The so-called Square Colosseum , officially the Palazzo della Civiltà Italiana, has become one of those places that, while not on Rome's typical tourist route, is increasingly attracting attention. This white behemoth of perfectly aligned arches dominates the EUR district and, although it was born under the shadow of fascism, today it is a rather peculiar mix of monumental architecture, contemporary art, and luxury fashion . It's not the typical building one associates with classical Rome, but that's precisely what makes it so captivating.
This palace, which many see as a modern reinterpretation of the Flavian Amphitheater (the original Colosseum), has a history steeped in propaganda, megalomaniacal projects that were never completed, and a surprising second life after World War II. Currently, in addition to being the headquarters of the Fendi fashion house, it hosts temporary exhibitions and has become one of the most recognizable symbols of the EUR district skyline, that rationalist neighborhood that feels like another city within Rome.
Origin of the Square Colosseum and the EUR project
The Palazzo della Civiltà Italiana emerged within the context of the grand urban project of the EUR district (Esposizione Universale di Roma), conceived by Benito Mussolini's dictatorship to host a Universal Exposition in 1942. The idea was to showcase a renewed Rome to the world, a direct heir to the Empire, while simultaneously displaying the power and modernity of the fascist regime. The entire EUR area was designed as a showcase of this new Rome, with grand avenues, geometric buildings, and a cold yet imposing aesthetic.
The 1942 World's Fair never took place because the outbreak of World War II brought everything to a halt, leaving the project unfinished. However, many of the planned buildings were indeed erected, and among them, the Palazzo della Civiltà Italiana stood out from the beginning, conceived as a kind of secular temple to the greatness of the Italian people. Although its origins are clearly linked to fascism, after the war Rome chose not to demolish it but rather to give it a new purpose , integrating it into the emerging democratic city.
During the postwar period, the EUR district gradually transformed into a residential and administrative area . Far from being a space frozen in time, the area filled with offices, modern housing, and services, becoming one of the most important economic hubs in the Italian capital. Instead of concealing its origins, Rome used these buildings as an example of how an uncomfortable legacy can be reinterpreted through new uses and new perspectives.
In that context, the Palazzo della Civiltà Italiana ceased to be a mere propaganda monument and became an exhibition space and cultural center . During the Republican period, it was decided to preserve it in its completed form and use it as a venue for various art exhibitions and events. This cultural dimension has been maintained, although today it coexists with its corporate role linked to Fendi, which has marked a turning point in the building's public image.
Architecture: a reinterpretation of the Roman Colosseum
The nickname " Square Colosseum" is neither accidental nor a modern invention: the building was conceived as a direct homage to the ancient Colosseum, but adapted to the codes of 20th-century rationalist architecture. While the Flavian Amphitheater is a large stone oval filled with openings and superimposed arcades, the Palazzo della Civiltà Italiana adopts a strictly square plan and an almost obsessive geometry , creating a compact volume that impresses with its symmetry.
The palace rises to a height of nearly 70 meters , a figure that seems even greater because the building sits atop a raised platform. Before reaching its base, visitors must ascend a wide staircase leading to a kind of travertine and concrete plateau. This monumental pedestal makes the complex appear even more imposing within the EUR district landscape and creates a highly theatrical setting, almost as if one were approaching an urban stage.
The structure features four identical facades replete with arches , reinforcing the idea of a coliseum reinterpreted in a modern style. Each side repeats six rows of nine arches, perfectly aligned from base to top. In total, counting the arches on all four sides yields 216 openings, although the figure of 218 arches is more commonly cited, a symbol of the numerical and symmetrical obsession that permeated many projects of the regime.
One of the most intriguing details is the possible symbolic interpretation of this composition: it is said that the six rows and nine columns of arches allude to the number of letters in the names "Benito" (6) and "Mussolini" (9). Although this interpretation is not always officially documented, it fits quite well with the mentality of the time and with the dictator's desire to leave his mark on the city by resorting to both monumental architecture and numerical and symbolic allusions.
As for the materials, the building was constructed of concrete clad in travertine marble , following the principles of an architecture that aimed to appear robust, pure, and timeless. The use of large, smooth surfaces, the absence of unnecessary ornamentation, and the almost hypnotic repetition of arches align with the principles of Italian rationalism, which favored clean lines, bold volumes, and an aesthetic of power. All of this makes the Square Colosseum both austere and dramatic, creating a powerful visual impact even from a distance.
Authors of the project and ideological significance
The Palazzo della Civiltà Italiana was designed by three Italian architects: Giovanni Guerrini, Ernesto La Padula, and Mario Romano . The commission, like much of the architecture of the EUR district, was part of the regime's overall strategy to create a new monumental image for Rome. These architects had to reconcile the propagandistic aims of the political powers with the prevailing aesthetic trends, heavily influenced by rationalism and a severe reinterpretation of classical antiquity.
Mussolini's intention was to present his government as a continuation of the legacy of the Roman Empire . Therefore, whenever he had the opportunity, he tried to link the new fascist architecture with the great symbols of imperial Rome. The Square Colosseum was meant to be, in this logic, the modern version of the ancient Colosseum: where there had once been gladiators and mass spectacles, now the greatness of "Italian civilization" would be celebrated, understood as a sum of talent, work, and discipline.
At the top of the main facade, an inscription can still be read that perfectly summarizes the ideological message it sought to convey. The phrase, directly associated with the dictator, proclaims that the Italian people are a "nation of poets, artists, heroes, saints, thinkers, scientists, navigators, and migrants ." This list was intended to encompass all facets of the national genius, from spirituality to science, including the exploration of the world and artistic creation.
This declaration carved in stone functions as a kind of condensed manifesto of the political project of the time: to transform the building into a secular altar dedicated to a people elevated almost to the status of myth. Over time, the interpretation of this inscription has changed; today it is usually interpreted more critically or, at least, within its historical context, but it remains one of the palace's most distinctive features and a reminder of its origins.
Although the original ideological charge was very strong, postwar Rome made a clear decision: instead of erasing this past, it integrated it into a new urban narrative . The building remained standing, its construction was completed, and it was assigned cultural uses. Thus, the Square Colosseum went from being a symbol of a specific regime to becoming an architectural icon of the city, open to other interpretations and functions as Rome transformed itself.
The statues and the tribute to Italian talent
One of the most striking features when approaching the Palazzo della Civiltà Italiana is the first row of arches at the entrance level . Beneath each of these ground-floor arches stands a sculpture, forming a kind of honor guard that welcomes the visitor. These figures are not placed randomly, but rather according to a very specific iconographic program inherited from the original design.
Each sculpture represents a skill, art, or discipline considered essential to what was understood as the greatness of humankind, and particularly of the Italian people. There are references to sports, the arts, science, technology, and exploration, forming a catalog of abilities supposedly mastered by the people to whom the building was dedicated. Ultimately, it is a tribute to Italian talent and to the idea that Italy has contributed outstanding figures in almost every field throughout history.
This allegorical dimension aligns with the inscription above and with the palace's very name, which alludes to "civilization" as a global concept . Architecture, words, and sculptures work together to construct a narrative of national grandeur. Today, however, those who stroll through the palace tend to appreciate above all the interplay of volumes and the powerful plasticity of the figures framed by the arches, which add dynamism and a touch of theatricality to the façade.
Beyond their historical significance, the statues contribute to making the entrance a highly photogenic and scenic space . The long staircase, the elevated platform, the arches framing the figures, and the light marble backdrop create a scene that invites both contemplation and photography. It's no wonder the location has become a regular setting for photo shoots, filming, and fashion campaigns, especially since Fendi's arrival.
Completing the exterior ensemble, four additional sculptures stand at either end of the grand access staircase , marking and “protecting” the boundaries of the enclosure. These pieces, installed on the unique raised platform where the building rests, reinforce the idea that the palace is a kind of modern acropolis, separated from its immediate surroundings by this interplay of heights, ramps, and monumental figures.
From fascist symbol to modern icon of Rome
After the fall of Mussolini and the end of World War II, the EUR district carried a clear stigma: it was seen as the grand showcase of fascism . The city had to decide what to do with this powerful architectural legacy, and the solution was to give it new meaning through everyday use. Thus, the area began to fill with public and private offices, housing, and services, becoming one of the most sought-after areas to live and work in Rome.
Today, the EUR district is perceived as an upscale residential and business district , well-connected to the rest of the city by the metro and major roads. Its orderly layout, large open spaces, and the presence of distinctive buildings have transformed it into a kind of city within a city, with its own unique character. The Palazzo della Civiltà Italiana, in this context, serves as a visual landmark and one of the district's most powerful symbols.
As for the palace itself, it was decided to preserve it and complete its construction, dedicating it to cultural exhibitions and displays . For decades, the building hosted various artistic events, becoming a landmark for the cultural life of the EUR district. Although its past remained present, the perception of its architectural and aesthetic value gradually prevailed, and it began to be considered by many as one of the most beautiful buildings in the entire area.
Today, the Colosseum Square has established itself as one of Rome's great contemporary icons , on par with the classical monuments of the historic center. Its silhouette frequently appears in reports, films, and publications dedicated to the city, and for many visitors, a visit has become almost obligatory, especially if they are interested in 20th-century architecture or want to see a side of Rome very different from that of the forums, Baroque squares, or imperial ruins.
Furthermore, there's a curious detail: those arriving in the city by road from Ciampino Airport can often catch a glimpse of the Palazzo della Civiltà Italiana from their cars, silhouetted against the EUR district skyline. For many travelers, this first glimpse serves as a preview of the blend of eras and styles that defines Rome, where a building of Fascist origin can coexist today with corporate headquarters, cutting-edge museums, and upscale residential neighborhoods.
Fendi and the transformation into a luxury headquarters
A pivotal moment in the recent history of the Colosseum Square came in 2015, when the fashion house Fendi decided to establish its headquarters there. The brand, founded in Rome almost ninety years earlier, reached an agreement with the City Council to lease a large part of the building for 15 years , paying an annual rent of approximately 2,8 million euros. Suddenly, the palace transformed from a monument steeped in history into a showcase for one of Italy's most internationally renowned luxury brands.
Since then, the building's interior has been reorganized to house the house's offices and departments: designers, creatives, marketing teams, and other professionals work within its walls every day. Fendi, which has been part of the French conglomerate LVMH since 2001, has made the palazzo its flagship store in Rome, strengthening the bond between the brand and the city. The contrast between the rationalist aesthetic of the exterior and the world of fashion within is part of the building's enduring charm.
The agreement with the City Council did not, however, entail the complete closure of the building to the public. The ground floor was reserved for exhibitions open to visitors , thus maintaining the cultural vocation that the palace had developed in the post-war period. In this way, the Square Coliseum has become a rather unique hybrid: simultaneously the corporate headquarters of a luxury brand, a contemporary art space, and a tourist attraction within the EUR district.
Fendi's presence has also contributed to giving the building a patina of modernity and exclusivity . Advertising campaigns, special events, and artistic collaborations have capitalized on the palazzo's striking image, reinforcing its iconic status. For Rome, it has also been a way to revitalize the building, ensuring its upkeep and putting it on the map for an international audience that might not have otherwise discovered it.
Beyond fashion, this new phase has solidified the Colosseum Square as a symbol of contemporary Rome , a city capable of recycling its most controversial past and reinventing itself through culture and creativity. The building, which once aimed to represent a uniform and closed vision of the nation, now houses artistic projects, temporary exhibitions, and the daily operations of a global company, giving it a completely different meaning.
The museum and exhibitions on the ground floor
Although much of the building houses Fendi's offices, the ground floor functions as an exhibition space open to the public at different times of the year. Temporary exhibitions are held there, typically focusing on contemporary art, design, and reflections on civilization and cultures, in keeping with the palace's name and history.
One of the most interesting projects organized in this space was the exhibition dedicated to the sculptor Arnaldo Pomodoro , entitled "The Great Theater of Civilizations." It was a comprehensive retrospective covering some seventy years of the career of one of the best-known Italian artists of the 20th century in the field of modern sculpture. The exhibition occupied the rooms on the lower floor, taking advantage of the natural light that enters through the large windows behind the arches of the façade.
Pomodoro's works are characterized by their metal volumes, often large spheres or panels , which reveal an internal network of gears, cracks, and geometric forms. They are not smooth or polished pieces; on the contrary, they seem to open up and show what they conceal within, as if revealing the very essence of the material. In the context of the Colosseum Square, these metal bodies become a kind of counterweight to the building's geometric rigor, introducing a sense of movement and tension.
The exhibition featured, for example, the work "Movimento in piena aria e nel profondo" (1996/1997) , a large white panel that evokes the dance of celestial bodies in space. This piece, like many others by the artist, plays with the idea of an order that appears chaotic at first glance but obeys a very precise internal logic. The visitor is invited to approach, to explore the cracks, crevices, and volumes, as if reading a text carved in three dimensions.
Pomodoro, born in Morciano di Romagna in 1926, developed throughout his career a unique artistic language characterized by large-scale reliefs that allude to ancient scripts, primitive symbols, and a wide range of cultural references. His works evoke pictograms from Asia, the rawness of prehistoric traces, tribal motifs from deepest Africa, and forms reminiscent of Mesopotamian, Assyrian, Babylonian, or even Aztec and Greco-Roman art.
Arnaldo Pomodoro and the dialogue of civilizations
One of Arnaldo Pomodoro's creative catalysts was his encounter with an Aztec calendar in Mexico in 1961. From then on, the artist began to explore the idea of movement through the wheel even more intensely, understanding it as the origin of energy and as a measure of time. Many of his spherical sculptures, open and seemingly cracked, function as metaphors for this continuous movement that unites past, present, and future.
In the exhibition at the Colosseum Square, this concept translated into a journey that invited visitors to explore the relationship between different civilizations . The project's curator, Andrea Viliani, conceived the exhibition as a kind of voyage that crossed spatial and temporal boundaries, from the remote origins of humanity to an imagined future. The singular "civilization" of the palace's name was thus transformed into "civilizations" in the plural, underscoring the diversity of cultures that have shaped history.
The main objective was to create a dialogue between Pomodoro's works and the architectural space itself . His open spheres, monoliths, and reliefs seemed to converse with the building's repeated arches, generating a play of contrasts between the regularity of the container and the organic complexity of the content. The result was a kind of "grand theater" where the visitor was immersed in a reflection on time, memory, and matter.
Part of the exhibition also included access to the artist's creative archive . Visitors could browse through drawers and display cases containing sketches, models, and documentation of some of his most iconic pieces located around the world. These included his monolith in Copenhagen (1999) and the famous hollow spheres that Pomodoro has installed in squares, museums, and public spaces across the globe.
The link between art, architecture, and the performing arts was further solidified with a section dedicated to Pomodoro's work for theater and opera . In the Palace of Italian Civilization, visitors could see sets and costumes he designed for productions such as "Oedipus Rex" (1988) and "Dido, Queen of Carthage" (1986). This section was particularly well-suited to Fendi's presence, as it blended fashion, set design, and visual art in a single space.
Pomodoro's exhibition is just one example of how the ground floor of the Coliseo Cuadrado has become a platform for contemporary art . Through these exhibitions, the building continually renews its meaning and offers new ways of approaching the concept of civilization, dialogue between cultures, and the reinterpretation of the past. All of this contributes to keeping the palace alive, beyond its corporate function and its status as a photogenic icon.
Against this backdrop, the so-called Square Colosseum is understood today as an architectural gem laden with layers : it originated as a propaganda symbol of fascism, was saved from destruction thanks to its urban value, was repurposed as a cultural space in the post-war period, and, now in the 21st century, has been transformed into the headquarters of a major fashion house and a hub for cutting-edge exhibitions. Anyone who visits the EUR district will not only encounter a spectacular building, but also a true lesson in how a city can recycle its past, blend art, power, and design, and continue to accumulate stories in a single place.
