Editing Modern architecture (section)

==Paris International Exposition of 1937 and the architecture of dictators==
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File:Paris 75016 Fontaines du Trocadéro 20090815.jpg|The [[Palais de Chaillot]] by [[Louis-Hippolyte Boileau]], [[Jacques Carlu]] and [[Léon Azéma]] from the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne|1937 Paris International Exposition]]
File:Exposition_Internationale_des_Arts_et_Techniques_dans_la_Vie_Moderne_15.jpg|The Pavilion of Nazi Germany (left) faced the Pavilion of the Soviet Union (right) at the 1937 Paris Exposition.
File:Rutes Històriques a Horta-Guinardó-pabello republica 02.jpg|Reconstruction of the Pavilion of the [[Second Spanish Republic]] by [[Josep Lluis Sert]] (1937) displayed Picasso's painting ''[[Guernica (Picasso)|Guernica]]'' (1937)
File:Nazi party rally grounds (1938) 3.jpg|The Zeppelinfield stadium in [[Nuremberg]], Germany (1934), built by [[Albert Speer]] for Nazi Party rallies
File:Como, ex casa del fascio 04.JPG|The ''Casa del Fascio'' (House of Fascism) in Como, Italy, by [[Giuseppe Terragni]] (1932–1936)
File:Palais de Tokyo, Musée d'Art Moderne de la Ville de Paris.jpg|[[Palais de Tokyo]], [[Musée d'Art Moderne de la Ville de Paris]] 
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The [[Exposition Internationale des Arts et Techniques dans la Vie Moderne|1937 Paris International Exposition]] in Paris effectively marked the end of the Art Deco, and of pre-war architectural styles. Most of the pavilions were in a neoclassical Deco style, with colonnades and sculptural decoration. The pavilions of Nazi Germany, designed by [[Albert Speer]], in a German neoclassical style topped by eagle and swastika, faced the pavilion of the Soviet Union, topped by enormous statues of a worker and a peasant carrying a hammer and sickle. As to the modernists, Le Corbusier was practically, but not quite invisible at the Exposition; he participated in the Pavilion des temps nouveaux, but focused mainly on his painting.{{Sfn|Journel|2015|page=216}} The one modernist who did attract attention was a collaborator of Le Corbusier, [[Josep Lluis Sert]], the Spanish architect, whose pavilion of the [[Second Spanish Republic]] was pure modernist glass and steel box. Inside it displayed the most modernist work of the Exposition, the painting ''[[Guernica (Picasso)|Guernica]]'' by [[Pablo Picasso]]. The original building was destroyed after the Exposition, but it was recreated in 1992 in Barcelona.

The rise of nationalism in the 1930s was reflected in the [[Fascist architecture]] of Italy, and [[Nazi architecture]] of Germany, based on classical styles and designed to express power and grandeur. The Nazi architecture, much of it designed by [[Albert Speer]], was intended to awe the spectators by its huge scale. Adolf Hitler intended to turn Berlin into the capital of Europe, grander than Rome or Paris. The Nazis closed the Bauhaus, and the most prominent modern architects soon departed for Britain or the United States. In Italy, Benito Mussolini wished to present himself as the heir to the glory and empire of ancient Rome.<ref name=Frampton1>{{cite book|last=Frampton|first=Kenneth|title=Modern Architecture: A Critical History|year=1980 |publisher=Thames and Hudson|isbn=0-500-20257-5|pages=210–218|edition=3rd}}</ref> Mussolini's government was not as hostile to modernism as The Nazis; the spirit of [[Rationalism (architecture)|Italian Rationalism]] of the 1920s continued, with the work of architect [[Giuseppe Terragni]]. His ''Casa del Fascio'' in Como, headquarters of the local Fascist party, was a perfectly modernist building, with geometric proportions (33.2 meters long by 16.6 meters high), a clean façade of marble, and a Renaissance-inspired interior courtyard. Opposed to Terragni was Marcello Piacitini, a proponent of monumental fascist architecture, who rebuilt the University of Rome, and designed the Italian pavilion at the 1937 Paris Exposition, and planned a grand reconstruction of Rome on the fascist model.{{Sfn|Bony|2012|pages=120–121}}