Within the context of Peronist expectations regarding culture, the article examines three cases of architectural and urban projects that displayed various kinds of articulation in terms of promotional policies, state institutions, intervening technology, the urban aspects involved, and the architectural aesthetics proposed. The works are interpreted—with respect to their aesthetic forms and images and the political content they transmit—as materializations of the new order envisaged by Peronism. Each of the case studies highlights different visualizations or aspects of this new order. In conceptual terms, all of the characteristics manifested by Peronist cultural production were also observable in the projects of inter-war dictatorships, especially those of Italian fascism. Clearly, given the period in which Peronism came to power, it is anachronistic to locate the architectural programmes which it hosted within the political categories of ‘inter-war dictatorship’ or even ‘fascism’. Nevertheless, seen through the lens of these two categories, it can be shown that the ethos of Peronism falls within the framework of the fascist era, due to its promotion of grandiose visionary projects for national renewal expressed through the transformation of the built environment on a scale characteristic of the two fascist regimes. Such projects mythically elevated Peron and Eva Peron to the level of leaders of the Argentinian people, whom they both saw as an organic entity, socially harmonious, rooted in the history of the nation and, in international terms, decidedly placed the nation on the road to the “third position” pioneered by fascist movements before 1945 in which tradition and modernity were reconciled in a form of modernism termed by Roger Griffin ‘rooted modernism’.

中文翻译：

---

百老汇国家建筑中的现代性面孔，1943-1955年

在Peronist对文化的期望的背景下，本文研究了三个案例，这些案例涉及建筑和城市项目，这些项目在促销政策，国家机构，干预技术，所涉及的城市方面以及所提议的建筑美学方面表现出各种不同的表达方式。作品的美学形式和意象以及所传达的政治内容被解读为Peronism所设想的新秩序的具体化。每个案例研究都突出显示了此新订单的不同可视化效果或各个方面。从概念上讲，在两次世界间专政的项目中，特别是意大利法西斯主义的项目中，也可以观察到佩隆主义文化生产所表现出的所有特征。显然，考虑到Peronism上台的时期，将其托管的建筑计划定位在“战间专政”甚至“法西斯主义”的政治范畴内是不合时宜的。然而，从这两类的角度来看，可以证明，Peronism的精神属于法西斯主义时代的框架，这是由于其促进了宏伟的，具有远见的国家复兴计划，这些计划是通过在建筑环境上改造建筑而表达出来的。两个法西斯政权的规模特征。这些项目神话般地将Peron和Eva Peron提升到阿根廷人民的领导人的水平，他们俩都将阿根廷人民视为一个有机的实体，在社会上和谐，植根于该国的历史，从国际上来讲，