Germany’s Modern Architecture
Tourism poster promoting Germany’s new developments in architecture. Fascist architectural design took inspiration from Ancient Rome and was intended to serve as awe-inspiring references to the great classical world as well as an expression of the regime’s infallible might. Taking the form of Stripped Neoclassicism in Germany as typified by Albert Speer’s works, its buildings were deliberately designed to be austere, intimidating and larger-than-life in order to project authority, commanding both fear and awe in equal parts from its beholders. Through its synthesis of modernism and classicism, the style sought to articulate a powerful political ethos oriented towards the future yet equally grounded in tradition.
Upon Hitler’s ascension to power in 1933, he immediately embarked on a grand cultural crusade to reinvigorate Germany and awaken a new national consciousness, central to which was architecture. The many public projects planned and undertaken by Nazi Germany reflects this philosophy of constructing the so-called ‘aesthetic state’, understood as the concentrated modern intellectual movement to revitalize the radical Hellenic tradition of the polis as the site of a beautiful or good life. It is driven by an ethos centered around the cultural life of its citizens that helps them tune into and appreciate their spiritual heritage by the bond between blood and soil. Centered around the cultural life of its citizens, urban planning in fascist philosophy is in stark contrast to the utilitarian nature of capitalist urban development programs which, in its reckless pursuit of efficiency, result in sprawls of little aesthetic quality or flow throughout. In the Gesamtkunstwerk (total work of art) that is the fascist nation-state, its citizens are not only never far from their spiritual tradition as expressed through architecture, but constitute a part of it.
The Reichsautobahn is the perfect example of such centrally planned, culture-oriented public works emblematic of fascist regimes, focused on granting their citizens a spiritually fulfilling experience through their national environment and its appreciation. A central purpose for the Reichsautobahn, aside from simply serving as logistical infrastructure, was to unify the nation by enabling Germans to explore Germany and its natural beauty. Landscaping was essential to the planned nationwide highway system, calling on architects, rural planners, ecologists and plant sociology experts to contribute to the project. Native vegetation was to be preserved across the nation with the intent of providing travelers within the Reich a genuine experience of the landscape. Such radically forward-thinking ideas about environmentalism, its relationship to human welfare and the regime’s commitment to elevate the spiritual livelihood of its citizens are an oft-overlooked aspect of fascist ideology.
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Tourism poster promoting Germany’s new developments in architecture. Fascist architectural design took inspiration from Ancient Rome and was intended to serve as awe-inspiring references to the great classical world as well as an expression of the regime’s infallible might. Taking the form of Stripped Neoclassicism in Germany as typified by Albert Speer’s works, its buildings were deliberately designed to be austere, intimidating and larger-than-life in order to project authority, commanding both fear and awe in equal parts from its beholders. Through its synthesis of modernism and classicism, the style sought to articulate a powerful political ethos oriented towards the future yet equally grounded in tradition.
Upon Hitler’s ascension to power in 1933, he immediately embarked on a grand cultural crusade to reinvigorate Germany and awaken a new national consciousness, central to which was architecture. The many public projects planned and undertaken by Nazi Germany reflects this philosophy of constructing the so-called ‘aesthetic state’, understood as the concentrated modern intellectual movement to revitalize the radical Hellenic tradition of the polis as the site of a beautiful or good life. It is driven by an ethos centered around the cultural life of its citizens that helps them tune into and appreciate their spiritual heritage by the bond between blood and soil. Centered around the cultural life of its citizens, urban planning in fascist philosophy is in stark contrast to the utilitarian nature of capitalist urban development programs which, in its reckless pursuit of efficiency, result in sprawls of little aesthetic quality or flow throughout. In the Gesamtkunstwerk (total work of art) that is the fascist nation-state, its citizens are not only never far from their spiritual tradition as expressed through architecture, but constitute a part of it.
The Reichsautobahn is the perfect example of such centrally planned, culture-oriented public works emblematic of fascist regimes, focused on granting their citizens a spiritually fulfilling experience through their national environment and its appreciation. A central purpose for the Reichsautobahn, aside from simply serving as logistical infrastructure, was to unify the nation by enabling Germans to explore Germany and its natural beauty. Landscaping was essential to the planned nationwide highway system, calling on architects, rural planners, ecologists and plant sociology experts to contribute to the project. Native vegetation was to be preserved across the nation with the intent of providing travelers within the Reich a genuine experience of the landscape. Such radically forward-thinking ideas about environmentalism, its relationship to human welfare and the regime’s commitment to elevate the spiritual livelihood of its citizens are an oft-overlooked aspect of fascist ideology.
