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Nazi architecture 1 Nazi architecture Nazi architecture was an architectural plan and integral part of the Nazi party's plans to create a cultural and spiritual rebirth in Germany as part of the Third Reich. The tribune of the Zeppelinfeld stadium in Nuremberg, where the annual Party rally took place Adolf Hitler was an admirer of imperial Rome and aware that some ancient Germans had, over time, become part of the social fabric and exerted influence on the Empire. On the other hand, the Germanic tribes were traditionally regarded by the Romans as enemies of the Pax Romana. Nonetheless, he considered the Romans an early Aryan empire, and emulated their architecture in an original style inspired by both neoclassicism and art deco, sometimes known as "severe" deco, erecting edifices as cult sites for the Nazi party. He also ordered construction of a type of Altar of Victory, borrowed from the Greeks, who were, according to Nazi ideology, inseminated with the seed of the Aryan peoples. At the same time, because of his admiration for the Classical cultures of the ancient Mediterranean, he could not isolate and politicize German antiquity, as Benito Mussolini had done with respect to Roman antiquity. Therefore he had to import political symbols into Germany and justify their presence on the grounds of a spurious racial ancestry, the myth that ancient Greeks were among the ancestors of the Germans - linked to the same Aryan peoples. [1] Hitler's fantasies about being the founder of a thousand-year Reich were in harmony with the Colosseum being associated with eternity. Hitler envisioned all future Olympic games to be held in Germany in the Deutsches Stadion. It is clear that Hitler anticipated that after winning the war, a subjected world would have no choice but to send its athletes to Germany every time the Olympic games were held. Thus, this building foreshadowed Hitler's craving for world domination long before this aim was put into words. [2] Hitler habitually derived satisfaction from seeing world-famous monuments being surpassed in size by German equivalents. Most regimes, especially new ones, wish to make their mark both physically and emotionally on the places they rule. The most tangible way of doing so is by constructing buildings and monuments. Architecture is considered to be the only art form that can actually physically meld with the world as well as influence the people who inhabit it. Buildings, as autonomous things, must be addressed by the inhabitants as they go about their lives. In this sense, people are "forced" to move in certain ways, or to look at specific things. In so doing, Architecture affects not only the landscape, but also the mood of the populace who are served. The Nazis believed architecture played a key role in creating their new order. Architecture had a special importance to the politicians, who like most totalitarian leaders, sought to influence all aspects of human life. [3] Moreover, not only major cities but also small villages were to express the achievement and the nature of the German people. The very face of the land was to be transformed. It was not enough to limit Marxist or liberal architecture. The new buildings must proclaim to the world and to the unconverted German that the era of the thousand-year Reich had dawned. Obviously, then, in seeking to influence the foreign visitor with its overpowering representative edifices, the Third Reich was didactic and theatrical. [3]

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  • Nazi architecture 1

    Nazi architectureNazi architecture was an architectural plan and integral part of the Nazi party's plans to create a cultural andspiritual rebirth in Germany as part of the Third Reich.

    The tribune of the Zeppelinfeld stadium inNuremberg, where the annual Party rally took

    place

    Adolf Hitler was an admirer of imperial Rome and aware that someancient Germans had, over time, become part of the social fabric andexerted influence on the Empire. On the other hand, the Germanictribes were traditionally regarded by the Romans as enemies of the PaxRomana. Nonetheless, he considered the Romans an early Aryanempire, and emulated their architecture in an original style inspired byboth neoclassicism and art deco, sometimes known as "severe" deco,erecting edifices as cult sites for the Nazi party. He also orderedconstruction of a type of Altar of Victory, borrowed from the Greeks,who were, according to Nazi ideology, inseminated with the seed ofthe Aryan peoples. At the same time, because of his admiration for theClassical cultures of the ancient Mediterranean, he could not isolateand politicize German antiquity, as Benito Mussolini had done withrespect to Roman antiquity. Therefore he had to import political symbols into Germany and justify their presence onthe grounds of a spurious racial ancestry, the myth that ancient Greeks were among the ancestors of the Germans -linked to the same Aryan peoples.[1]

    Hitler's fantasies about being the founder of a thousand-year Reich were in harmony with the Colosseum beingassociated with eternity. Hitler envisioned all future Olympic games to be held in Germany in the Deutsches Stadion.It is clear that Hitler anticipated that after winning the war, a subjected world would have no choice but to send itsathletes to Germany every time the Olympic games were held. Thus, this building foreshadowed Hitler's craving forworld domination long before this aim was put into words.[2] Hitler habitually derived satisfaction from seeingworld-famous monuments being surpassed in size by German equivalents.Most regimes, especially new ones, wish to make their mark both physically and emotionally on the places they rule.The most tangible way of doing so is by constructing buildings and monuments. Architecture is considered to be theonly art form that can actually physically meld with the world as well as influence the people who inhabit it.Buildings, as autonomous things, must be addressed by the inhabitants as they go about their lives. In this sense,people are "forced" to move in certain ways, or to look at specific things. In so doing, Architecture affects not onlythe landscape, but also the mood of the populace who are served. The Nazis believed architecture played a key rolein creating their new order. Architecture had a special importance to the politicians, who like most totalitarianleaders, sought to influence all aspects of human life.[3]

    Moreover, not only major cities but also small villages were to express the achievement and the nature of theGerman people. The very face of the land was to be transformed. It was not enough to limit Marxist or liberalarchitecture. The new buildings must proclaim to the world and to the unconverted German that the era of thethousand-year Reich had dawned. Obviously, then, in seeking to influence the foreign visitor with its overpoweringrepresentative edifices, the Third Reich was didactic and theatrical.[3]

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  • Nazi architecture 2

    Hitler the architectHitler was quite fond of the numerous theatres built by Hermann and Ferdinand Fellner, who built in the late baroquestyle. In addition, he appreciated the stricter architects of the 19th century such as Gottfried Semper, who built theDresden Opera House, the Picture Gallery in Dresden, the court museums in Vienna and Theophil Freiherr vonHansen, who designed several buildings in Athens in 1840. He raved about the Palais Garnier, home of the ParisOpera, and the Law Courts of Brussels by the architect Poelaert.Ultimately, he was always drawn back to inflated neo-baroque such as Kaiser Wilhelm II had fostered, through hiscourt architect Ernst von Ihne. Fundamentally, it was decadent baroque comparable to the style that accompanied thedecline of the Roman Empire. Thus, in the realm of architecture, as in painting and sculpture, Hitler really remainedarrested in the world of his youth: the world of 1880 to 1910, which stamped its imprint on his artistic taste as on hispolitical and ideological conceptions.[4]

    The Führer did not have one particular style; there was no official architecture of the Reich, only the neoclassicalbaseline that was enlarged, multiplied, altered and exaggerated, sometimes to the point of ludicrousness. Hitlerappreciated the permanent qualities of the classical style as it had a relationship between the Dorians and his ownGermanic world.

    Three primary rolesNazi architecture has three primary roles in the creation of its new order: (i) Theatrical; (ii) Symbolic; (iii) Didactic.In addition, the Nazis saw architecture as a method of producing buildings that had a function, but also served alarger purpose. For example, the House of German Art had the function of housing art, but through its form, styleand design it had the purpose of being a community structure built using an Aryan style, which acted as a kind oftemple to acceptable German art.

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  • Nazi architecture 3

    StageMany Nazi buildings were stages for communal activity, creations of space meant to embody the principles on whichNazi ideology was based. From Albert Speer's seemingly iconoclastic use of banners for the May Day celebrations inthe Lustgarten, to the Nazi co-option of the Thing tradition, the Nazis wanted to link themselves to a German past.

    The Dietrich Eckart Theater during a scene fromHandel's Herakles

    The link could be direct; a Thingplatz (or Thingstätte) was a meetingplace near or directly on a site of supposed special historicalsignificance, used for the holding of festivals associated with aGermanic past. This was an attempt to link the German people back toboth their history and their land. The use of 'Thing' places was closelyassociated with the 'blood and soil' part of Nazi ideology, whichinvolved the perceived right of those of German blood to occupyGerman land. The Thingplatz would contain structures, which oftenincluded natural objects like stones and were built in the most naturalsetting possible. These structures would be built following the patternof an ancient Greek theatre, following a structure of a historical cultureconsidered to be Aryan. This stressing of a physical link between thepast and Nazism aided to legitimatize the Nazi view of history, or eventhe Nazi regime itself. Still, the 'Thing' movement was not successful.

    The link could be indirect; the May Day celebrations of 1936 in Berlintook place in a Lustgarten that had been transformed into a stage. Thistransformation was not the standard dressing of a specific place but acreation of a new anonymous, pure, cubic space that freed itself fromthe immediate history of Berlin, the church and the monarchy, yet wasstill associated with the distant aura of a Hellenic past. This was simply

    the creation of a new ceremonial place in direct competition with the former Royal Palace and Altes Museum, botheven in the 1930s, still symbols of a royal Berlin. The symbolism was clear; any speaker at the event would bestanding in front of the Altes Museum, which housed Germany's classical collection that could be seen by theaudience only through Nazi banners. There was a link between the new order and the classical past, but the neworder was paramount.

    The Nazis would bring the community together using architecture, creating a stage for the community experience.These buildings were also solely for the German people, the great hall in Berlin was not a supranational People'sHouse like those being built in the Soviet Union, but the stage where tens of thousands of recharged citizens wouldenter into a solemn mystic union with the Supreme Leader of the German Nation. The sheer size of the stage itselfwould magnify the importance of what was being said.How these stages were set was also an issue, from the most mundane building to the grandest, the form and styleused in their construction tell a great deal about and are symbols of those who created them, when they were createdand why they were created. Designs of this kind occasionally occur by accident; however, the architectural stylesspeak to the tastes of those who constructed the building or paid for its construction. It also speaks to the tastes of thegeneral architectural movements of the time and the regional variants that influenced them. Nazi buildings were anexpression of the essence of the movement, built as a National Socialist building should be, regardless of the styleused.

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  • Nazi architecture 4

    SymbolicDetermining what National Socialists saw as the concept of Nazi Architecture is problematic. Various members ofthe leadership had differing views and tastes and commentators see the same style in different ways. Roger Eatwellsees the format used at the Nuremberg rallies as a mixture of Catholic ceremony and left-wing Expressionist formand lighting, while Sir Nevile Henderson saw a cathedral of ice. Still, if a building was designed and built using theNazi version of what was German, it was considered Nazi Architecture.In general, there were two primary National Socialist styles of architecture. Nazi Architecture in its crudest sensewas either a squared-off version of neoclassical architecture, or a mimicry of völkisch and national romanticism inbuildings and structures. The most notable example of this is the Wewelsburg castle complex redesigned in a verymythological way as a cult site for the SS. Especially in the North Tower of the castle medieval Romanesque andGothic architecture was imitated. The Wewelsburg was to become "centre of the world".The neoclassical style was primarily used for urban state buildings or party buildings such as the Zeppelin Field inNuremberg, the planned Volkshalle for Berlin and the Dietrich Eckart Stage in Berlin. This style was not just usedfor physical construction, but on the ordered columns of searchlights that formed Speer's 'cathedral of light' used atthe Nuremberg Party Rallies.The völkish style was primarily used in rural settings for accommodation or community structures like theOrdensburg in Krössinsee, the walls and watchtowers of KL Flossenbürg and KL Mauthausen. It was also to beapplied to rural new towns as it represented a mythical medieval time when Germany was free of foreign andcosmopolitan influences. This style was also used in a limited way for buildings with modern uses like weatherservice broadcasting and the administration building for the federal post office.Most Nazi Architecture was novel neither in style nor concept; it was not supposed to be. Even a cursory inspectionof what was intended for Berlin finds analogies all over the world. Long boulevards with important buildings alongthem can be found in the grid pattern road structures of Washington and New York, the Mall and Whitehall inLondon, and the boulevards of Paris. Large domes can be found on the buildings of the Mughal Empire of India, theCapitol in Washington, the Pantheon and Basilica di San Pietro in Rome. Even the 'Kraft durch Freude' "Strengththrough Joy" resort at Prora is not wholly unlike the buildings envisaged by Le Corbusier in his 'City of ThreeMillion Inhabitants'. The building of a formal governmental zone outside the centre of an old city or totally on itsown had become commonplace by the 1930s. This is not to say their plans were simply an attempt to copy others,but that they were following a pattern already established in human society. The forms used may have been inspiredby other city redevelopment plans like Edwin Lutyens' Delhi, Burnham's Chicago or even Walter Burley Griffin'sCanberra.National Socialism is often viewed as anti-modern and romantic or having a pragmatic willingness to use modernmeans in pursuit of anti-modern purposes. This confuses the Nazi dislike of certain styles like the Bauhaus with ablanket dislike of all modern styles. This was based mainly on what the Bauhaus and others were seen asrepresenting, like foreign influences or the decadence of the Weimar Republic. The lack of any human scale detailsor plain exteriors may have produced an overwhelming effect, but this style was common from the 1910s onwards.This modern approach was not limited to the neo-classical buildings for city centres, but was also used for völkischbuildings like Ordensburgs and Autobahn garages.The neo-classical style used was not novel for the time; it was firmly anchored in time. Speer's style was assimilating the international 1930s style of public architecture, which was then being pursued as a modernising classicism. This is in direct contrast to Peter Adams's attempts to separate Nazi art from the Zeitgeist and present it as something that can be looked at through only the lens of Auschwitz. This is trying to establish by default a thesis that ugly regimes must produce ugly buildings and such regimes are so evil that everything they produce must be evil or third-rate. The reality was that destroying to build anew was a standard polemical gesture of the Modernist movement and the styles chosen were not unlike the ones being used at the time. To criticize Speer's architectural style is to criticise buildings being built at the same time all over the world. Ultimately, Nazi Architecture was not supposed to be pleasing; its

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  • Nazi architecture 5

    purpose was to fulfil its task.Hitler saw the buildings of the past as direct representations of the culture that created them and how they werecreated. Hitler believed they could be used by man to transmit his time and its spirit to posterity and that in his time,ultimately, all that remained to remind men of the great epochs of history was their monumental architecture. NaziArchitecture should speak to the conscience of a future Germany centuries from now. As Hitler said in a speech, 'Thepurpose of Nazi architecture and technology should be to create ruins that would last a thousand years and therebyovercome the transience of the market.'[5]

    Central to this was Albert Speer's [[#Theory of Ruin Value|Theory of Ruin Value]], in which the Nazis would buildstructures which even in a state of decay, after hundreds or thousands of years would more or less resemble Romanmodels. Speer intended to produce this result by avoiding elements of modern construction such as steel girders andreinforced concrete which are subject to weathering and by designing his buildings to withstand the impact of thewind even if the roofs and ceilings were so neglected that they no longer braced the walls. In this respect, it can beseen that by going back to the materials of the past and by the proper engineering of buildings it was possible tocreate a permanence that was impossible with contemporary building materials and styles. It has been suggested thatthe use of stone was more a result of economic necessity or the product of an attempt by the SS to build up a stableposition within the German economy, but both are at most secondary to the desire for the permanence stone gives.To Hitler, only the great cultural documents of humanity made of granite and marble could symbolize his new order.The theory of ruin value could be seen as a backward looking concept; however, what it actually does is look at thetypes of buildings that survive from the past, understand why they survived, and attempt to build the new buildingsof the Reich based on such understanding. In addition, the infrastructure and organization behind the provision ofbuilding material was purely of the time. Hitler was not like Shelley's Ozymandias, a leader boasting about his powerto the future, but rather a builder of symbolic expressions of the Nazi movement and of the new Germany they wouldcreate.Nazi buildings were not to be like the Reichstag, seen as a grandiose monument conjuring up historicalreminiscences, but as symbols of a new Germany. The buildings had to be suitable for their intended role. Anexample of this is the rebuilt Reichskanzlei that was planned as a symbol of the Greater German Reich, whichincluded Austria even though at the time of planning the Anschluss was still three years away. So important was thesymbolism of the buildings that their form was decided on long before their construction and in some cases, evenbefore the events they were to symbolize. Speer himself remarked that many of the buildings Hitler asked him toconstruct were glorifying the victories he didn't yet have in his pocket. Hitler drew sketches of buildings he hoped tobuild as early as the 1920s, when there was not a shred of hope that they could ever be built. The buildings had tolook the part: the Reichskanzlei must look like the centre of the Reich, not the headquarters of a soap company. Nazibuildings would be the great cultural documents that the new order would create in their stronger, protectedcommunity.Symbolic architecture need not be built as it often already existed. In 1941 the SS newspaper Das Schwarze Korpspublished an essay by Heinrich Himmler entitled "German Castles in the East", in which he wrote, "When people aresilent, stones speak. By means of the stone, great epochs speak to the present so that fellow citizens; are able to upliftthemselves through the beauty of self-made buildings. Proud and self-assured, they should be able to look upon theseworks erected by their own community." Himmler continues by creating a cyclical process linking the people, theirblood and their buildings, "Buildings are always erected by people. People are children of their blood, are membersor their race. As blood speaks, so the people build."Where buildings held important cultural items, they would either be remodelled like Brunswick Cathedral, whichwas the burial place of Henry the Lion, co-opted like Strasbourg Cathedral as the monument to Germany's unknownsoldier, or moved to a more appropriate position, like the Victory Column in Berlin.Like the Sacré-Coeur basilica in Montmartre or the Flavian Amphitheatre in Rome, the new buildings of the National Socialists would replace the commercial buildings that were signs of the cultural decay and general

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  • Nazi architecture 6

    break-up of the Berlin of the 1930s. To express their true Aryan nature, the Nazis had to destroy the creations ofnon-Germans and the decadent past and accept Hitler's judgment as to which way German art must go in order tofulfil its task as the expression of German character. The new Berlin, like the new National Socialist Germany,would superimpose itself onto the decadence of the old. The Nazi vision of a city would replace the visions of thepast, they would replace the twilight, or the past, with clarity, cleanliness, and pure, distinct lines.Symbols were not just limited to permanent buildings; familiar symbols of the north European past were usedregularly in the decorations for Nazi festivals. An example of this is the use of the Maypole at the May Daycelebrations. It is the traditional symbol throughout northern Europe of the end of winter and of the reawakening ofnature and the focus of community events.

    The Ordensburg Sonthofen

    At the doors of the German Pavilion at the 1937 Paris Exhibition weretwo sets of seven meter high statues that symbolized family andcommunity. The pavilion that was designed as a blatant symbol ofNazi Germany was planned by a German, Albert Speer and built solelyout of German materials shipped from within Germany.

    Symbolism, graphic art and hortatory inscriptions were prominent inall forms of Nazi-approved architecture. The eagle with the wreathedswastikas, heroic friezes and free-standing sculpture were common.Often mottoes or quotations from Mein Kampf or Hitler's speecheswere placed over doorways or carved into walls. The Nazi messagewas conveyed in friezes, which extolled labour, motherhood, theagrarian life and other values. Muscular nudes, symbolic of militaryand political strength, guarded the entrance to the Berlin Chancellery[6]

    The Ordensburgen are the schools at which the ideology ofNational Socialism is taught to a picked group of youths whodesire to dedicate their lives to political service. TheOrdensburgen's architectural form derives from the fortresslikecastles built by the Teutonic Knights whose mission it was to civilise and colonise the lands east of the Elbe.Since it is the mission of the Ordensburg to train and develop a new order of leaders who are to take with theminto practical life the ideals of the movement which they serve, this form represents an appropriatearchitectural symbol.[7]

    The three NSDAP-Ordensburgen were Ordensburg Krössinsee, Ordensburg Sonthofen and Ordensburg Vogelsang.

    DidacticHitler saw architecture as "The Word In Stone," a method of imparting a message. This is not regime architectureprimarily for general propaganda purposes as argued by Benton, but is work meant to impart a specific message.This would be a message that all decent Germans would understand, like the lessons of events at the Degenerate Artexhibition staged in Munich in 1937. They would not understand it because they were told to; they would understandit simply because of who they were.

    http://en.wikipedia.org/w/index.php?title=Hitlerhttp://en.wikipedia.org/w/index.php?title=Europehttp://en.wikipedia.org/w/index.php?title=Maypolehttp://en.wikipedia.org/w/index.php?title=Northern_Europehttp://en.wikipedia.org/w/index.php?title=Ordensburg_Sonthofenhttp://en.wikipedia.org/w/index.php?title=File:NaziArch2.jpghttp://en.wikipedia.org/w/index.php?title=Exposition_Internationale_des_Arts_et_Techniques_dans_la_Vie_Moderne_%281937%29http://en.wikipedia.org/w/index.php?title=Teutonic_Knightshttp://en.wikipedia.org/w/index.php?title=Ordensburg_Kr%C3%B6ssinseehttp://en.wikipedia.org/w/index.php?title=Ordensburg_Sonthofenhttp://en.wikipedia.org/w/index.php?title=Ordensburg_Vogelsanghttp://en.wikipedia.org/w/index.php?title=Benton_%28surname%29http://en.wikipedia.org/w/index.php?title=Degenerate_Arthttp://en.wikipedia.org/w/index.php?title=Munich

  • Nazi architecture 7

    A German autobahn in the 1930s

    The Nazis chose new versions of past styles for most oftheir architecture. This should not be viewed simply as anattempt to reconstruct the past, but rather an effort to useaspects of the past to create a new present. Most buildingsare copies in some form or other, but for the Nazis, copyingthe past not only linked them to the past in general but alsospecifically to an Aryan past. Neo-classical architecture andRenaissance architecture were direct representations ofAryan culture. Völkish architecture was also Aryan but of aGermanic nature. Still, these analogues were not part of anattempt to recreate an actual past, but were meant toemphasize the importance of Aryan culture as a justificationfor the actions of the present. Many other nations from theAustro Hungarian Empire to the United States have constructed major government buildings in historical styles toget across a specific message.

    While Hitler saw the architecture of the Weimar Republic as an object lesson in cultural decline, the new buildingshe would build would teach a different lesson, that of national rebirth. The size of the buildings proposed for Berlinwould be among the largest in the world, meant to instill in each individual German citizen the insignificance ofindividuals in relation to the community as a whole. The distinct lack of any detailing at a human scale in the urbanneo-classical building would have simply overawed, imparting the message without any subtlety. If the message wasnot understood it would be drummed in by making people go in straight lines to predetermined positions. Themessage of community would even affect holidays. Clemens Klotz's Prora would not only have a Festhalle in whichpeople would hear speeches and get involved in communal events but also give everyone the same view of the sea.Engineering could be coupled with architecture to teach lessons too. It is clear that the Autobahn was seen as a wayof creating a community, which was both physically and symbolically linked. When Carl Theoder Protzen entitledhis painting of the Autobahn bridge at Leipheim, "Clear the forest - dynamite the rock; conquer the valley; overcomethe distance; stretch the road through the German land," he was linking clear connections between what should bedone and what it was to accomplish. Building the Autobahn would not only teach the German people that they werelinked together but also would show that it had been accomplished by Germans working together. It would be aninspiration for the construction of the community of the German People. The effort that went into the styling ofAutobahn bridges and garages shows plainly that it was more than just a motorway. In some circumstances, thedesign used for the Autobahn actually affects the functioning of its supposed purpose.The role the Nazis hoped architecture would play in the creation of a new order was like that of a book: to provide aplace to hold the message, the symbols to impart it and a teacher to read it. Architecture, like every other art form,would be produced to serve the new Nazi order. For them, if this meant following existing architectural styles orproviding analogues of other buildings, then so it is.

    Cult of victoryBoth the Nazis and the Romans employed architecture of colossal dimensions to overawe and intimidate. Bothcultures were preoccupied with architectural monuments that celebrated or glorified a victory ideology: triumphalarches (the largest in the world on Berlin's north-south axis), columns, trophies, and a cult of pageantry associatedwith the subjugation of others. As Albert Speer remarked, when it was safe to do so: "The Romans built arches oftriumph to celebrate the big victories won by the Roman Empire, while Hitler built them to celebrate victories he hadnot yet won."[8]

    http://en.wikipedia.org/w/index.php?title=File:German_Autobahn_1936_1939.jpghttp://en.wikipedia.org/w/index.php?title=Renaissance_architecturehttp://en.wikipedia.org/w/index.php?title=Austria-Hungaryhttp://en.wikipedia.org/w/index.php?title=United_Stateshttp://en.wikipedia.org/w/index.php?title=Clemens_Klotzhttp://en.wikipedia.org/w/index.php?title=Prorahttp://en.wikipedia.org/w/index.php?title=Festhallehttp://en.wikipedia.org/w/index.php?title=Engineeringhttp://en.wikipedia.org/w/index.php?title=Carl_Theoder_Protzenhttp://en.wikipedia.org/w/index.php?title=Leipheimhttp://en.wikipedia.org/w/index.php?title=German_peoplehttp://en.wikipedia.org/w/index.php?title=Nazism

  • Nazi architecture 8

    The Nazis planned and built many military trophies and memorials (Gr Mahnmäler), on the eastern borders of theReich. In the same way, the Romans had built celebratory trophies on the borders of their empire to commemoratevictories and warn off would-be attackers. One of the most prominent memorial buildings intended to commemorateGermany's past and anticipated military glory was Wilhelm Kreis's Soldatenhalle. This was to be yet another cultcentre to promote the regime's glorification of war, patriotic self-sacrifice and virtutes militares. The mainarchitectural features of this building were overtly Roman.[9] A groin-vaulted crypt beneath the main barrel-vaultedhall was intended as a pantheon of generals exhibited here in effigy. In addition, it functioned as a herõon, since thebones of Frederick the Great were to be placed in the building.[10]

    Flags and insignia played an important part in Nazi ceremonial and in the decoration of buildings. The eagle-toppedstandards carried by the SA at Nuremberg rallies were reminiscent of Roman legionary standards, the uniformity ofwhich Hitler admired.[11] There can be little doubt that Hitler's state architecture, even when seen today inphotographs of architectural models, conveys a sense of "Power and Force" (Gr Macht und Gewalt), which of courseHitler wanted it to embody.[12]

    Inevitably, after Hitler's defeat, the colossal dimensions of his buildings tended to be seen, as they were by Speer inhis memoirs, as symbols of Hitler's megalomania. This is perhaps a valid view point, but it is also something of anoversimplification, since at the time the buildings were planned and erected, they were valid symbols of Germany'srapidly rising power and expressed the optimism generated by Hitler's spectacular initial victories. The vast publicbuildings of ancient Rome have rarely been explained as symptoms of imperial megalomania, except perhaps for theDomus Aurea, since Roman imperialism, which generated money and labour necessary for the erection of Rome'smonumental buildings, was supremely successful and long-lived. Hitler's architecture is sometimes misjudgedbecause he was building for the future in anticipation of a greatly enlarged Reich. Here it is worth noting thatVitruvius perceived that Augustus was building on a large scale for future greatness. Hitler's optimistic expectationswere frustrated and in the aftermath of catastrophe his architectural plans seemed by many to be those of a madman.However difficult it may be to view these plans objectively, it would be a mistake to regard his buildings as eitherpsychologically ineffective or symbolically impotent. This is certainly not the impression given by Speer or Gieslerat the time they were articulating Hitler's architectural plans.[13]

    Had Hitler achieved all his political and military aims and had his successors consolidated and perhaps evenexpanded his territorial gains, the art and architecture of Germany would undoubtedly have reflected the sentimentthat pervaded much of Rome's art in the Augustan period, that is, a confidently assumed right to dominate others,which Virgil elegantly, if brutally, expressed in Aeneid 6.851-53: "Remember, Roman, to exercise dominion overnations. These will be your skills: to impose culture on peace, to spare the conquered and to war down the proud."This passage, so much in tune with Nazi aspirations is repeatedly referred to in the political literature of Germany atthe time.

    Berlin's reshapingIn (Mein Kampf 1.10), Adolf Hitler states that industrialized German cities of his day lacked dominating publicmonuments and a central focus for community life. In fact, criticism of the rapid industrialization of German citiesafter 1870 had already been voiced.[14]

    The ideal Nazi city was not to be too large, since it was to reflect pre-industrial values and its state monuments, theproducts and symbols of collective effort (Gr.Gemeinschaftsarbeiten), were to be given maximum prominence bybeing centrally situated in the new and reshaped cities of the enlarged Reich.Hitler's comments in (Mein Kampf 1.10) indicated that he saw buildings such as the Colosseum and the Circus Maximus as symbols of the political might and power of the Roman people. Hitler stated, "Architecture is not only the spoken word in stone, but also is the expression of the faith and conviction of a community, or else it signifies the power, greatness and fame of a great man or ruler." In Hitler's cultural address, "The Buildings of the Third Reich," delivered in September 1937, in Nuremberg, he affirmed that the new buildings of the Reich were to

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  • Nazi architecture 9

    reinforce the authority of the Nazi party and the state and at the same time provide "gigantic evidence of thecommunity" (Gr. gigantischen Zeugen unserer Gemeinschaft). The architectural evidence of this authority couldalready be seen in Nuremberg, Munich and Berlin and would become still more evident when more plans had beenput into effect.On September 19, 1933, Hitler told the mayor of Berlin that his city was "unsystematic", but it was not until January30, 1937, that Speer was officially put in charge of plans for the reshaping of Berlin, although he had been workingon them unofficially in 1936.

    The masterplan model of reshaped Berlin.

    The plan that Speer coordinated as 'Inspector General ofConstruction' (GBI) for the centre of Berlin was based on Roman,not Greek, planning principles, which might or might not havebeen influenced by Roman-derived town plans in Fascist Italy.Speer's plan was to create a central north-south axis, which was tointersect the major east-west axis at right angles. On the north sideof the junction a massive forum of about 350,000 square metreswas planned, around which were to be situated buildings of thegreatest political and physical dimensions: a vast domedVolkshalle on the north side, Hitler's vast new palace andchancellery on the west side and part of the south side, and on theeast side the new High Command of the German armed forces andthe now-dwarfed pre-Nazi Reichstag. These buildings were to beplaced in strong axial relationship around the forum designed tocontain one million people, and were collectively to represent the"maiestas imperii" (The Majesty of the Empire) and make the newworld capital, Germania, outshine its only avowed rival, Rome.

    The plan for the centre of Berlin differed only in its dimensionsfrom the plans drawn up for the reshaping of smaller German cities and for the establishment of new towns inconquered territories. The order for the reshaping of other German cities was signed by Hitler on October 4, 1937.In each town, the new community buildings were not to be sited randomly, but were to have prominent (usuallycentral) positions within the town plan. The clarity, order and objectivity that Hitler aimed at in the layout of histowns and buildings were to be achieved in conquered territories in the East by founding new colonies and inGermany itself by reshaping the centres of already established towns and cities.[15] In order to provide a town withcentrally located community centres, principles of town planning reminiscent of Greek, but more especially Roman,methods were revived.[16]

    Nazi architecture was, both in appearance and symbolically, intimidating, an instrument of conquest. Totalarchitecture was an extension of total war.[17] Speer wrote in 1978 "My architecture represented an intimidatingdisplay of power."The airport halls of Tempelhof International Airport built by Nazi architect Ernst Sagebiel are still known as thelargest built entities worldwide. The colossal dimensions of Roman and Nazi buildings also served to emphasize theinsignificance of the individual engulfed in the architectural vastness of a state building. The philosopherJean-Jacques Rousseau's reactions on visiting the Pont du Gard in 1737 produced in him the response that Hitlerhoped for Berlin, to impress with its grandeur.

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  • Nazi architecture 10

    Architecture as religionA major difference between the neoclassical state architecture of Nazi Germany and neoclassical architecture inother modern countries in Europe and America is that in Germany it was but one facet of a severely authoritarianstate. Its dictator aimed to establish architectural order; gridiron town plans, axial symmetry, hierarchical placementof state structure within urban space on a scale intended to reinforce the social and political order desired by the Nazistate, which anticipated the displacement of Christian religion and ethical values by a new kind of worship based onthe cult of Nazi martyrs and leaders and with a value system close to that of pre-Christian Rome.The first Nazi forum, Königsplatz, in Munich was planned in 1931-32 by Hitler and his architect Paul LudwigTroost, whom Speer says Hitler regarded as the greatest German architect since Karl Friedrich Schinkel. Troost hadalready redecorated the interior of the so-called Brown House on Brienner Strasse in 1930 after its acquisition by theNazi party ([[#Books|Lehmann-Haupt 113]]). Troost, who like his successor, Speer, aimed to revive an earlyclassical or Doric architecture, could not have found a more encouraging context for his endeavours than the neoclassical architectural setting of Königsplatz. However, like Hitler, he found Bauhaus architecture distasteful, theEhrentempel he designed was not uninfluenced by modernist tendencies, in no respect were his templesconventionally Doric. In the summer of 1931 Troost prepared drawings for four party buildings that were to beerected at the east end of the forum, symmetrically placed along Arcisstrasse. The Nazi literature of the period leaveslittle doubt that this new forum was regarded as a sacred cult centre, which was even referred to as "AcropolisGermainiae."Priority was given to the erection of two "martyrs" temples of identical shape named the Ehrentempel, placed just toeither side of the square's long axis. The Ehrentempel were demolished in 1947.In 1935, Hitler said the martyrs' bodies were not to be buried out of sight in crypts, but should be placed in the openair, to act as eternal sentinels for the German nation. Hitler later insisted on this detail when Hermann Gieslerplanned the Volkshalle for Weimar's forum. He asked his architect to ensure that the two crypts, which were tocontain the bodies of Brown Shirts SA killed in Thuringia, which were to placed at the entrance to the Volksahlle, belit by open oculi.[18] It is interesting too that later still 1940 Hitler asked Giesler to plan his own mausoleum inMunich in such a way that his sarcophagus would be exposed to sun and rain.[19] It is worth noting that in Hitler'swill of May 2, 1938, written the day before he left Germany for his state visit to Rome, Hitler instructed that hisbody was to be put in a coffin similar to that of the other martyrs and placed in the Ehrentempel next to theFührerbau.Troost's temples in Königsplatz were thus regarded as guard posts, a notion reinforced by the presence of SSsentinels who stood guard at the entrance of each temple. A year earlier Hitler had said that the blood of the martyrswas to be the baptismal water (Gr.Taufwasser) of the Third Reich. Such imagery perhaps disturbed devoutChristians, yet it left no doubt that the cult of Nazi heroes was to replace the worship of Christian martyrs. Thisobjective was demonstrated in another way: No Nazi forum planned for any German city was to incorporate a newchurch. Indeed, a cathedral (Gr.Quedlinburg) was turned into a shrine by the SS, who planned to treat the cathedralsof Brunswick and Strasbourg in the same way; in Munich a church was demolished to make way for new Nazibuildings.[20] Yet, overseas the impression was created that the building of new churches was an integral part of thenew Nazi building program. Temples for martyrs were given pride of place, as at Königsplatz or, as at the Weimarforum, martyrs' crypts at the entrance of the Volkshalle were given prominence.[21]

    On September 6, 1938, Hitler made his position clear about the attitude of the Nazis toward religion. He said that in its purpose National Socialism had no mystic cult, only the care and leadership of a people defined by a common blood relationship. He continued with the remark that Nazis had no rooms for worship but only halls for the people (that is, no churches, but Volkshallen) no open spaces for worship, but spaces for assemblies and parades (Gr.Aufmarschplätze). Nazis had no religious retreats, only sports arenas and playing fields (Gr.Stadia) and the characteristic feature of Nazi places of assembly was not the mystical gloom of a cathedral, but the brightness and light of a room or hall that combined beauty with fitness for its purpose. Three days prior to making this statement,

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  • Nazi architecture 11

    which relates precisely to the functions of Nazi state building plans and types, Hitler had stated that worship forNazis was exclusively the cultivation of the natural (that is, the Dionysiac). In addition, Alfred Rosenberg made itclear that Nazism and the Christian Church were incompatible.However, Hitler's model was that of a Roman Catholic Church. The mysticism of Christianity, created buildings witha mysterious gloom which made men more ready to submit to the renunciation of self.[22] Hitler was deeplyimpressed by the organization, ritual and architecture of the church. In writing of the spell which an orator can weaveover an audience, Hitler stated:

    The same purpose is served by the artificial and yet mysterious twilight in Catholic churches.[23]

    He might have envied the powerful influence, which the church exerted on the masses, for on one occasion Hitlerdeclared:

    the concluding meeting in Nuremberg must be exactly as solemnly and ceremonially performed as a service ofthe Catholic Church."[24]

    Whereas the Nazi buildings should reflect the devout spirit of the movement, there was no place for mysticism inthem. Nazism was cool-headed and realistic. It mirrored scientific knowledge. It was not a religious cult. Hitler notedthat the Nazi party had no religious retreats and no rooms for worship with the mystical gloom of the cathedral butrather halls for the Volk[25]

    Thus, the huge Volkshalle was to dominate Berlin's new forum and north-south axis, whereas at EUR the newChurch of the Saints Paul and Peter dominated the new town's decumanus. Its dome is the second largest in Romeafter that of St. Peter's Basilica, whereas the dome of Saint Peter's would have fitted through the oculus in the domeof the Berlin Volkshalle. No two buildings could better illustrate the differences between Nazi Germany and FascistItaly with respect to Christian worship. Fascist Italy incorporated Rome of the Caesars and of the Popes. NaziGermany espoused only the values of pagan Rome where Christians who flouted the cult of the emperor werepenalized. The globe on the lantern of St. Peter's Basilica is surmounted by a cross. The globe of the world, whichwas to be placed on the lantern of the Berlin Volkshalle, was firmly gripped in the talons of an imperial eagle, whichwere also Reichsadler and the attribute of Zeus/Jupiter. The political theme of a globe gripped by an eagle wasrendered in bronze by the sculptor Ernst Andreas Rauch for the exhibition of art in the House of German Art in1940.[21]

    Not only were churches excluded from the new fora but also so was the town hall (Gr.Rathaus) since the mayor(Gr.Bürgermeister) yielded to the Führer as the representative of local community and nation. This was an essentialfeature of the leader principle (Gr.Füherprinzip).[26]

    In the Nuremberg Party Rallies, leader and led met together and everyone was filled with wonder at the event, in oneof Hitler's Nuremberg speeches he stated, "Not every one of you sees me and I do not see every one of you. But Ifeel you and you feel me!."[27]

    A notable feature of these rallies was that they were often held at night with spectacular light effects, such aspowerful search lights, creating pillars of white light many kilometres long around the perimeter of an assemblyground. The effect of such a contrivance was described as a "Cathedral of Light" (Gr. Lichtdom). The term is mostappropriate, since Hitler had already stated in Mein Kampf[28] that the Church in its wisdom had studied thepsychological appeal made upon worshippers by their surroundings: the use of artificially produced twilight castingits secret spell upon the congregation, as well as incense and burning candles. If the National Socialist speaker wereto study the psychology of these effects, it would be beneficial. The lighting effects in Nuremberg, particularly at theZeppelinfeld stadium, owed nothing to chance. The congregationalizing of Nazi souls in assembly buildings neededa suitable political framework to make it possible.

    http://en.wikipedia.org/w/index.php?title=Alfred_Rosenberghttp://en.wikipedia.org/w/index.php?title=Christian_Churchhttp://en.wikipedia.org/w/index.php?title=St._Peter%27s_Basilicahttp://en.wikipedia.org/w/index.php?title=St._Peter%27s_Basilicahttp://en.wikipedia.org/w/index.php?title=Reichsadlerhttp://en.wikipedia.org/w/index.php?title=Zeushttp://en.wikipedia.org/w/index.php?title=Jupiter_%28god%29http://en.wikipedia.org/w/index.php?title=Ernst_Andreas_Rauchhttp://en.wikipedia.org/w/index.php?title=German_Languagehttp://en.wikipedia.org/w/index.php?title=German_Languagehttp://en.wikipedia.org/w/index.php?title=German_Languagehttp://en.wikipedia.org/w/index.php?title=F%C3%BChrerprinziphttp://en.wikipedia.org/w/index.php?title=German_Language

  • Nazi architecture 12

    Theory of Ruin ValueThe "Theory of Ruin Value" (Gr. Ruinenwerttheorie) was conceived by Albert Speer, who recommended that, inorder to provide a "bridge to tradition" to future generations, modern "anonymous" materials such as steel girdersand ferroconcrete should be avoided in the construction of monumental party buildings wherever possible, sincesuch materials would not produce aesthetically acceptable ruins. Thus the most politically significant buildings of theReich would to some extent even after falling into ruins after thousands of years, resemble their Roman models. Thequarries of the Reich could not supply enough granite to build Hitler's monuments for posterity. Consequently, vastquantities of granite and marble were ordered from quarries in Sweden, Finland, Denmark, France and Italy.[29] [30]

    In Mein Kampf,[31] Hitler had stressed the need for increased expenditure on public buildings that in terms ofdurability and aesthetic appeal would match the opera publica of the ancient world.After the total collapse of the Third Reich in 1945, one of Speer's major state buildings, the new Chancellery inBerlin, did not become an aesthetic ruin but was treated like the monuments of ancient Rome, after its politicalcollapse. For example the Russians in 1947 demolished the hated Machtzentrum of the Führer, the marble that hadonce decorated the representative rooms of the palace was reused to build a Russian war memorial in East Berlin'sTreptower Park and to construct the Thälmann-Platz[32] and the Mohrenstraße [33] U-Bahn stations .

    Hitler's mausoleumDuring Hitler's tour of Paris in June 1940 he visited Les Invalides, where he stood silently gazing upon Napoleon'stomb. In late 1940, Hitler advised Giesler about the Pantheon and the mausoleum he wanted to build."Imagine to yourself, Giesler, if Napoleon's sarcophagus were placed beneath a large oculus, like that of thePantheon."[34] He goes on to express an almost mystical delight in the thought that the sarcophagus would beexposed to darkness and light, rain and snow and thus be linked directly to the universe.Thus, Hitler decided on a mausoleum the design of which was based on that of the Pantheon, not in its originalfunction as a temple but in its later function as a tomb of the famous: the artist Raphael and the kings VictorEmannuel II and Umberto I.[35]

    The mausoleum was to be connected to the Halle der Partei at Munich by a bridge over Gabelsbergerstrasse, tobecome a party-political cult centre in the city regarded by Hitler as the home of the Nazi party. The dimensionswere slightly smaller than the Pantheon. The oculus in the centre of the dome was to be one metre wider in diameterthan that of the Pantheon (8.92 metres) to admit more light on Hitler's sarcophagus, placed immediately under it onthe floor of the rotunda. The modest dimensions of the structure and its lack of rich decoration are at first sightpuzzling in light of Hitler's predilection for gigantic dimensions, but in this case the focal point of the building wasthe Führer's sarcophagus, which was not to be dwarfed by dimension out of all proportion to the size of thesarcophagus itself. Likewise, rich interior decoration would have distracted the attention of "pilgrims." Giesler'sscale model of the building apparently pleased Hitler, but the model and plans, kept by Hitler in the Reichskanzlei,are now probably in the hands of the Russians or have been destroyed.[36] It was perhaps because Hitler was sopleased with the design of his own mausoleum that in late autumn 1940 he asked Giesler to design a mausoleum forhis parents in Linz. Giesler gives no details of the structure, but it is clear from the photograph of his model that oncemore Hadrian's Pantheon was the model.

    http://en.wikipedia.org/w/index.php?title=German_Languagehttp://en.wikipedia.org/w/index.php?title=Reinforced_concretehttp://en.wikipedia.org/w/index.php?title=Mein_Kampfhttp://en.wikipedia.org/w/index.php?title=Opera_publicahttp://en.wikipedia.org/w/index.php?title=Chancelleryhttp://en.wikipedia.org/w/index.php?title=Machtzentrumhttp://en.wikipedia.org/w/index.php?title=East_Berlinhttp://en.wikipedia.org/w/index.php?title=Treptower_Parkhttp://en.wikipedia.org/w/index.php?title=Th%C3%A4lmann-Platzhttp://en.wikipedia.org/w/index.php?title=Mohrenstra%C3%9Fe_%28Berlin_U-Bahn%29http://en.wikipedia.org/w/index.php?title=Berlin_U-Bahnhttp://en.wikipedia.org/w/index.php?title=Les_Invalideshttp://en.wikipedia.org/w/index.php?title=Napoleonhttp://en.wikipedia.org/w/index.php?title=Pantheon%2C_Romehttp://en.wikipedia.org/w/index.php?title=Universehttp://en.wikipedia.org/w/index.php?title=Raphaelhttp://en.wikipedia.org/w/index.php?title=Victor_Emmanuel_II_of_Italyhttp://en.wikipedia.org/w/index.php?title=Victor_Emmanuel_II_of_Italyhttp://en.wikipedia.org/w/index.php?title=Umberto_Ihttp://en.wikipedia.org/w/index.php?title=Halle_der_Parteihttp://en.wikipedia.org/w/index.php?title=Gabelsbergerstrassehttp://en.wikipedia.org/w/index.php?title=Reichskanzleihttp://en.wikipedia.org/w/index.php?title=Linz

  • Nazi architecture 13

    SculptureSculpture was used as part of, and in conjunction with, Nazi architecture to embody the "German Spirit" of divinedestiny. Sculpture expressed the National Socialist obsession with the ideal body and espoused nationalistic, stateapproved values like loyalty, work, and family. Josef Thorak and Arno Breker were the most famous sculptors of theNazi regime.Arno Breker was in a certain sense both the best and the worst of the Nazi artists. Nominated as official statesculptor on Hitler's birthday in 1937, his technique was excellent, and his choice of subject, poses, theme wereoutstanding. Breker uses his numerous "naked men with swords" to unite the notions of health, strength, competition,collective action and willingness to sacrifice the self for the common good seen in many other Nazi works withexplicit glorification of militarism.

    Labour and plunderThe number of skilled and unskilled workers required to erect Hitler's increasingly gigantic buildings created alabour problem. When he assumed power in 1933, there were still many unemployed workers in Germany, some ofwhom were given work on public building schemes that Hitler thought would stimulate a sluggish German economyand at the same time provided him with popular propaganda "Hitler Creates Jobs" (Gr Hitler Schafft Arbeit). Themajority of the unemployed were quickly absorbed by the armaments factories and not by the construction industry,as Nazi propaganda suggested.[37]

    However, the unemployed did not always thank Hitler for their employment; German workers employed on thebuilding of the autobahns repeatedly went on strike from 1934 onward because of their atrocious working conditions,which led to graffiti such as "Adolf Hitler's roads are built with the blood of German workers." The Gestapo wasruthlessly used for strike-breaking and recalcitrant workers were sent to concentration camps on the assumption thatthey were communists.[38]

    As preparations for war and later as the demands of war absorbed increasingly larger quantities of steel, concrete andmanpower, the state building program slowed down to the point where in 1943 all work virtually came to a halt atthe Nuremberg rally grounds.[39]

    New quarries within Germany and Austria were established by the SS, who set up concentration camps such asMauthausen, Flossenbürg, Natzweiler and Gross-Rosen,[29] where inmates were forced to quarry stone for Hitler'sbuildings. The inmates were to be given minimal, low-cost diets, in which Himmler took a special interest. OnMarch 23, 1942, Himmler asked Oswald Pohl "to gradually develop a diet which, like that of Roman soldiers orEgyptian slaves, contains all the vitamins and is simple and cheap."Plans were also made to import three million slavic peoples into Germany to work for twenty years on the Reich'sbuilding sites.[40] By May 1941 more than three million people were being forced to work in Germany and of these athird were prisoners of war and the rest of the people forcibly removed from conquered territories.[41]

    This use of forced slave labour and the massive expenditure of funds on buildings commissioned by an autocratunder no constraint to disclose or justify such an expenditure, invites comparison with Roman methods of paying forand erecting the opera publica.[42]

    Rome's vast state buildings, admired and envied by Hitler, could be built only because Roman imperialism over a period of centuries generated the wealth and made available the manpower to pay for and erect the structures that enhanced the "sovereign power of the Roman people or the emperor" (Lt Maiestas) and spread the propaganda of the emperor. In Rome public buildings were customarily paid for out of plunder (Lt Manubiae) derived from foreign wars. For example, Trajan's vast forum was financed from booty derived from his Dacian wars. Julius Caesar's grandiose building plans, partly put into effect after his death by Augustus, were made possible thanks to the plunder he had gained from his wars in Gaul. The acquisition of works of art for the embellishment of private and public buildings was also frequently based on plunder. Here one can point to the aftermath of the sack of Corinth by Lucius

    http://en.wikipedia.org/w/index.php?title=Josef_Thorakhttp://en.wikipedia.org/w/index.php?title=Arno_Brekerhttp://en.wikipedia.org/w/index.php?title=Militarismhttp://en.wikipedia.org/w/index.php?title=German_Languagehttp://en.wikipedia.org/w/index.php?title=Gestapohttp://en.wikipedia.org/w/index.php?title=Communistshttp://en.wikipedia.org/w/index.php?title=Mauthausen-Gusen_concentration_camphttp://en.wikipedia.org/w/index.php?title=Flossenb%C3%BCrghttp://en.wikipedia.org/w/index.php?title=Natzweilerhttp://en.wikipedia.org/w/index.php?title=Gross-Rosen_concentration_camphttp://en.wikipedia.org/w/index.php?title=Oswald_Pohlhttp://en.wikipedia.org/w/index.php?title=Slavic_peopleshttp://en.wikipedia.org/w/index.php?title=Opera_Publicahttp://en.wikipedia.org/w/index.php?title=Latinhttp://en.wikipedia.org/w/index.php?title=Latinhttp://en.wikipedia.org/w/index.php?title=Trajanhttp://en.wikipedia.org/w/index.php?title=Dacianhttp://en.wikipedia.org/w/index.php?title=Julius_Caesarhttp://en.wikipedia.org/w/index.php?title=Gaulhttp://en.wikipedia.org/w/index.php?title=Corinthhttp://en.wikipedia.org/w/index.php?title=Lucius_Mummius_Achaicus

  • Nazi architecture 14

    Mummius Achaicus in 146 B.C., when shiploads of art treasures were sent to Rome. So too Hitler "collected" worksof art from all conquered territories for eventual exhibition in the vast gallery that was to have been built in Linz.[43]

    The use of forced labour on building sites both in Rome and in the provinces was a normal Roman practice. Thus,buildings like the Congress Hall in Nuremberg and the Volkshalle in Berlin, inspired by the Colosseum and thePantheon, respectively, were not merely symbols of tradition, order and reliability, but signaled a far more sinisterintention on the part of the autocrat who commissioned them: a return to Roman ethics, which recognized the naturalright of a conqueror to enslave conquered peoples in the most literal sense of the word, a right already made manifesteven within the sphere of architecture by the creation of concentration camps, whose inmates were forced to quarrythe stone for the Reich's buildings.[44]

    Thus, it seems clear that Hitler's grandiose plans for the architectural embellishment of Berlin and Germany'sregional capitals could have been achieved only by using the same methods as those employed by the Romans:forcible acquisition of funds and forced labour.[42] This would have caused two distinct socio-demographic classes;those that are slave owners and those that are slaves.

    See also

    General• Fascist architecture• Nazi Germany• Volk• Völkisch movement• Welthauptstadt Germania

    Nazi construction

    • Atlantic Wall or Atlantikwall • Gaubunker • Ordensburg Krössinsee• Autobahn • Gauhaus • Ordensburg Sonthofen• Berghof • German Air Ministry • Ordensburg Vogelsang• Brown House or Braunes Haus • Hall of Models • Prora• Carinhall • House of German Art or Haus der Kunst • Reich Chancellery or

    Reichskanzlei• Congress Hall • Hitler Youth Clubhouse or Hitler-Jugend

    Heim• Riese

    • Deutsches Stadion • Jena Brücke • Soldatenhalle• Ehrentempel • Königsplatz in Munich • Tempelhof International Airport• Flak Tower or Flakturm • Eagles Nest or Kehlsteinhaus • Thingplatz or Thingstätte• Fränkischer Hof • Nazi War Memorials • Triumphal Arch• Führerbau • Nazi party rally grounds • Volkshalle• Führerbunker • Obersalzberg • Winkeltürme

    • Olympic Stadium, Berlin • Zeppelin Field or Zeppelinfeld

    Hitler's builders

    http://en.wikipedia.org/w/index.php?title=Lucius_Mummius_Achaicushttp://en.wikipedia.org/w/index.php?title=Linzhttp://en.wikipedia.org/w/index.php?title=Fascist_architecturehttp://en.wikipedia.org/w/index.php?title=Nazi_Germanyhttp://en.wikipedia.org/w/index.php?title=Volkhttp://en.wikipedia.org/w/index.php?title=V%C3%B6lkisch_movementhttp://en.wikipedia.org/w/index.php?title=Welthauptstadt_Germaniahttp://en.wikipedia.org/w/index.php?title=Atlantic_Wallhttp://en.wikipedia.org/w/index.php?title=Atlantikwallhttp://en.wikipedia.org/w/index.php?title=Gaubunkerhttp://en.wikipedia.org/w/index.php?title=Ordensburg_Kr%C3%B6ssinseehttp://en.wikipedia.org/w/index.php?title=Autobahnhttp://en.wikipedia.org/w/index.php?title=Gauhaushttp://en.wikipedia.org/w/index.php?title=Ordensburg_Sonthofenhttp://en.wikipedia.org/w/index.php?title=Berghof_%28Hitler%29http://en.wikipedia.org/w/index.php?title=German_Air_Ministryhttp://en.wikipedia.org/w/index.php?title=Ordensburg_Vogelsanghttp://en.wikipedia.org/w/index.php?title=Brown_House%2C_Munich%2C_Germanyhttp://en.wikipedia.org/w/index.php?title=Brown_House%2C_Munich%2C_Germanyhttp://en.wikipedia.org/w/index.php?title=Hall_of_Modelshttp://en.wikipedia.org/w/index.php?title=Prorahttp://en.wikipedia.org/w/index.php?title=Carinhallhttp://en.wikipedia.org/w/index.php?title=Haus_der_Kunsthttp://en.wikipedia.org/w/index.php?title=Haus_der_Kunsthttp://en.wikipedia.org/w/index.php?title=Reich_Chancelleryhttp://en.wikipedia.org/w/index.php?title=Reichskanzleihttp://en.wikipedia.org/w/index.php?title=Congress_Hall_%28Nuremberg%29http://en.wikipedia.org/w/index.php?title=Hitler_Youth_Clubhousehttp://en.wikipedia.org/w/index.php?title=Hitler-Jugend_Heimhttp://en.wikipedia.org/w/index.php?title=Hitler-Jugend_Heimhttp://en.wikipedia.org/w/index.php?title=Project_Riesehttp://en.wikipedia.org/w/index.php?title=Deutsches_Stadionhttp://en.wikipedia.org/w/index.php?title=Jena_Br%C3%BCckehttp://en.wikipedia.org/w/index.php?title=Soldatenhallehttp://en.wikipedia.org/w/index.php?title=Ehrentempelhttp://en.wikipedia.org/w/index.php?title=K%C3%B6nigsplatz_in_Munichhttp://en.wikipedia.org/w/index.php?title=Tempelhof_International_Airporthttp://en.wikipedia.org/w/index.php?title=Flak_Towerhttp://en.wikipedia.org/w/index.php?title=Flakturmhttp://en.wikipedia.org/w/index.php?title=Kehlsteinhaushttp://en.wikipedia.org/w/index.php?title=Kehlsteinhaushttp://en.wikipedia.org/w/index.php?title=Thingplatzhttp://en.wikipedia.org/w/index.php?title=Thingst%C3%A4ttehttp://en.wikipedia.org/w/index.php?title=Fr%C3%A4nkischer_Hofhttp://en.wikipedia.org/w/index.php?title=Nazi_War_Memorialshttp://en.wikipedia.org/w/index.php?title=Triumphal_Arch_%28Hitler%29http://en.wikipedia.org/w/index.php?title=Hochschule_f%C3%BCr_Musik_und_Theater_M%C3%BCnchenhttp://en.wikipedia.org/w/index.php?title=Nazi_party_rally_groundshttp://en.wikipedia.org/w/index.php?title=Volkshallehttp://en.wikipedia.org/w/index.php?title=F%C3%BChrerbunkerhttp://en.wikipedia.org/w/index.php?title=Obersalzberghttp://en.wikipedia.org/w/index.php?title=Winkelt%C3%BCrmehttp://en.wikipedia.org/w/index.php?title=Olympic_Stadium%2C_Berlinhttp://en.wikipedia.org/w/index.php?title=Zeppelin_Fieldhttp://en.wikipedia.org/w/index.php?title=Zeppelin_Field

  • Nazi architecture 15

    • Bestelmeyer, German • Giesler, Hermann • Nonn, Konrad • Schultze-Naumburg, Paul• Bonatz, Paul • Grebe, Wilhelm • Rosenberg, Alfred • Senger, Alexander von• Behrens, Peter • Höger, Fritz • Ruff, Ludwig • Speer, Albert• Brinkmann,

    Woldemar• Hönig, Eugen • Ruff, Franz • Todt, Fritz

    • Fick, Roderich • Klotz, Clemens • Sagebiel, Ernst • Troost, Paul Ludwig• Fischer, Theodor • Kreis, Wilhelm • Schmitthenner, Paul • Wolters, Rudolf• Gall, Leonhard • March, Werner • Schulte-Frohlinde, Julius

    Further reading

    Books• Baynes, Norman H. The Speeches of Adolf Hitler, April 1922-August 1939, V1 & V2. London: Oxford

    University Press, 1942. V1 - ISBN 0-598-75893-3 V2 - ISBN 0-598-75894-1• Cowdery, Ray and Josephine. The New German Reichschancellery in Berlin 1938-1945• De Jaeger, Charles. The Linz File, New York: Henry Holt & Co, 1982. ISBN 0-03-061463-5.• Giesler, Hermann. Ein Anderer Hitler: Bericht Seines Architekten Erlebnisse, Gesprache, Reflexionen, 2nd

    Edition (Illustrated), Druffel, 1977. ISBN 3-8061-0820-X.• Helmer, Stephen. Hitler's Berlin: The Speer Plans for Reshaping the Central City (Illustrated). Ann Arbor: UMI

    Research Press, 1985. ISBN 0-8357-1682-1.• Hitler, Adolf. Hitler's Table Talk 1941-1944: His Private Conversations, 3rd Edition. New York: Enigma Books,

    2000. ISBN 1-929631-05-7.• Homze, Edward L. Foreign Labor in Nazi Germany. New Jersey, Princeton University Press, 1967. ISBN

    0-691-05118-6.• Jaskot, Paul. The Architecture of Oppression: The SS, Forced Labor and the Nazi Monumental Building

    Economy. New York: Routledge, 2000.• Krier, Leon. Albert Speer Architecture. New York: Princeton Architectural Press, 1989. ISBN 2-87143-006-3.• Lärmer, Karl. Autobahnbau in Deutschland 1933 bis 1945. Berlin: 1975.• Lehmann-Haupt, Hellmut. Art under a Dictatorship (Illustrated). New York: Octagon Books, 1973. ISBN

    0-374-94896-8.• Lehrer, Steven. The Reich Chancellery and Fuhrerbunker Complex• Petsch, Joachim. Baukunst Und Stadtplanung Im Dritten Reich: Herleitung, Bestandsaufnahme, Entwicklung,

    Nachfolge (Illustrated). C. Hanser, 1976. ISBN 3-446-12279-6.• Rittich, Werner, Architektur und Bauplastik der Gegenwart, published by Rembrandt-Verlag G.M.B.H., Berlin,

    1938• Schönberger, Angela. Die Neue Reichskanzlei Von Albert Speer, Berlin: Mann, 1981. ISBN 3-7861-1263-0.• Scobie, Alexander. Hitler's State Architecture: The Impact of Classical Antiquity. University Park: Pennsylvania

    State University Press, 1990. ISBN 0-271-00691-9.• Schmitz, Matthias. A Nation Builds: Contemporary German Architecture. New York: German Library of

    Information, 1940.• Speer, Albert. Inside The Third Reich. New York: The Macmillan Company, 1970. ISBN 0-02-037500-X.• Spotts, Frederic. Hitler and the Power of Aesthetics. Woodstock, NY: Overlook Press, 2002. ISBN

    1-58567-345-5• Taylor, Robert. Word in Stone: The Role of Architecture in the National Socialist Ideology. Berkeley: University

    of California Press, 1974. ISBN 0-520-02193-2.• Thies, Jochen. Hitlers Stadte: Baupolitik Im Dritten Reich E. Dokumentation (Illustrated). Wird verschickt aus,

    Germany: Böhlau Köln, 1978. ISBN 3-412-03477-0.

    http://en.wikipedia.org/w/index.php?title=German_Bestelmeyerhttp://en.wikipedia.org/w/index.php?title=Hermann_Gieslerhttp://en.wikipedia.org/w/index.php?title=Konrad_Nonnhttp://en.wikipedia.org/w/index.php?title=Paul_Schultze-Naumburghttp://en.wikipedia.org/w/index.php?title=Paul_Bonatzhttp://en.wikipedia.org/w/index.php?title=Wilhelm_Grebehttp://en.wikipedia.org/w/index.php?title=Alfred_Rosenberghttp://en.wikipedia.org/w/index.php?title=Alexander_von_Sengerhttp://en.wikipedia.org/w/index.php?title=Peter_Behrenshttp://en.wikipedia.org/w/index.php?title=Fritz_Hogerhttp://en.wikipedia.org/w/index.php?title=Ludwig_Ruffhttp://en.wikipedia.org/w/index.php?title=Albert_Speerhttp://en.wikipedia.org/w/index.php?title=Woldemar_Brinkmannhttp://en.wikipedia.org/w/index.php?title=Woldemar_Brinkmannhttp://en.wikipedia.org/w/index.php?title=Eugen_Honighttp://en.wikipedia.org/w/index.php?title=Franz_Ruffhttp://en.wikipedia.org/w/index.php?title=Fritz_Todthttp://en.wikipedia.org/w/index.php?title=Roderich_Fickhttp://en.wikipedia.org/w/index.php?title=Clemens_Klotzhttp://en.wikipedia.org/w/index.php?title=Ernst_Sagebielhttp://en.wikipedia.org/w/index.php?title=Paul_Troosthttp://en.wikipedia.org/w/index.php?title=Theodor_Fischerhttp://en.wikipedia.org/w/index.php?title=Wilhelm_Kreishttp://en.wikipedia.org/w/index.php?title=Paul_Schmitthennerhttp://en.wikipedia.org/w/index.php?title=Rudolf_Woltershttp://en.wikipedia.org/w/index.php?title=Leonhard_Gallhttp://en.wikipedia.org/w/index.php?title=Werner_Marchhttp://en.wikipedia.org/w/index.php?title=Julius_Schulte-Frohlinde

  • Nazi architecture 16

    • Thies, Jochen. Architekt der Weltherrschaft. Die Endziele Hitlers. 1982. ISBN 3-7700-0425-6.• Zoller, Albert von. Hitler privat, 1949. ISBN B0000BPY63.

    Documentaries• Adams,R.J. Ruins of the Reich, History Quest Video 2006.

    This film takes viewers on a then and now tour of the various Nazi sites such as Tannenberg Memorial,Hindenburg's Neudeck Estate,Maginot Line, big guns batteries of The Atlantic Wall, U-boat Submarine pens,Hitler's campaign headquarters of Wolfsschanze and Wolfsschlucht 2, Obersalzberg, Nazi party rally grounds,D-Day landing beaches of the Normandy campaign, Ardennes, scene of the infamous battle of the Bulge.Archival film is 1st generation 35mm film from the Nazi Ministry of Public Enlightenment and Propaganda, aswell as current footage of each site as they appear today. English, DVD, 4 discs, 232 minutes.

    • Adams,R.J.. Order Castles of the Third Reich, History Quest Video, 2006.this production captures the mystic Teutonic fortresses of Nazi Germany. The inside look at the Third Reich'ssecretive Order Castles of Hitler's political soldiers, Hitler Youth and SS. DVD, English, 60 minutes

    • Goebbels, Joseph. Hitler's Constructions/Die Bauten von Adolf Hitler (propaganda film), International HistoricFilms, 1938.

    This propaganda film shows the varieties of National Socialist constructions: youth hostels and party schools,bridge projects and the Autobahn, ministries and party buildings, as well as the famous monumental works,such as the Zeppelinfeld at Nuremberg. German language, English subtitles; , 17 minutes.

    • Cohen, Peter. The Architecture of Doom, First Run Features, 1991.This film analyzes the aesthetic's created and evisioned by Adolf Hitler and the top echelon of the Third Reich.Using never-before-seen footage, the film attempts to shed light on the Nazis obsession with concepts of orderand stability borrowed from ancient Greece and Rome. The film also attempts to show how the Nazi aestheticled to the banning of such modern artists as Picasso. This disturbing film documents the Nazi philosophy ofbeauty through violence, highlighting Hitler's views on culture, art and architecture. Includes exclusivearchival footage of the last days of the Third Reich, with film shot inside Hitler's bunker.

    • Kiefer, Kent. Ruins of the Third Reich, Kiefer Entertainment, 2005.This film was shot in 1947 by an American industrialist and covers the destruction of the Third Reich in WorldWar II. Many of the Nazi Party's most sacred and important sites appear in this film in total ruins. Included israre and never before seen footage of Hitler's bunker, the Reich Chancellery, Hitler's office, Nuremberg rallysites and much more. Included is footage of Goebbels residence after being partially destroyed by Russiangunfire, Luftwaffe Administrative Headquarters (Post War American Military Government H.Q.), theReichstag and the 1870 Victory Column that Hitler had raised by 30 feet (9 meters). Also seen is the OlympicStadium where the 1936 Summer Olympics took place, the Krupp Steelworks in Essen, the former KruppEstate (British Administrative H.Q.), the ruins of Cologne, a trip up the Rhine, the Nuremberg Palace ofJustice and the Munich beer garden Burger Brau Keller where Hitler's career began. This film is a fascinatinghistorical document and time capsule depicting the aftermath of Germany's destruction in World War II.

    http://en.wikipedia.org/w/index.php?title=R._J._Adamshttp://en.wikipedia.org/w/index.php?title=Ruins_of_the_Reichhttp://en.wikipedia.org/w/index.php?title=Nazihttp://en.wikipedia.org/w/index.php?title=Tannenberg_Memorialhttp://en.wikipedia.org/w/index.php?title=Maginot_Linehttp://en.wikipedia.org/w/index.php?title=The_Atlantic_Wallhttp://en.wikipedia.org/w/index.php?title=Submarine_penhttp://en.wikipedia.org/w/index.php?title=Wolfsschanzehttp://en.wikipedia.org/w/index.php?title=Wolfsschlucht_IIhttp://en.wikipedia.org/w/index.php?title=Obersalzberghttp://en.wikipedia.org/w/index.php?title=Nazi_party_rally_groundshttp://en.wikipedia.org/w/index.php?title=Normandy_Landingshttp://en.wikipedia.org/w/index.php?title=Ardenneshttp://en.wikipedia.org/w/index.php?title=Ministry_of_Public_Enlightenment_and_Propagandahttp://en.wikipedia.org/w/index.php?title=English_languagehttp://en.wikipedia.org/w/index.php?title=DVDhttp://en.wikipedia.org/w/index.php?title=R._J._Adamshttp://en.wikipedia.org/w/index.php?title=Order_Castles_of_the_Third_Reichhttp://en.wikipedia.org/w/index.php?title=Teutonichttp://en.wikipedia.org/w/index.php?title=Nazi_Germanyhttp://en.wikipedia.org/w/index.php?title=Hitler_Youthhttp://en.wikipedia.org/w/index.php?title=SShttp://en.wikipedia.org/w/index.php?title=Propagandahttp://en.wikipedia.org/w/index.php?title=Zeppelinfeldhttp://en.wikipedia.org/w/index.php?title=English_languagehttp://en.wikipedia.org/w/index.php?title=Peter_Cohenhttp://en.wikipedia.org/w/index.php?title=The_Architecture_of_Doomhttp://en.wikipedia.org/w/index.php?title=Adolf_Hitlerhttp://en.wikipedia.org/w/index.php?title=Third_Reichhttp://en.wikipedia.org/w/index.php?title=Greecehttp://en.wikipedia.org/w/index.php?title=Hitler%27s_bunkerhttp://en.wikipedia.org/w/index.php?title=United_Stateshttp://en.wikipedia.org/w/index.php?title=World_War_IIhttp://en.wikipedia.org/w/index.php?title=World_War_IIhttp://en.wikipedia.org/w/index.php?title=Nazismhttp://en.wikipedia.org/w/index.php?title=Reich_Chancelleryhttp://en.wikipedia.org/w/index.php?title=Nuremburg_Party_Rallieshttp://en.wikipedia.org/w/index.php?title=Nuremburg_Party_Rallieshttp://en.wikipedia.org/w/index.php?title=Joseph_Goebbelshttp://en.wikipedia.org/w/index.php?title=Luftwaffe_Administrative_Headquartershttp://en.wikipedia.org/w/index.php?title=1870_Victory_Columnhttp://en.wikipedia.org/w/index.php?title=Olympic_Stadium%2C_Berlinhttp://en.wikipedia.org/w/index.php?title=Olympic_Stadium%2C_Berlinhttp://en.wikipedia.org/w/index.php?title=1936_Summer_Olympicshttp://en.wikipedia.org/w/index.php?title=Krupp_Steelworkshttp://en.wikipedia.org/w/index.php?title=Krupp_Estatehttp://en.wikipedia.org/w/index.php?title=Krupp_Estatehttp://en.wikipedia.org/w/index.php?title=Colognehttp://en.wikipedia.org/w/index.php?title=Rhinehttp://en.wikipedia.org/w/index.php?title=Nuremberg_Palace_of_Justicehttp://en.wikipedia.org/w/index.php?title=Nuremberg_Palace_of_Justicehttp://en.wikipedia.org/w/index.php?title=Burger_Brau_Keller

  • Nazi architecture 17

    External links

    Articles• A Theory of Ruin-value [45], Cornelius Holtorf, last updated on 21 December 2004.

    Graphics• Graphics [46]

    • Graphics1 [47]

    • Graphics2 [48]

    • Graphics3 [49]

    • Graphics4 [50]

    Misc• Discussion forum [51]

    • Leonding [52]

    • Third Reich In Ruins [53]

    • Flaktuerme [54]

    • NS-Architektur [55] at Lebendiges Museum Online. (German)

    References[1] [[#Books|Scobie 92]][2] [[#Books|Scobie 80]][3] [[#Books|Taylor 11]][4] [[#Books|Speer, Third Reich, 75-76]][5] Speer, pp. 93-4[6] [[#Books|Taylor 13]][7] [[#Books|Schmitz]][8] [[#Books|Scobie 133-134]][9] [[#Books|Petsch 112]][10] [[#Books|Scobie 134]][11] [[#Books|Hitler, Table Talk, 146]][12] [[#Books|Taylor]][13] [[#Books|Scobie 136]][14] [[#books|Krier 219]][15] [[#Books|Taylor 250-269]][16] [[#Books|Scobie 41]][17] [[#Books|Lehmann-Haupt 111]][18] [[#Books|Giesler 121]][19] [[#Books|Giesler 116-117]][20] [[#Books|Thies, Hitlers Stadte, 60]][21] [[#Books|Scobie 65]][22] [[#Books|Baynes 577]][23] Mein Kampf p. 475[24] [[#Books|Zoller 193]][25] [[#Books|Taylor 33]][26] [[#Books|Petsch 82]][27] [[#Books|Baynes 197]][28] Mein Kampf pg. 532[29] [[#Books|Thies, Weltherrschaft, 100]][30] [[#Books|Scobie 94]][31] Mein Kampf 1.10[32] [[#Books|Scobie 95-96]]

    https://tspace.library.utoronto.ca/citd/holtorf/7.4.htmlhttp://www.stanford.edu/dept/german/berlin_class/archives/speer_gallery.htmlhttp://www.dataphone.se/~ms/speer/welcom2.htmhttp://fcit.coedu.usf.edu/holocaust/resource/gallery/BERBLD.HTMhttp://fcit.coedu.usf.edu/holocaust/resource/gallery/MUNBLD.htmhttp://faculty-web.at.northwestern.edu/art-history/werckmeister/April_29_1999/index.htmlhttp://forum.axishistory.com/viewforum.php?f=44&sid=31b19e3eefff2a860e22cae679a11d49http://www.fpp.co.uk/Hitler/house/SouthBend0702.htmlhttp://www.thirdreichruins.com/contents.htmhttp://www.hojobeck.de/http://www.dhm.de/lemo/html/nazi/kunst/architektur/index.htmlhttp://en.wikipedia.org/w/index.php?title=Mein_Kampfhttp://en.wikipedia.org/w/index.php?title=Mein_Kampfhttp://en.wikipedia.org/w/index.php?title=Mein_Kampf

  • Nazi architecture 18

    [33] Roland Harder: Reichskanzlei (http:/ / www. roland-harder. de/ relikte_drittes_reich/ reichskanzlei. html)[34] [[#Books|Giesler 31]][35] [[#Books|Scobie 116]][36] [[#Books|Giesler 35]][37] [[#Books|Lärmer 52-55]][38] [[#Books|Lärmer 54]][39] [[#Books|Schönberger 164-166]][40] [[#Books|Thies, Nazi Architecture, 58]][41] [[#Books|Homze 68]][42] [[#Books|Scobie 131]][43] [[#Books|De Jaeger 52-56]][44] [[#Books|Scobie 137]][45] https:/ / tspace. library. utoronto. ca/ citd/ holtorf/ 7. 4. html[46] http:/ / www. stanford. edu/ dept/ german/ berlin_class/ archives/ speer_gallery. html[47] http:/ / www. dataphone. se/ ~ms/ speer/ welcom2. htm[48] http:/ / fcit. coedu. usf. edu/ holocaust/ resource/ gallery/ BERBLD. HTM[49] http:/ / fcit. coedu. usf. edu/ holocaust/ resource/ gallery/ MUNBLD. htm[50] http:/ / faculty-web. at. northwestern. edu/ art-history/ werckmeister/ April_29_1999/ index. html[51] http:/ / forum. axishistory. com/ viewforum. php?f=44& sid=31b19e3eefff2a860e22cae679a11d49[52] http:/ / www. fpp. co. uk/ Hitler/ house/ SouthBend0702. html[53] http:/ / www. thirdreichruins. com/ contents. htm[54] http:/ / www. hojobeck. de/[55] http:/ / www. dhm. de/ lemo/ html/ nazi/ kunst/ architektur/ index. html

    http://www.roland-harder.de/relikte_drittes_reich/reichskanzlei.htmlhttps://tspace.library.utoronto.ca/citd/holtorf/7.4.htmlhttp://www.stanford.edu/dept/german/berlin_class/archives/speer_gallery.htmlhttp://www.dataphone.se/~ms/speer/welcom2.htmhttp://fcit.coedu.usf.edu/holocaust/resource/gallery/BERBLD.HTMhttp://fcit.coedu.usf.edu/holocaust/resource/gallery/MUNBLD.htmhttp://faculty-web.at.northwestern.edu/art-history/werckmeister/April_29_1999/index.htmlhttp://forum.axishistory.com/viewforum.php?f=44&sid=31b19e3eefff2a860e22cae679a11d49http://www.fpp.co.uk/Hitler/house/SouthBend0702.htmlhttp://www.thirdreichruins.com/contents.htmhttp://www.hojobeck.de/http://www.dhm.de/lemo/html/nazi/kunst/architektur/index.html

  • Article Sources and Contributors 19

    Article Sources and ContributorsNazi architecture  Source: http://en.wikipedia.org/w/index.php?oldid=331746868  Contributors: AI, Alangstone, Alarix, Aldis90, Aleenf1, Alex1011, Alsandro, Andreasmperu,AnonymousPrivateIndividual, Asknine, Attilios, Ave Caesar, BD2412, BYF, Balcer, Battlefield, Bhoesicol, BillC, BlGene, Bobblehead, Bobblewik, Bobo192, Bronks, Bumhoolery, Bytwerk,CALR, CLW, Cahier, Carptrash, Chessy999, Chris the speller, Cmdrjameson, Cohesion, Craigy144, Da Vynci, DanielCD, DavidCane, Dedachan, Delirium, Detrius77, Deville, Dgies, Dogears,Dreadstar, Droll, Editor2020, EdwinHJ, Elsty 01, Endurance, EriFr, Error, Evil Byrd, Ewlyahoocom, Faigl.ladislav, Faithlessthewonderboy, Fawcett5, Freekfeast, GCarty, Gabbe, Gareth E Kegg,Geevee, Ghirlandajo, GreatWhiteNortherner, Green Squares, GregAsche, Gregory Shantz, Ground Zero, Gryffindor, Halibutt, Headphonos, HeartofaDog, Hellbus, Heyitspeter, Hongooi, Hut 8.5,Ich, Icitonpere, Igiffin, Incnis Mrsi, Ingolfson, Itai, J Heath, JamesAM, Jarkeld, Jengod, Jkatzen, Jnc, John, JonHarder, Joseph Solis in Australia, JoshuaGarton, Jpbowen, Keesiewonder, KellyMartin, Ken Gallager, Kendelarosa5357, Keraunos, Knightflyte, Knyf, LaLa, LachlanA, Lambiam, Legaleagle86, Leonard G., Les7007, List of marijuana sl