Through the example of Danish provincial town, Odense, the article explores the role of visual culture in the construction and transformation of nineteenth-century provincial identities and placemaking in an industrial town. It demonstrates that while representations may follow certain aesthetic conventions of urban imagery and ideas of urban prestige, they both reflect and contribute to the construction and reproduction of a specific local, imagined geography; an imagined geography where initially history and nature and as time progresses signs of industriousness and in particular an infrastructure of civic culture merges into a narrative of an ancient and industrious place.

Should we allow grave harm to befall one individual so as to prevent minor harms befalling sufficiently many other individuals? This is a question of aggregation. Can many small harms ‘add up’, so that, collectively, they morally outweigh a greater harm? The ‘Close Enough View’ supports a moderate position: aggregation is permissible when, and only when, the conflicting harms are sufficiently similar, or ‘close enough’, to each other. This paper surveys a range of formally precise interpretations of this view, and reveals some of the problems they face. It also proposes a novel interpretation which avoids these problems.

In recent decades, architectural historians, preservationists, and the general public have shown a growing interest in Fascist-era buildings. Many of the most high-profile examples are those associated with the monumental excesses of the regime. However, new attention has also been focused on more modest buildings that are significant examples of interwar Italian modernism or Rationalism, including former party headquarters (case del fascio). Taking as primary examples works by Giuseppe Terragni, the architect most often associated with Rationalism, as well by Luigi Carlo Danieri and Luigi Vietti, whose interwar contributions to Italian modernism have been less often the focus of scholarly attention, this article traces the postwar histories of case del fascio with the aim of better understanding the ways in which architecture and politics intersect and some of the consequences of this for the contemporary Italian architectural landscape.

The large triangular building sandwiched betweenthe Castel Sant’Angelo and the Palazzo di Giustizia in Rome is the Casa Madre dei Mutilati, designed by Marcello Piacentini and built in two phases between 1926 and 1928, and from 1936 to 1939. Its exterior blends in well with its surroundings, suggesting it no longer conjures memories of the Fascist regime, but inside, its decorative plan reveals a series of artworks with polyvalent meanings that were later depoliticised, ‘censored’ and rehabilitated. They throw light on the ‘difficult heritage’ of the Fascist era in a continuum of meaning and memory connected to myths of war and sacrifice.