This article reconsiders the development of Fascist architecture throughout the late interwar period. It pays especial attention to the structures erected for the most significant international expositions held, or planned to be held, between 1933 and 1942, in order to identify significant trends in Party-sponsored design. It argues that the ‘dynamism’ of Fascist design was a consequence of the regime's preference for an increasingly imperial tone which developed in direct proportion to its increasingly imperial identity. It points to Piacentini and Pagano's Italian Pavilion built for the 1937 Paris Exposition, the first national pavilion constructed following the May 1936 proclamation of empire, as a significant flashpoint in the tension between Fascist interpretations of modern and classical design. This article concludes that the often-overlooked world's fair buildings can be viewed as crystalline distillations of the stylistic experimentation which defined the broader Fascist building programme both in Italy and abroad.

中文翻译：

---

'Un'arte ancora in embrione'：国际博览会、帝国和法西斯建筑设计的演变

本文重新考虑了两次世界大战后期法西斯建筑的发展。它特别关注为 1933 年至 1942 年间举办或计划举办的最重要的国际博览会而建造的结构，以确定党赞助设计的重要趋势。它认为，法西斯设计的“活力”是该政权偏爱日益帝国化的基调的结果，这种基调与其日益帝国化的身份成正比。它指出皮亚琴蒂尼和帕加诺为 1937 年巴黎世博会建造的意大利馆，这是继 1936 年 5 月宣布帝国后建造的第一个国家馆，是法西斯主义对现代和古典设计的解释之间的紧张关系的一个重要爆发点。