lincoln Road parking garage known as the “performance piece” located at the intersection of Lincoln Road and Alton Road; it’s a very unique parking garage. Lincoln Road itself is a pedestrian dominated street. The parking garage is not only design for vehicular circulation, but also and mainly for Lincoln Road pedestrian circulation.  This parking garage does not only include parking spaces but it also has restaurants, retail stores and a roof garden. 

The 1111 Lincoln Road

This parking garage is open for the public to walk in and explore it.  It is also known for holding special events such as fashion shows and photo-shoots on the fifth floor. The parking garage has many unique characteristics but the main characteristic that stands out from this parking garage is the sense of incompleteness it has. It has a very open concrete structure where one is able to see through it.

Facade study, of the columns

 The façade of this parking garage is not like no others. When looking at the façade from across the street one is able to notice the unique structure of the garage, for example the different columns widths and the different angles the columns have. These columns give a rhythm to the façade of the garage making it a unique one. The main materials used in this project were concrete, steel and glass. Since the structures of the garage consist of thin concrete slabs, the garage itself looks very light and fragile compare to the heavy normal parking garages. When exploring the 1111 Lincoln Road, one can see the different shadows the angle columns cast when sun is striking it; the columns shadows change depending on the time of the day and the season. 

The different shadows from the columns

This parking garage is one of a kind, due to the different spaces one can experience, such as the compression and expansion of spaces. One can experience these spaces when going up the stairs. The spaces interlock with one another, make it feel as one complete space. Each different floor level offers different views to the city of Miami Beach. For example, it has amazing views to the bay, Lincoln road, and an over view of the city itself.  The retail shops that are located within the parking garage are enclosed and design using glass curtains walls.

One of the views towards the city.

The stair, that connect the different spaces.

Interconnection of spaces.

The floating retail store within the parking garage.

 When walking into a retail store one can feel as if the retail store was floating within the concrete structure of the parking garage. Even though this parking garage its very unique one of its downgrade is the flooding it occurs during the heavy rainy days we have in south Florida.  Due to its very open structure on heavy rain days, there is a collection of water by the elevators on the first floor. When walking it and out of the “Performance Piece” one can feel and explore the connection between the inside and the outside of it.  Due to its unique landscape located on Lincoln Road itself. One can see the connection between the garage and its surrounding spaces; this landscape plays a major role in the design of the garage itself, it makes it becomes a continuation of Lincoln road. 

The connection between the inside and outside of the parking garage

The pattern continuation of Lincoln Road.

Tom Pupo_ Metropole / Colony Exhibit Analysis

METROPOLE/COLONY ANALYSIS

Italian fascism manifests its image very quickly through the medium of modernity in technology, material symbolism, architectural gestures, and its social influence.  It is easy to gain power when people believe in a greater meaning or cause, and the belief in that grander gesture makes people want to bring this change themselves.  This is very apparent in the works shown in Metropole/Colony : Africa and Italy.   The prevalent use of the airplane as a recurrent theme speaks of its ambitions in many ways.  It speaks of technological advancement, national power, and growth through colonization as well as the opportunities of globalization opened up to its Nation.  The poster that depicts the people giving up their gold rings for steel ones has quite a few meanings as well.  First it is a visual testament that reinforces the devotion and pride the people had for their nation, but it also speaks of a sacrificial offering of the old (financial) values of gold, and embraces the symbolic (ideological) values of steel which shows the acceptance and desire for the modern material and of modernization in general.  The products, machines, buildings, and airplanes were all made of steel, so it is easy to correlate this material to the idea of progress.  The architectural works being designed also carried these themes. The poster that displays the design of the Roma 1942 arch by Giorgio (1939) forms a symbolic reference to the trajectory of the flight of an airplane bridging nations.  It speaks of technology, power, growth, and is the epitome of all these ideals as it solidified it in built form.   It shows that design across the board was embracing these themes and it was the variety all of these forms that became the subject matter for the propaganda that reinforced the social and political change.  They all worked together to reinforce the cause, very much reminiscent of what fascism asked of its people, and therefore the display of the exhibit not only displays each medium used in a variety of propaganda, but in itself becomes a large scale metaphor for the ideals of the fascist government and all it represents.  

Colonization and National Consensus -Emily Vandenoever

Antonio Federico Leonardi, Agro pontino redinto (1940)
FIU Wolfsonian Collection

Colonization was a key component in the formation of Italian State policy. Under the Fascist regime Italy expanded its territories in East Africa from land previously acquired in Somalia and Eritea in 1890. Italy later invaded Ethiopia in 1936 and Benito Mussolini declared the establishment of an empire.

Metroploe/Colony: Africa and Italy examines the use of a foreign nation in shaping social and cultural consensus in modern Italy. Agriculture and industry are recurring themes which aim to reinforce the idea of the parallel development of the colony and metroploe. During this time, the reclamation of land for farming and the rebuilding of cities were polices adapted by the Fascist regime. The study of these themes allow for a critical exploration of visual and material culture in building a domestic consensus. 

The exhibition is drawn from the Wolfsonian Collection and is displayed at Florida International University's Frost Art Museum as a part of a collaboration between the institutions to provide space for teaching within the school.

The curator of the show, Professor David Rifkind, Department of Architecture, FIU is a specialist in Italian architecture during the Fascist era (1922-1943) Metroploe/Colony: Africa and Italy draws on his expertise in the way in which the built environment can effect social change. He also puts forward a critic on the modern notion of what it is to be Italian.

The show opens with a brief synopsis of the exhibition onlooking a large oil on canvas in turn establishing it as the primary work. This painting depicts a farmyard with laborers carrying sacks of grain on the backs. The painting reinforces the theme of agriculture as means to producing nation consensus. Mussolini declared the “Battle for Grain” in 1925. In turn, agriculture was celebrated as self sufficiency. What is odd about this painting is that it represents only Italian workers. Seldomly in the exhibition is the image of the native African’s depicted.  The exhibition claims to document the parallel development of the colony and metropole but there is an uneven treatment of scheme.

This may simply be a result of the material available from the Wolsonian museum or a representation of the Fascist strong hold on media. It would have been interesting to represent the cross-pollination that occurred during colonization despite the odds.

One photograph, published in the volume Italia Imperial linked the economic activity in both the colony and main land. The photograph represent the locale staple, bananas with young Italian children giving the Fascist salute. This food isn’t treated as a cultural connection between the colony and mainland but instead the food, is purely a resource. It could be argued that the colonies were treated in the same manner. In a photomontage poster used by the exhibition...this theme again visible. The poster was used in school for a radio series with fascist efforts to transform the colonized territory but more importantly the colonized people. The montage technique combines images of Italian leaders with photographs documenting coffee and banana plantations, mining and processing natural resources, the building of roads and bridges and images the native population at work. This technique boosted the power of the regime and the great privilege of technology granted to the native people. Again the culture of the colonies is a void with in the exhibition.

Oreste Gasperini, Ente Radio Rurale (1938)
FIU Wolfsonian Collection

Metropole/Colony Exhibition - Diego Diez de Medina

The pieces exhibited at metropole/colony: Africa and Italy portrays the citizens of Italy as fully devoted and involved with the fascist government. The exhibit shows the sacrifices and the persuasive methods that the people are exposed to during the time of the fascist regime. By sacrificing their personal possessions and even their children to the government, the people showed their loyalty to Mussolini.

Citizens during that time respond to threats and punishment if they choose a different path. While adults may no longer believe and want to be a part of the fascist government, the punishment for having other beliefs were harsh, therefore people lived in fear of the government, in fear of expressing other values. These methods of persuasion lead people to sacrifice even their most valuable possessions, from a meaningful object like their gold rings to their children.

It is of no surprise that children can be greatly influenced and "brainwashed" to support and be a part of anything while at a very tender age. This is where the Italian government took advantage of a child's nurturing and taught that the fascist movement was the better future for Italy. it taught that fascism was a better way of life and that it is a natural way of living. It taught that for a man, violence and war was just as natural as giving birth. Starting at the age of 8 children in Italy were enrolled in what was called the Balilla, a pre military service which introduced children into the fascist beliefs. This example is shown in the painting "Agro Pontino Redento," where the artist shows the workers sacrificing themselves, working for the benefit of the government while the child in the Balilla uniform symbolizes the sacrifice and participation of the children in the fascist movement. Not targeting a child's mind, but targeting their imagination and fantasy, the government took them on "radio voyages" through the empire with their broadcasts, and told them about the great future ahead. These are the fascist of the future.

The depiction of children in a painting or a poster in the fascist propaganda became effective in the sense that children were being used as bate in order to influence others towards fascism. The children  being forced to participate in the balilla and other government organizations to become the fascist of the future, and at the same time they become the propaganda for the fascist government.

Metropole/Colony Exhibition, Alexandra Pagliery

The fact that the exhibition, Metropole/Colony, gathers together artifacts and information in a variety of different forms to emphasize the importance of the colonization of African cities for the growth of Italy makes it extremely successful. There are multiple types of media including paintings, sculptures, propaganda posters, books, and even bread plates in which information is presented and this helps to accentuate the true pride the Italians felt for their country in this Fascist era. If there was only one type of media presented, it may seem that the government commissioned the artwork or writings, but since there are a variety of medias that were produced in different geographical locations, it proves that the pieces were not forced.

The colonization provided Italians with confidence in themselves and their countries. This is especially evident to a viewer of the exhibit in the posters that advertise travel to the African colonies via the same routes the Italian army took. The Italians were confident enough to advertise this travel through the use of the posters because they felt the trip would allow tourists to retrace the important historic events.  The figurines on display of the airplane and rail car allow a viewer to see how Italians used transportation to display their pride. The fact that the rail car became an iconic symbol and that the airplanes were modeled after military aircraft proves that the Italians were proud enough to give tourists a feeling of taking the same flights as their conquering army. Another form of media that exemplifies the patriotism of the Italians to the viewer of the exhibit is the children’s board game. This proves that even the children participated in the connection with the army and their advances into Africa. Photographs of grains and fields also demonstrate the agricultural emphasis during the time, and how Italians were proud to be part of a growing empire. The sculpture, The Harvest, particularly allows a viewer to understand how the Italians felt toward their agriculture accomplishments. This sculpture provides emotions they felt that one cannot get from a photograph. Likewise, the bread plate is with the verse on it shows a viewer how serious the Italians were about their grain production and consumption.

The use of the different media and materials versus just one or two types is a vital aspect of the Metropole/Colony exhibit. It allows a viewer of the exhibit to become fully integrated into the idea that the exhibit explores. It is a way of providing evidence upon evidence that proves that the colonization of Africa was important for Italy and allows for a three dimensional experience of that time in history.    

The Metropole/Colony: Africa and Italy exhibition

The key goals of Italy’s Fascist Empire are narrated in the Metropole/Colony exhibition through the organization and relationship between its pieces. It becomes clear that Italian Fascists were trying to normalize the addition of Ethiopia to metropolitan Italy and to reassure its natives of their patriotism. As a small partition wall overviews what the exhibition is about, it stands next to a table that holds maps and pictures of EUR and Addis-Abeba to describe the Fascist’s aspirations for Italy’s new Imperial cities, which functions as an introduction to the following peripheral pieces. From there, the exhibition’s layout can be divided into two parts.

The Fascist’s attempt to normalize the integration of its West African colonies through the use of tourism, new technology, and relationships between this new technology and old historic architecture are displayed towards the front of the exhibition, on either side of the entrance. To the right of the entrance, the theme of relating new technology with old historic architecture is presented with the Foro Mussolini being displayed in a series of white and black photographs to show its ancient roots in the new buildings. Above, there are paintings of aircrafts above cities, which can be identified by its iconic structure, to depict new airplane technology in relationship to old historic architecture. Addis-Ababa is drawn next Rome’s Colosseum to aid its integration to metropolitan Italy by relating it to these other important Italian monuments. To the left of the entrance, the theme of tourism is presented again with the use of new technology in transportation shown as tourism propaganda depicting the colonies as destinations for leisure to facilitate their integration into metropolitan Italy. 

Continuing into the exhibition, along the right side wall, a more intimate side is shown, describing Fascist Italy’s efforts to remind its natives of their patriotism and involving them with Fascists’ accomplishments through media. Two tables along the wall display media illustrating the Fascist government’s rapid development of agriculture and industry in books and postcards. Above the tables are two posters promoting sugar production in the colonies as a patriotic duty. Another poster follows, promoting the use of radios to allow for communication from the colonies. A third table follows the previous two, showing Fascist involvement in Italian daily life, like games, teaching children to feel “invested in military conquest.” Italians’ strong patriotism is symbolized in a steel ring that was given for donations of gold wedding bands to help the government’s war efforts. Italian immigrants in the America’s show “pride in Italy’s recent accomplishments” as a book and case and postcards shown adjacent to the right wall.  Finally, the back wall of the exhibition speaks about the importance of grain agriculture in the colonies by calling for unemployed Italians’ patriotic duty to work at the colonies as farmers. Two plates with illustrations about the importance of grain agriculture continue to display how this patriotism affected Italian households. 

Italian Fascism Transportation Propaganda (Jenny Meneses)

    The Metropole / Colony: Africa and Italy exhibition includes items that show the role of transportation as propaganda during the colonization of East Africa by the Italian Fascism.

The rapid construction of roads during the occupation period (1936-1941) was part of development plan for the new colonize territories. The need to transport troops, construction materials, and food was fundamental for the colonization campaign in East Africa. The fascist party saw this as an opportunity in the transport infrastructure to use it as propaganda.

The building of roads connecting the different colonies of East Africa allowed for public transportation service to become an asset for the government.  Photographs of vehicles touring East Africa were used to show a tourist friendly empire. This misleading representation of a pacified place intended to persuade Italians to spend their vacations in the new East African Colonies.

Road workers were also used as propaganda to benefit the fascism government.  They were show as part of the driving force responsible for the firm progress in East Africa. By doing this, the Fascism government appealed to other workers in main land to believe in the corporatist economic system. The idea of progress was vital for the Italian government given the economic conditions Italy was facing after World War I.  Italian workers were lead to see themselves as heroes; taking part in the colonization of new territories. Also, the creation of fascist identity is obvious in the used of road workers and engineers as advertising. The Reinforcement of political violence and war as a positive means to achieve progress creates a direct relationship between war- transport infrastructures (workers) - development.

Also, air transportation was used to promote the success of the colonization process. By showing the engineering and monetary power which represents this kind of transportation the government appealed to Italians. All this attempts to show power were made in order to contrast the debt and unemployment left by the Italian Liberal Party through Italy. Poster showing planes were used to show the leisure to travel from Italy to East Africa.

Italian nationalism and the territorial expansionism of Italian fascism used propaganda to create identity and reinforced their power. The used of print advertisement was seen as an effective mean of manipulating the population to gain support. Transportation infrastructure was not only a necessity but also a marketing strategy for both new colonies and for Italians citizens. The Idea of unparalleled progress was sold to Italians by the fascism government to elevate their party as the ideal form of government.

The exhibition Metropole/Colony: Africa and Italy

The exhibition Metropole/Colony: Africa and Italy displays interesting points of the relationship between imperial Italy of 1922-1943 and Italy’s East African colonies, combined under Africa Orientale Italiana (AIO), along with North African Libya, Albania and the Greek Dodecanese Islands. This exposition documents the strategies used by metropole to assimilate African population into Italy. Similar to the Roman Republic, the fascist regime tried to integrate Italian style of life in Africa, in order to gain and secure their economical position in the quest for colonization. This integration was imposed on agriculture, infrastructure, media and urban planning.

Figure 1. Map from Africa Orientale Italiana, published by Consociazione Turistica Italiana (1938) shows Italian Fascist colonial holdings

The exhibition context centers around a few main topics:

1.        Role of industry for the growth of Colonial  agriculture and needs of metropole
2.        Global transportation expansion as  a part of military and tourist intensification
3.        Formation of Italian identity along with the international missioner profile

As part of the national identity formation, Mussolini’s government employed ideas of conquering foreign land while making reference to the Roman past. As historical and cultural meanings were projected on economical production and massive consumption, there was a special focus on industries like sugar, grain, cotton production. The government dogma brought desire of each citizen to contribute to the big and powerful nation. 

Figure 2. Government propaganda highlights the importance of production of agricultural products for the empire’s internal consumption. Photo on right shows Italian children, set in a pattern as to create cheering image for the banana campaign

Figure 4. Airlines’ and Banco de Roma postcards popularize Italians’ presence in the East Africa

The exhibition demonstrates the romanticizing of the very idea of aircraft and transportation. Oil paintings depictured an expression of the new-minted aircraft mechanisms in soft edge and light, making their association with significant buildings and places, and sometimes, using them as backgrounds.

Figure 5. Prisma crociera atlantica su Rio de Janeiro by Italian artist Afredo Gauro Ambrosi (1933). Author is unknown on the right

Promoting national tourism in Africa was a next step that Italy took after establishing its authority in colonies. Fiat train provided its riders with an experience, similar to that of Italian conquerors. People were living their history and could literally retreat the military moves, imagining themselves as being soldiers, moving throughout Africa

.

 Figure 6. Fiat manufacturing and aircraft are gear for Italy modernization and military campaign

Figure 7. Poster on a left, ALA littoria S. A. Roma. Linea dell'impero shows the troops’ route that tourists were following. Designer is unknown (1937)

In return, the country was asking their citizen to make contribution by donating their wedding rings. The steel rings were given back as a sign of the national pride.

Figure 8. Poster demonstrates symbolic sacrifice of Italian families to the well-being of the empire

Italian Self-promoted Identity nurtured by the internal development and agricultural enlargement, creates its profile in relations to the colonies. The exposition illustrations show an interesting fact that the colonies almost never were pictured along, but with the strong relations to the Italian metropole “civilian mission.” Urban project of the construction a capital of AOI, Addis Ababa, manifests a spacial relationship of its elements, which generates specific urban orientation, superimposed with monumental scale, symmetrical and grid layout. As result the planned city meant to speak about the power of the Italian empire.

Figure 9. Master plans for Rome's Addis Ababa, capital of Italian East Africa meant to reshape local terrain while configurations for segregation along with the monumental arch were signs of supreme power of the Metropole. On the right, Poster displays design of the Roma 1942-XX arch by Giorgio for Quaron Espozione Universale (1939). The arch is symbolic entrance from the Italian capital to trans-Mediterranean empire

As response to internationally disapproval, Italy defeats it reputation and stresses its appearance in Africa as a part of a larger missionary mission that brings civilization to underdeveloped countries.

.

Figure 10. Painting depictures Italians as children that came to Africa to administer justice, by taking the wealth from the ruling class and distributing it among poor’s. On right Platter San Giorgio Benito uccide il monstro delle sanzione by Golia (1936) depictures “St. George Benito” Mussolini killing the monster of Sanctions

Despite the Italian intrusion and fascist fashioned propaganda over the African territories, the modernization had positive aspects in development of these lands. The colonial regime did manage to improve the road system, transportation, infrastructure and agricultural productivity in their colonies.