The Struggle Against the Emotionless: A Contemporary Germany
by Joel Pominville
A question that came to my mind during the lecture addresses a connection between war times in Germany and in the state it is in currently. More specifically, a connection between what was described as Nazi architecture and contemporary architecture we see evidence of in Berlin today. Given the history of Germany and the powerful, massive, and monumental architecture produced during World War 2, is it possible for contemporary architects to produce similar pieces of work (in mass, strength, and volume) without a direct correlation made between their work and the Nazi architecture, designed mainly by Albert Speer?
by Joel Pominville
A question that came to my mind during the lecture addresses a connection between war times in Germany and in the state it is in currently. More specifically, a connection between what was described as Nazi architecture and contemporary architecture we see evidence of in Berlin today. Given the history of Germany and the powerful, massive, and monumental architecture produced during World War 2, is it possible for contemporary architects to produce similar pieces of work (in mass, strength, and volume) without a direct correlation made between their work and the Nazi architecture, designed mainly by Albert Speer?
The
first thing to analyze in this situation is the work of Albert Speer, serving
as Adolf Hitler’s “right hand” designer during the years of Hitler’s power
(~1933-1945). One of his most recognizable pieces is the Zeppelin Field near
Nuremberg, Germany. As one can see, the design has several features that
promote the mentality of authority and power. It is very massive, volumetric,
and it references classical architecture that also served as buildings of
power, government, and authority. The material choice and lack of ornamentation
also allude to a very cold, emotionless sense of the building… which may not
have been too far off the truth.
I’ve
chosen to compare this building to a building designed by contemporary
architect, Axel Schultes. Axel Schultes uses many of the same materials as may
have been seen on Speer’s designs; materials like stone, concrete, and brick.
Many of his works are very massive, and seemingly just as volumetric as Speer’s
designs. This is where the question needs to be asked: how can Schultes design
in a similar fashion as Speer, without directly referencing architecture that
was brought about during the menacing era of war in Germany? If one takes a
look at the Federal Chancellery in Berlin designed by Schultes, one can notice
several similarities between it and Speer’s Zeppelin Field. The chancellery is
very massive, and the form is just as, if not more, volumetric and heavy as the
Zeppelin Field. However, Schultes lightened the design by cutting into the
façade to allow light in, and to lift the heaviness off the building. So, in
form, the two buildings are very similar. Schultes’ design also has a similar
feel of authority and power in how massive it is. However, by allowing light
into the interior, and opening up the heavy facades, Schultes managed to avoid
the cold, emotionless feelings associated with Speer’s design, and the war as a
whole.References
Architects' Websites
Axel Schultes http://www.schultesfrankarchitekten.de/
Hans Kollhoff http://www.kollhoff.de/
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