Built during the second half of the twentieth century, Pyongyang is the jewel of the North Korean regime. Reduced to ashes during the Korean War, the city was reborn in a blink of an eye with the intention of becoming the magnificent showcase of socialist Korea. Its triumphant atmosphere, the superhuman scale, spectacular palaces and monuments try to cover the shortcomings of a country in constant competition with South Korea. The rivalry between brother Koreans often acted as an incentive to continue embellishing, at any price, the "capital of revolution," though it was often, for the vast majority of North Korean society a blind competition, since, due to decreed information blackout in the north, it was impossible to know what was being built in the southern half of the peninsula. This magnificent architectural theatricality dramatically squeaks next to the hardships suffered in the nineties, but like it or not that is the artistic legacy of the revolution carried out in the preceding decades. Since coming to power of Kim Il Sung, in 1945, the North Korean construction experienced several ups and downs. After a slow start, with just a handful of new and relevant buildings, a total destruction arrived between 1950 and 1953. In the years following the armed conflict, North Korea staged a stunning reconstructive gallop culminating in the Golden Age. Despite the alarming symptoms of economic stagnation, the period spanning from 1970 to 1989 was the most prolific. The architectural gigantism reached its zenith. This golden era coincided with three key factors. It was then that Kim Il Sung placed his son to oversee the artistic production. The arts became more than ever a powerful weapon of mass instruction. From that time the glorification of Kim Il Sung went beyond all imaginable limits. Innumerable constructions were erected in his honor. Also, following the constitutional reform of 1972 Seoul was finally dismissed as a hypothetical capital unified state. Pyongyang finally stopped being considered as a provisional capital and it became urgent to beautify it as best as possible. The history of architectural creation in North Korea has a very clear common denominator: the overwhelming subordination of art to the interests of politics. The Juche idea establishes ideological corset which is difficult to take off if one wants a career. An architect is not expected to produce exotic designs nor extreme inventions. He is simply asked and required, to adhere to the stylistic guidelines validated by the party or by the Leader himself, who is responsible for defining the ideologically "healthy” formal canons.