Speer’s Architecture
Speer came under the influence of his professor Heinrich Tessenow, whose ideas shaped his view on good and simple architecture.
“Simple is not always best, but the best is always simple”. (Quoted in W. Hamsher, Albert Speer, Avictum of Nuremburg, London, 1970, p.58)
Speer was fond of the classic simplicity of the Doric Style, which was derived from Ancient Greece. This is evident in his works, as Speer was influenced by the large grand columns and cornices. An example of this type of style is the Great Altar of Pergamon, depicted below. This style of architecture did influence Speer’s work, as Speer’s reviewing stand at Nuremberg, 1937, looks similar to the Pergamon Alter.
Speer came under the influence of his professor Heinrich Tessenow, whose ideas shaped his view on good and simple architecture.
“Simple is not always best, but the best is always simple”. (Quoted in W. Hamsher, Albert Speer, Avictum of Nuremburg, London, 1970, p.58)
Speer was fond of the classic simplicity of the Doric Style, which was derived from Ancient Greece. This is evident in his works, as Speer was influenced by the large grand columns and cornices. An example of this type of style is the Great Altar of Pergamon, depicted below. This style of architecture did influence Speer’s work, as Speer’s reviewing stand at Nuremberg, 1937, looks similar to the Pergamon Alter.
Hitler’s view of architecture was purely political, as he believed it would express his power and his strong regime. Hitler wanted to pass down its legacy through history and he rejected modern styles.
Hitler favored classical, monumental styles from ancient Greece and Rome, this is known as neo-classical architecture. Both Speer and Hitler favored this style and included drawings of what the building would look like after a thousand years. This strong underlining attribute of trying to embed Hitler’s legacy in the past and future is depicted in Speer’s architecture, through the use of these enormous and grandiose designs. Speer’s architecture in some ways was a representation of the popularity of the Nazi regime, where the buildings were practical forms of propaganda. The buildings also represented Hitler’s evolving megalomania, his delusion of greatness.
An example of this was the reviewing stand at Nuremberg, depicted above. This expressed an image of great power depicting the success of the Nazi regime, seen around the world. The structure of the building is simple, yet strong and ordered. The buildings vastness accompanied with its reinforced neo-classical style, created an image of wealth, strength, order and the Nazi regimes prosperity.
This is further depicted in Speer’s pavilion for the Paris World Fair of 1937. It was designed to make a political statement about the power, stability and the prosperity of Germany, in front of 31 million visitors. This statement was furthered as Speer was notified that the German pavilion was opposite the Soviet Union pavilion. Thus Speer altered his plans to make the German pavilion larger. Therefore demonstrating Germany’s prosperity under the Nazi regime and also a symbol of German pride.
Hitler favored classical, monumental styles from ancient Greece and Rome, this is known as neo-classical architecture. Both Speer and Hitler favored this style and included drawings of what the building would look like after a thousand years. This strong underlining attribute of trying to embed Hitler’s legacy in the past and future is depicted in Speer’s architecture, through the use of these enormous and grandiose designs. Speer’s architecture in some ways was a representation of the popularity of the Nazi regime, where the buildings were practical forms of propaganda. The buildings also represented Hitler’s evolving megalomania, his delusion of greatness.
An example of this was the reviewing stand at Nuremberg, depicted above. This expressed an image of great power depicting the success of the Nazi regime, seen around the world. The structure of the building is simple, yet strong and ordered. The buildings vastness accompanied with its reinforced neo-classical style, created an image of wealth, strength, order and the Nazi regimes prosperity.
This is further depicted in Speer’s pavilion for the Paris World Fair of 1937. It was designed to make a political statement about the power, stability and the prosperity of Germany, in front of 31 million visitors. This statement was furthered as Speer was notified that the German pavilion was opposite the Soviet Union pavilion. Thus Speer altered his plans to make the German pavilion larger. Therefore demonstrating Germany’s prosperity under the Nazi regime and also a symbol of German pride.
Nuremberg Rally site 1934
In 1934 at the age of fifty-five Troost (Hitler’s architect) died of a sudden illness, Hitler then gave Speer his first commission to build a permanent reviewing stand for the Nuremberg Rally. Speer was influenced by ancient Greek and Roman architecture. Taking his inspiration from the Pergamon Altar, thus further demonstrating his neo-classical style. Speer designed a massive stone structure 400 meters long and 24 meters high on the Zeppelin Field at Nuremberg. Speer also used 130 anti-aircraft searchlights casting massive beams of light, 8000 meters into the sky. This use of lighting was described by the British Ambassador as “Solemn and beautiful… like being in a cathedral of light”. (Niederelbisches Tageblatt, 12 September 1936)
Through the use of the lighting, multiple swastika flags, the design and layout of the building and the 800 million marks needed to fund the Rally; Hitler’s intent was obvious. “Hitler wanted the biggest of everything to glorify his works and magnify his pride”, Speer wrote. “These monuments were an assertion to his claim to world domination long before he dared to voice any such intention to his close associates”. (A.Speer, Inside the Third Reich, Weidenfeld & Nicolson, London, 1970, p. 115)
In 1934 at the age of fifty-five Troost (Hitler’s architect) died of a sudden illness, Hitler then gave Speer his first commission to build a permanent reviewing stand for the Nuremberg Rally. Speer was influenced by ancient Greek and Roman architecture. Taking his inspiration from the Pergamon Altar, thus further demonstrating his neo-classical style. Speer designed a massive stone structure 400 meters long and 24 meters high on the Zeppelin Field at Nuremberg. Speer also used 130 anti-aircraft searchlights casting massive beams of light, 8000 meters into the sky. This use of lighting was described by the British Ambassador as “Solemn and beautiful… like being in a cathedral of light”. (Niederelbisches Tageblatt, 12 September 1936)
Through the use of the lighting, multiple swastika flags, the design and layout of the building and the 800 million marks needed to fund the Rally; Hitler’s intent was obvious. “Hitler wanted the biggest of everything to glorify his works and magnify his pride”, Speer wrote. “These monuments were an assertion to his claim to world domination long before he dared to voice any such intention to his close associates”. (A.Speer, Inside the Third Reich, Weidenfeld & Nicolson, London, 1970, p. 115)