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Abstract: The construction of the new cinema industrial center of Rome, named with the word “macedonia” Cinecittà, was at the turn of 1936: a significant years for international fascist policy. The project of Cinecittà represents the passage from the “national modernity” of the Early-Thirties Italian architecture to the celebrative monumentality for the Italian Empire founded in 1936. How to place the design strategies of Peressutti in this context? The sober image of the complex represents only the economic reasons and the will of a rapid construction? The essay focuses on those aspects, in particular on the innovative distributive scheme of Cinecittà, modeled on the principles of the modern logistics that rule the working process from the beginning to the delivery of the finished product.

Keywords: Rome; Cinecittà; fascist architecture; History of Architecture; Gino Peressutti.