In Rome, in the EUR district built under Mussolini, Lorenzo Linthout turns his gaze to the endless arcades, the modular facades, and the statues standing alone amid rows of stone. Here, Fascist architecture is no longer political; it becomes pure geometry, even veering toward abstraction. The same logic applies to the domes of Zurich and Genoa, photographed from the ground with a wide-angle lens: the eye gets lost in the symmetry, and the ceiling becomes an artificial sky. What interests the photographer is that moment when a building ceases to be functional and becomes formal, almost metaphysical.