How much can we learn about Nazi Germany by studying its architecture?
How much can we learn about Nazi Germany by studying its architecture?
Architecture is the science of layout and design of buildings. If we look at different periods of history, differing cultures, civilisations and geographical regions, we find distinctive styles and features of architecture that have developed. There is usually an aim behind architecture, it encompasses the world around it, and is there for everyone to see everyday. Buildings are viewed and experienced by large numbers of people, therefore the image that it projects is of great importance, as it consciously and subconsciously affects the minds of individuals. Architecture can therefore be used as a powerful political weapon and built into a propaganda scheme and programme beyond this. It is a reflection of culture and the way a country envisages itself. Architecture was therefore closely integrated into the Nazis propaganda scheme.
Nazi propaganda had a large part to play in Hitler's consolidation of power. Once they succeeded in ending democracy and turning Germany into a one party dictatorship, the Nazis orchestrated a massive propaganda campaign to win the loyalty and co-operation of the German people. It was used to subconsciously manipulate the minds of the masses into conforming to the new Nazi ideology that Hitler had established. The Nazi Propaganda Ministry of Public Enlightenment, directed by Joseph Goebbles, took control of all forms of communication in Germany: newspapers, magazines, books, public meetings, rallies and the arts. This heavy manipulation and use of propaganda reinforces the weakness of nazi ideology, as this was the only means by which Hitler was able to penetrate the minds of the people into taking on board his unjustifiable ideological beliefs. Architecture an the arts were closely integrated with one another and played a pivotal role in this silent propaganda machine.
The arts were an essential part of Hitler's programme as they were seen as a form of 'non intellectual propaganda' as they could be viewed and easily understood by everyone, they had the ability to strengthen and purify the nation. Political aims and artistic expression were united. The Reich culture chamber was established to which only certain artists were admitted. True art, as defined by Hitler was linked with the country life, with health, and with the Aryan race. It expressed the German national cultural traditions and the 'blood and soil' ethic of the German people. Indeed as Hitler said at a party day speech in 1935.
' We shall discover and encourage the artists who are able to impress upon the state of the German people the cultural stamp of the Germanic race... in their origin and in the picture which they present they are the expressions of the soul and the ideals of the community'.
Modernist styles that had developed throughout the 1920's were classed as degenerate, and abolished by the Nazis. Artists like Max Beckman, Emile Node and Erich Heckle had their works seized. The confiscated works were either burnt or put on display in museums. Exhibitions of the modernist's works were given names such as the 'chamber of horrors' or 'mirrors of the decadence of art'. 'Official' art was also put on show to highlight the contrasts between degenerate art and the traditionalist artists favoured by Hitler like Die Brucke and Der Blaue.
Art is a clear illustration of the lack of freedom of individual expression that existed in the third Reich. Whatever Hitler's preferred taste was the style that had to be viewed and enjoyed by the entire nation. Architecture in turn also reflected this trend.
Architecture became a central pillar of Hitler's focuses and was to him the highest form of art.
'Architecture leads all other arts, it shows everywhere the great hand of our Fuhrer, from him come the greatest impulses for the creation of and the search for new ways'
He considered himself to be the mentor, the initiator and the 'master builder' of the third Reich that would last for a thousand years and remain forever in history as an empire comparable to that of the Romans. This was completely unsuccessful of course, as Hitler's Reich only lasted a mere 12 years, highlighting his disillusions of the Reich's grandeur. A particular architectural style also developed, as the architects of the third Reich were naturally hand picked by Hitler to for fill his visions for the new Germany. Jews and communists were of course barred from the official chamber of architects. He gathered around him a group of efficient pliable architects able to realise his dreams: Paul Ludwig Troost, Albert Speer, Hermann Giesler, and Fritz Trodt. These Architects would epitomise the Third Reich through 'the word in stone'.
Hitler had complained in Mein Kampf about the lack of 'outstanding monuments' in German cities, which could symbolise their glories. He believed that buildings were products of historical times, and therefore demanded more funds for architecture. The aim of Nazi architecture was not only to convey the greatness and power of the German Reich to the German people, in order to help them keep faith in their own future, but to also be overwhelming and present a powerful well technically advanced nation to visiting foreigners and even later generations. This image also appeared threatening and intimidating to the ...
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Hitler had complained in Mein Kampf about the lack of 'outstanding monuments' in German cities, which could symbolise their glories. He believed that buildings were products of historical times, and therefore demanded more funds for architecture. The aim of Nazi architecture was not only to convey the greatness and power of the German Reich to the German people, in order to help them keep faith in their own future, but to also be overwhelming and present a powerful well technically advanced nation to visiting foreigners and even later generations. This image also appeared threatening and intimidating to the people of Germany, it portrayed strength, and showed the nation as one that would not crumble to opposition, one that would be able to crush anyone who challenged Nazi ideology.
'Our enemies will guess it, but our own people must know it: new buildings are being put up to strengthen our new authority'
It showed the Nazis as a strong united party to which the people were united under a strong aesthetic ideology, and sent the perfect political messages out to the German people who had no choice but to conform to the absolute authority Hitler possessed. However this was a fake outward façade as the Nazis were not a united party, and were constantly changing their unfocused ideology to meet Hitler's desires and needs. An example of this is the way Hitler made himself supreme commander the army and turned on his generals. It is difficult also to measure how united the people were; some reluctantly went through with the regime and others did establish small forms of opposition, however they certainly were not all totally united as Hitler had wished.
Neo classicism was the style favoured by Hitler for public buildings like the courts and houses for government, as it gave a sign of civilisation and social solidarity. It gave the Nazi regime a expressive, focused image, and helped to contribute to their consolidation. The format of buildings became large and monumental and was considered to be the only architectural style suitable for an eternal empire. However the architecture of individual buildings was not designed to speak on its own but to draw together and create a much wider picture. Combined with thousands of people, atmospheric lighting and powerful symbols the overall image was extremely impressive. Although the Nazis may have claimed to have developed a new style of architecture, they were in fact influenced by other civilisations and predecessors as well as contemporary parallels.
Obvious influences on Hitler's architecture programme were the likes of Periclean Athens and the Romans. Hitler admired Rome's coliseums and Britain's neo gothic houses of parliament, as they expressed civilisation. His admiration for Britain may be poignant as he saw it as a suitable partner and hoped at the beginning of the war they would become a natural ally of Germany. The Acropolis in Athens including buildings like the Parthenon constructed during the golden age of Athens (5th century BC) under the rule of Pericles, can be compared directly to much Nazi architecture as Hitler wanted to draw comparisons between the Nazis and these great empires. Both of these cities are associated with power and opulence standing for thousands of years and presented an image that made the rest of the world open there eyes and take notice. This is the image that he wanted the Nazis to have and the image that he wanted the rest of the world to see. This desire stemmed form Hitler's fascination with the past, he loved to read about the history of different countries, in particularly he admired the history of Paris, and wanted Germany too to have some kind of historical background. He therefore wanted the German nation to be architecturally to the great empires of the past.
Hitler banned the great architects of the 1920s and looked for architects whose work reflected his own ideologies.
Albert Speer enthusiastically joined the Nazi party in January 1931 after listening to Hitler speak at a Berlin rally in late 1930. Hitler was so impressed by Speers efficiency and talent, that after he became Chancellor he was given the job of the Fuhrers own personal architect and protégé. Speer was therefore the central mind behind the way the Third Reich was shaped. He was politically naïve, and fell victim to the Nazi Germany promise before wartime, of a new Reich with a glorious future as did the majority of the nation.
Speer was commissioned to complete many different and ambitious architectural programmes one of the largest being the complete redesign and rebuilding of the capital Berlin. It was designed to become the ultimate realisation of national socialist ideology; it had a giant avenue from south to north, which was the highlight of the new city. In 1938 Speer finished the design for the first of Berlins great axis avenue, 4 miles long and flanked by 400 streetlights that he had designed. The east west axis would 'cut through the chaotic development of the cold city'. Eventually it was to stretch over 30 miles from east to west and 25 miles from north to south. It was planned to be a monumental centre. In 1925, Hitler had sketched a triumphal arch and a large assembly hall, both of which were to become the symbols of the New Berlin and a new Germany. The triumphal arch was to span a distance of 285 feet and rise 325 feet, dwarfing the Eiffel tower. On it the names of the fallen heroes of the Great War were to lie inscribed. It was planned to be constructed via traditional method and used no reinforced concrete, as Hitler believed that by this approach the architecture would hold a ruin value when it had aged. The Roman model would be central as it was throughout most of Hitler's building programmes.
The demolition crews began work but were shortly interrupted when War commenced. In the eighteen months of allied bombing raids, tens of thousands of buildings were reduced to rubble. When the war was over however it was obvious that reconstruction would take decades. This is an example of the highly ambitious nature of Hitler's projects that were often unrealistic. This motion ran throughout the Third Reich where obviously unattainable goals were sought after without any clearly mapped plan. For example the countries aim for Autarky and to become self-sufficient was one that would not realistically be attained. Hitler's all or nothing approach to situations was an essential trait to his personality, and was an important factor in his downfall. Instead of pulling back his remaining troops when German defeat in the war was imminent, he insisted in fighting to the last man in the Ardennes offensive, using up every military resource. Surely Hitler should have prioritised, and seen that winning the war was a far more important long term objective, however his all or nothing approach shone through as he felt that using vital resources on architecture at this time was equally important, therefore his attitude to war and personality in general was directly reflected in his architecture. More diversely this can be linked back to Hitler's megalomania and the ridiculous ideology of the Nazis, and reinforces the fact that Hitler was a man living in a world of fantasy and an inadequate leader of the nation.
In 1934 Speer proposed a 'theory of ruin value' that would be an important issue when buildings were designed and built in the third Reich. It revolved around the idea that modern construction was poorly suited to form the 'bridge of tradition' that future generations would experience. Rubble and rust would not communicate Hitler's heroic aspirations of Germany like the great monuments that Hitler admired of the great empires. Therefore by using special materials and applying certain principles, structures were intended to be built so that even in a state of decay after hundreds or even thousands of years, buildings would remain impressive and speak favourably about the time when they were built. The use of modern construction materials like steel girders and reinforced concrete was avoided, as they are subject to weathering. There was also an economic aim to minimise the use of iron, which was urgently needed for the armament programme, for constructions like shelters and bunkers. Hitler's important eternal buildings were constructed from natural stone without any iron reinforcements as it had been used in the construction of all the great empires. Stone reflected a traditional hand crafted tradition that was meant to unite the people.
Hitler did achieve his 'theory of ruins' however ironically this came about after 12 years instead of the thousands of years he had planned for his Reich.
Architecture was clearly incorporated into propaganda. The great stadiums like the Zeppelin field in Nuremberg were designed and constructed to offer contemporary society a strong rallying point. The Zeppelin field hosted 500,000 people, who would all become part of the anonymous mass of Nazi worshippers, brainwashed into Nazi ideology on the day of a party rally. At one end of the field was a large hall of honour with a memorial chapel within. It reminded people of the Tannenberg memorial in East Prussia, which predated the rise of the Nazis. Two pylons decorated with the wreathed swastika, and crowned with large bronze braziers flanked the tribune. In the centre of its pediment was a huge swastika. The tribune gave the impression of a fortress. Surrounded by such symbols, brought a feeling power. It also brought a focus of attention, which encompassed a strong, united and focused ideology. It was a display of naked and absolute power in all its brutality. The colossal architecture inflated the fuehrer into gigantic proportions. He was always in a central position, which underlined him as a god like figure. This shows us clearly Hitler's highly egotistical personality, and belief of his own divine right to lead, cleanse, and be a father to the German people and other sycophants whom he surrounded himself by.
Autobahns were an important means of giving people work, and getting the economy going as part of the 4 year plan. The fact that unemployment was reduced so greatly was seen as one of the nazis great successes and provided a strong base of support within the population, especially among the working class for whom jobs were directly created.
'The new autobahn network is not only in its concept the most powerful in the world but also the most exemplary'
They were a powerful symbol of political strength, willpower and achievement of technical superiority over the rest of the world. They wee therefore a silent propaganda method. The autobahns enhanced Germanys military capabilities significantly as troops were far more easily mobilised and had much easier access to the rest of Europe. However they were not designed as well as Hitler liked to boast as they were not strong enough to carry tanks. This was part of Germanys preparation for war, which went hand in hand with the need for industrialisation.
This highlights a contradiction in the regime as Nazi ideology was focused on creating a Volkish lifestyle for its country, where the population would get back to pure rural Aryan roots. Families would live on farms in the countryside being self-sufficinent enjoying the traditional idyllic rural life.
The National Socialists had turned their back on the big cities, as they were decadent and degenerate places that were open to everyone. People of different nationalities and races mixed there which Hitler hated. However it was understood by him that the cities needed to exist in order for economic success and industrialisation. This was essential as it was required for rearmourement and preparation for war. A rural Volkgermeinshaft Germany could only be established through the acquisition of Lebensraum through war.
Architecture in the cities therefore contradicted the architecture of the countryside, as housing was quaint and vernacular, which contrasted the huge monumental public buildings, found in the cities. The country village style fitted in with the landscape and the traditional Volkish idea. Housing therefore became a political weapon like the other arts, as it had to follow a prescribed style. Community architecture was developed which promoted a feeling of health and naturalness. Villages were to be orderly and beautiful following a certain pattern. There was a village square for meetings and a people's hall instead of a church as the spiritual centre. Building new houses in the countryside for the poor who had come from the cities became a propaganda weapon. Propaganda films showed the new dream world of fields, meadows and gardens for the workingman. Each home had a small garden as was designed by the nazis to invitation to create families and encourage people to have children. It was also meant to help overcome class differences, and generate life in peaceful surroundings where a loving family would be loyal to their fatherland. It is another clear example of a contradiction in Nazi ideology as the new way of life was seen as giving people more independence when really it was serving to regiment peoples lives more intensely.
Schools were also designed to reinforce Nazi ideology. They were built like fortresses to house hard groups of fearless young men who would be the future of Germany, brought up in the chilling system of education. The youth of Germany was important to Hitler as he new that if the third Reich was to last for a long period of time he would need to capture the future generations, therefore the architecture of his schools was in place to ensure his students conformed.
Architecture was all designed to be highly functional, as Hitler used it to for fill his visions and to solve his racial problem.
'To obliterate the biological basis of Jewry'
By looking at the huge death and concentration camps that emerged like the one in Auschwitz, we are able to understand exactly what Hitler was trying to achieve. Hitler's final solution towards the Jews, who he believed were infecting the German race, was their total elimination. The death camps were designed to be highly functional and efficient tools for the murder of as many people as possible. Gas chambers were carefully designed to house and kill as many people as possible effectively. The camps were large, secure and allowed no possible chance of escape. The camps are a powerful example of cold and calculated architecture that were designed for eradication of an entire race. They are also a disturbing reminder of Hitler's ability as a dictator to turn an entire nation against an individual race and eradicate them without a thought to humanity. Propaganda therefore must have been employed successfully by Hitler as the manipulation of so many people to turn towards the acts of horror and evil that happened in the holocaust is not a small task, and architecture played a significant role in this.
By looking closely at the architecture of the third Reich, we begin to understand that it was put in place by Hitler to provide a suitable backdrop to the Nazi regime, reflecting and reinforcing Hitler's aims. it was just a small part of a much broader scheme of propaganda, that was focused on instilling Nazi ideology within the minds of the entire German nation. The architecture highlights many of the contradictions that existed in Nazi ideology, and inside Hitler's mind, like the contrast between the grandeur of neo classical empire, and the traditional, quaint vernacular, Volkish style for country housing. This also shows that the Nazis were not the sound ideologically focused party that they proclaimed in their propaganda and also reveals a lot about Hitler's personality as it suggests his instability, insanity and megalomania. Hitler was a man consumed in his love for the world of Art which led to his desire to express himself artistically on Germany through architecture, which as a previously failed artist could have been his own egotistical way of stamping himself as a great artist and empire builder in history. However ironically his architectural design was not form his own imagination, talent and flair, but copied from other civilisations like the Romans, showing he was not the cultured individual he portrayed himself to be, and is
evidence of his false illusions of self grandeur. The fact that Hitler prioritised the architecture programme and saw It to be almost as important as winning the war also shows his inadequacy as a leader and lack of understanding of what was really important for Germany.
