Relevant bibliographies by topics / National socialist architecture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'National socialist architecture'

Author: Grafiati
Published: 23 February 2023
Last updated: 24 February 2023

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Journal articles on the topic "National socialist architecture"

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WEBER, FRIEDRICH, and CHARLOTTE METHUEN. "The Architecture of Faith under National Socialism: Lutheran Church Building(s) in Braunschweig, 1933–1945." Journal of Ecclesiastical History 66, no. 2 (April 2015): 340–71. http://dx.doi.org/10.1017/s0022046913002571.

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It has frequently been assumed that church building ceased after the National Socialists came to power in Germany in 1933. This article shows that it continued, and considers the reasons why this was the case. Focussing on churches built in the Church of Braunschweig between 1933 and 1936, it explores the interactions between emergent priorities for church architecture and the rhetoric of National Socialist ideology, and traces their influence on the building of new Protestant churches in Braunschweig. It examines the way in which Braunschweig Cathedral was reordered in accordance with National Socialist interests, and the ambiguity which such a reordering implied for the on-going Christian life of the congregation. It concludes that church building was widely understood to be a part of the National Socialist programme for creating employment, but was also used to emphasise the continuing role of the Church in building community. However, there is still much work to be done to investigate the ways in which churches and congregations interacted with National Socialism in their day-to-day existence.
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Alić, Dijana, and Maryam Gusheh. "Reconciling National Narratives in Socialist Bosnia and Herzegovina: The Baščaršija Project, 1948-1953." Journal of the Society of Architectural Historians 58, no. 1 (March 1, 1999): 6–25. http://dx.doi.org/10.2307/991434.

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The emergence of modernism in post-World War II Bosnia was simultaneous with the development of the Yugoslav socialist regime and the desire to redefine the role of religion and ethnicity in the construction of a new national identity. The debate as to the relevance of the Serbian, Croatian, and Muslim national narratives to the broader universalist and secular Yugoslav agenda brought into question the cultural significance of the Bosnian built heritage. How was the existing built fabric to inform the architecture of the revolution? In this context, the work of Juraj Neidhardt, a former employee of Le Corbusier's, is significant since his seminal text, Architecture of Bosnia and the Way Toward Modernity (1957), articulates a critical link between the existing built fabric and "modern socialist" architecture. In discussing his work within the broader political context of socialist Bosnia, this paper focuses on an architectural and textual analysis of Neidhardt's proposal to turn Baščaršija, the Ottoman-established urban core of Sarajevo, into a cultural center for socialist Bosnia and Herzegovina. It is argued that the specific urban and architectural strategies Neidhardt employed were reflective of his desire to secularize the Ottoman built fabric and thereby allow a distinctly Bosnian narrative to coexist and contribute to the architecture of the socialist regime.
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Mihai-Coman, Horia. "Socialist Content in National Form: A Guiding Principle of the "Communist Project" in Romanian Architecture." Periodica Polytechnica Architecture 51, no. 1 (March 30, 2020): 92–99. http://dx.doi.org/10.3311/ppar.14771.

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The article follows the theme of "socialist content in national form" in Romanian architecture during a period stretching from approximately 1944 to 1989 – a time interval that is usually associated with the specific political agenda that dominated society in a decisive and profound way throughout the era, which is usually indicated as "communism". This time interval can also be indicated by using other keywords and concepts, such as "socialism", "state socialism", "totalitarianism" or others, sometimes in association with the keyword "communism". For reasons that will be presented in the introduction, the title of the article will prefer the use of the term "the communist project" for indicating the chronological focus of the article; the word "project" also holds a conceptual meaning – therefore being considered appropriate in the context of a mostly conceptual discussion that the article focusses on – as it tries to examine one of the most powerful and influential key concepts of the era: "socialist content in national form".
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Michaud, Eric, and Christopher Fox. "National Socialist Architecture as an Acceleration of Time." Critical Inquiry 19, no. 2 (January 1993): 220–33. http://dx.doi.org/10.1086/448672.

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Popovici, Ioana Cristina. "ARCHITECTURE COMPETITIONS – A SPACE FOR POLITICAL CONTENTION. SOCIALIST ROMANIA, 1950–1956." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 1 (March 28, 2014): 24–38. http://dx.doi.org/10.3846/20297955.2014.891561.

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This is an account of the relationship between architecture and power in Romania during the Stalinist period. A cursory glance at Arhitectura – the only specialist magazine to resume publication after the change in regime – suggests compliance with political direction, and professional interest in translating the theoretical method of Socialist Realism into a specific, culturally localized architectural language. Architecture competitions are a medium of intersection between theory and practice, power and the profession, ideology and economy – a space where political contention based on professional knowledge becomes possible even in totalitarian regimes. Between 1950 and 1956, Arhitectura published several competitions which, far from reinforcing Socialist Realism as the dominant architectural discourse, exposed the method’s internal contradictions and utopianism. In the ensuing confusion, there emerged a creative, practice-based counter-discourse centered on previously hegemonic dialects (the ‘national’). Based in equal amounts on the pre-established dynamics of professional culture, and on the willingness and ability of the architecture field to speculate the rules of the political game, this counter-discourse gradually led to the dismantling of Socialist Realism into alternative readings of Socialist architecture.
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Kozyrenko, Nataliya Efremovna. "Architecture of the Stalin Empire in China." Урбанистика, no. 4 (April 2020): 1–17. http://dx.doi.org/10.7256/2310-8673.2020.4.30248.

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The subject of this research is the formation of large city planning ensembles in socialist cities during Great Leap Forward of the People’s Republic of China. The object of this research is architecture in the style of Stalin Empire 1950s – 1960s. The author examines the influence of Soviet architecture upon the emergence of Chinese styles, such as “Style 1959” and Communist Art Deco). Special attention is dedicated to stylistic peculiarities of the new architectural objects and Chinese interpretation of the Stalin Empire. In this context, both Chinese and Soviet architects contributed to determination of the architectural trend “Su-style”. The main conclusion lies in the statement that architecture of the Stalin Empire with the elements of classicism became the national style in socialist China. Chinese architects synthesized the new normative aesthetics and discovered new stylistic and imagery resources in architecture. The transition towards holistic Chinese “socialist culture” has not been completed and currently continues.  The author’s special contribution is the research of socialist architecture of Harbin as a continuity of Russian traditions of the early XX century. The novelty of this work is defined by the first ever analysis of stylistic peculiarities of Harbin’s architecture that were built by the projects of Soviet architects.
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Stanek, Łukasz. "Architects from Socialist Countries in Ghana (1957–67)." Journal of the Society of Architectural Historians 74, no. 4 (December 1, 2015): 416–42. http://dx.doi.org/10.1525/jsah.2015.74.4.416.

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Architects from Socialist Countries in Ghana (1957–67): Modern Architecture and Mondialisation discusses the architectural production of the Ghana National Construction Corporation (GNCC), a state agency responsible for building and infrastructure programs during Ghana’s first decade of independence. Łukasz Stanek reviews the work of GNCC architects within the networks that intersected in 1960s Accra, including competing networks of global cooperation: U.S.-based economic institutions, the British Commonwealth, technical assistance from socialist countries, support programs from the United Nations, and collaboration within the Non-Aligned Movement. His analysis of labor conditions within the GNCC reveals a negotiation between Cold War antagonisms and a shared culture of modern architecture that was instrumental in the reorganization of the everyday within categories of postindependence modernization. Drawing on previously unexplored materials from archives in Ghana, Bulgaria, Croatia, Hungary, Poland, the United Kingdom, and the United States, the article reveals the role of architects from European socialist countries in the urbanization of West Africa and their contribution to modern architecture’s becoming a worldwide phenomenon.
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Ryu, Seung-Ju. "Socialist Construction and National Culture Inheritance: North Korea in the 1950s." Korea Association of World History and Culture 64 (September 30, 2022): 53–84. http://dx.doi.org/10.32961/jwhc.2022.09.64.53.

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The policy of inheritance and development of national cultural heritage has been a consistent policy of North Korea after the Liberation. In the early 1950s, North Korea needed internal integration and mobilization of internal resources in order to reorganize the Workers’ Party and the state system and to carry out post war reconstruction projects. Accordingly, the importance of national cultural heritage was further emphasized in terms of both ideology and practical use. In 1955, Kim Il-sung directed the establishment of ‘Juche’ based on the National Cultural Tradition and the Anti-Japanese Revolutionary Tradition. After the policy of socialist construction was fixed at the 3rd Congress of the Workers’Party of Korea in 1956, the project to inherit national cultural heritage was carried out with the goal of socialist construction. In particular, the advanced and reforming aspects were rediscovered in Silhak ideology. North Korea justified its radical socialization path through the ideology of Silhak. On the other hand, national cultural heritage in each sector, such as traditional science, architecture, weaponry, medicine, crafts, musical instruments, and clothing, was directly utilized and applied to the construction of socialism in North Korea as socio-economic resources, and it was closely related to the lives of the residents. Inheriting the tradition and realizing it in the present era was the realization of Juche, and it contained the orientation of the people's sovereignty in the sense that the people enjoy the nation’s treasures. Through the inheritance of national cultural heritage, North Korea’s socialist construction was ideologically reversed and utilized practically. In this way, North Korean socialism and national cultural traditions were closely related, and thus the nationalistic character took root in the North Korean socialist system.(University of North Korean Studies)
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Colla, Marcus. "Postmodern Architecture in Socialist Poland: Transformation, Symbolic Form and National Identity." Journal of Architecture 27, no. 2-3 (April 3, 2022): 468–71. http://dx.doi.org/10.1080/13602365.2022.2126158.

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Pugh, Emily. "From “National Style” to “Rationalized Construction”." Journal of the Society of Architectural Historians 74, no. 1 (March 1, 2015): 87–108. http://dx.doi.org/10.1525/jsah.2015.74.1.87.

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From “National Style” to “Rationalized Construction”: Mass-Produced Housing, Style, and Architectural Discourse in the East German Journal Deutsche Architektur, 1956–1964 examines architectural critique of housing and style as it unfolded in the East German journal Deutsche Architektur (German architecture) from the late 1950s to the mid-1960s. Through an analysis of articles published in the journal as well as primary source documents, Emily Pugh investigates the reception of newly built housing developments in East Germany by a group of influential socialist architects, historians, and critics who were then writing for Deutsche Architektur. Pugh highlights individual architects’ attempts to subvert or resist the control of state and party authorities and considers how these individuals’ efforts might have influenced the development of the East German building economy. She also argues that these architects’ understanding of architectural modernism differed from that of their counterparts in the Cold War West, having been influenced by political and economic circumstances specific to East Germany.
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Dissertations / Theses on the topic "National socialist architecture"

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Kuo, Hsiu-Ling. "Monumentality and modernity in National Socialist architecture : the North-South Axis of the Greater Berlin plan." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24796.

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On 30th January 1937, Albert Speer was appointed as Generalbauinspektor (GBI, the General Building Inspector), responsible for modelling Berlin as “Germania”, the capital of the Third Reich. This project can be seen as the paradigmatic statement of National Socialist architecture. For the North-South Axis of Berlin, the GBI office collected a large variety of designs contributed by both modernists and conservative architects, from the Great Hall in the north, through the Triumphal Arch, to the South Railway Station. The mega-plan positioned Berlin at the forefront of contemporary international debate on the modern metropolis. This thesis clarifies the architectural discourse in which the Greater Berlin Project was produced. The association of monumentality with National Socialist architecture in the 1930s created a polarisation between the classical tradition and radical modernism that provoked vigorous and acrimonious debate that lasted into the 1980s. The social and cultural conditions in which Hitler and Speer’s notion of monumentality was embedded are interpreted from the perspectives of psychology, aesthetics and cultural significance. The pre-1930 designs and theories of modernist German architects paved the way for National Socialist monumentality by advocating a Neo-classical style combining historicity and technical advancement. The ambition to reconstruct Berlin as a world capital was modelled on plans developed by Speer’s modernist planning predecessor, such as Martin Mächler and Martin Wagner, and on international examples of capital reconstruction, e.g. Paris, Vienna and Washington DC. The Berlin project was thus rooted in a wider historical and international architectural context. Major projects on the North-South axis offer a diverse range of projects in which a Modernist monumentality is articulated by series of dominant, high-rise buildings. Administration buildings commissioned by private companies on the axis offer significant examples of the way in which National Socialist monumental building practice operated under the conditions of a dynamic, planned economy. The meticulously planned Südstadt - an extensive suburban residential area that completes the modern capital with houses, schools, an arena for sport and an international airport, again illustrates the fusion of monumentality and modernity that characterises the urban planning of the Third Reich.
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Penet, Eric. "Architecture concentrationnaire et idéologie national-socialiste." Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30043.

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Ce travail part d'une interrogation : comment expliquer ce qu'est un camp de concentration nazi sans prendre en compte un de ces constituants, la pierre. Sans oublier pour cela l'Homme, la présente recherche s'est attachée à définir le camp de concentration comme espace architectural à travers l'étude de six camps : Dachau, Sachsenhausen, Buchenwald, Mauthausen, Auschwitz I et le camp de Natzweiler. Trois axes d'analyses furent choisis : le lieu, les formes et les matériaux employés dans le but de mettre en lumière une éventuelle continuité architecturale. A partir du constat qu'il existait bien une architecture véritable, l'auteur s'est demandé dans une dernière partie si des liens avec l'idéologie national-socialiste étaient possibles, comme cela est le cas avec l'architecture officielle du Troisième Reich. C'est ainsi qu'à partir des données collectées furent adjointes trois spécificités à l'architecture concentrationnaire : le camp de concentration nazi peut être perçu comme une cité idéale national-socialiste, une mise en place architectonique du Führerprinzip et le reflet de la Blut-und- Boden Doktrin
This work is based on a questioning : how to explain what a nazi concentration camp is without taking into account one of its components, i.e. stone. Without overlooking the human dimension for all that, the following research aims at giving a definition of the concentration camp as an architectural space through the analysis of 6 camps : Dachau, Sachsenhausen, Buchenwald, Mauthausen, Auschwitz I and the Natzweiler concentration camp. Three main lines were chosen : the sites, the shapes and building materials, with a view to bringing into light a possible architectural continuity. Once the existence of an architectural structure was established, the author finally wondered whether links with the national-socialist ideology did exist as it is the case with the official architecture of the Third Reich. Thus, thanks to the collected data, three specificities of concentration camps architecture were added : the nazi concentration camp can be seen as a national-socialist perfect city, as the architectonical setting up of the Führerprinzip and as the reflection of the Blood and Soil ideology
Die folgende Arbeit erwächst aus einer Fragestellung : Wie lässt sich ein Konzentrationslager erklären, ohne eines seiner Bestandteile - den Stein - in Betracht zu ziehen ? Ohne den Menschen außer Betracht zu lassen, hat sich die vorliegende Studie bemüht, ein Konzentrationslager als einen architektonischen Raum zu definieren. Es werden sechs Konzentrationslager analysiert : Dachau, Sachsenhausen, Buchenwald, Mauthausen, Auschwitz I und das KZ Natzweiler. Es werden drei Blickrichtungen gewählt : der Ort, die Formen und die verwendeten Materialien, um herauszufinden, ob es etwa eine architektonische Kontinuität gibt. Ausgehend von der Feststellung, dass tatsächlich von einer bestimmten Architektur die Rede sein konnte, hat sich der Autor in einem letzten Teil gefragt, ob Beziehungen mit der NS-Ideologie möglich waren - wie es eben der Fall bei der offiziellen Architektur des Dritten Reiches ist. Auf diese Weise wurden mit den vom Verfasser gesammelten Daten den Konzentrationslagern drei Eigenschaften zugeschrieben : das NS-Konzentrationslager kann als eine ideale NS-Stadt, als die architektonische Verwirklichung des Führerprinzips und als die Wiederspiegelung der Blut-und-Boden Doktrin betrachtet werden
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Fourcade, Anne-Marie. "L'architecture monumentale à l'époque nationale-socialiste : la tentative d'un retour aux formes fondamentales dans l'architecture d'Etat." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010658/document.

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L'architecture officielle nationale-socialiste adopte dès 1934, par sa monumentalité, une allure qui la distingue en tant que telle de tout ce qui s'est fait auparavant. L'analyse des caractéristiques et des sources de cette architecture est le thème principal de cette thèse. P. L. Troost dessine les premiers édifices du Parti à Munich; Ernst Sagebiel est l'architecte de l'aéroport de Tempelhof et du ministère de Göring à Berlin; Hans Reissinger imagine à Bayreuth un édifice à l'enveloppe composite pour l'association des enseignants du Reich; Ludwig et F. Ruff dessinent un hall gigantesque destiné aux congrès du parti à Nuremberg. Leurs œuvres présentent des formes de monumentalité très éloignées de la seule référence à un néoclassicisme simplifié. Leurs édifices, marqués par une grande exigence de représentation, répondent néanmoins, avec beaucoup d'efficacité pour certains d'entre eux, à la fonction à laquelle ils sont destinés. L'étude de ces édifices s'attache à observer l'évolution des esquisses et des maquettes dans le sens d'une monumentalité toujours plus grande, l'effet recherché l'emportant sur toute autre considération. Une iconographie sculptée à la gloire Reich et du Parti, en ses emblèmes et ses bas-reliefs, complète cette mise en scène. La notion de tectonique germanique privilégiée par les historiens de ce régime pour exprimer l'essence de l'architecture dans sa recherche de formes originelles est soigneusement examinée. Les racines dont elle se prévaut font appel à une Allemagne mythique entièrement recréée et berceau de l'univers. L'examen des édifices retenus est donc tout d'abord une analyse architecturale, complétée par la prise en compte de l'important appareil éditorial qui en a assuré la présentation officielle pendant le Reich. En contrepoint, il a été tenu compte des nombreuses publications que cette architecture a suscitées en Allemagne depuis les années 1970
As early as 1934, the official National-Socialist architecture takes a stand which sets it apart from ail things past, bringing out the very peculiar monumentality of the period. Analyzing the characteristics and the sources of this state architecture during the early years of the Third Reich, constitutes the main theme of the present thesis. P.L. Troost, who designed the first buildings of the Party in Munich, Ernst Sagebiel, author of the Tempelhof Airport and Göring's Ministry in Berlin, Hans Reissinger who designed a building with a composite envelop meant for the Reich teachers' Association in Bayreuth, and finally Ludwig and F. Ruff who designed a gigantic hall to accommodate the Party's conventions in Nuremberg, are the architects who se works are being reviewed. Their buildings present monumental forms which are quite remote from simplistic neo-classical references. These works are marked by great representational demands and yet, in some cases, they also respond to functionality in a highly efficient way. This study of the chosen buildings attempts to observe, from the moment of conception through the evolution of sketches and models, an ever-increasing monumentality: the establishment of a mode of composition favoring organizing symmetries of plans and elevations and the final embellishment of the facades with added-on elements, the reached-for effect being always more important than any other consideration. A sculptured iconography glorifying the regime and the Reich, with its signs, symbols and freezes, completes this setting. The concept of a German tectonic, so privileged by historians of the regime, expressing the essence of this official architecture in its search for original forms, is therefore examined in detail, revealing the roots it refers to: at its center is a newly-recreated mythical Germany as cradle of the universe. The analysis of the chosen buildings is thus first architectural, then completed by examining the editorial apparatus which has ensured its official presentation during the Third Reich. On the other hand, the numerous publications spurred by this architecture in Germany since the 1970's, have also been taken into account
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Woollen, John Carter. "Memory mapping monument : a political science institute on the site of the Berlin Wall." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/22951.

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Doosry, Yasmin. ""Wohlauf, lass uns eine Stadt und einen Turm bauen" : Studien zum Reichsparteitagsgelände in Nürnberg /." Tübingen : Wasmuth, 2002. http://catalogue.bnf.fr/ark:/12148/cb388319931.

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Beaudoin, Antoine. "Theâtre et architecture sous le Troisième Reich : les scènes de plein air au service de la propagande de masse." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100133/document.

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Le mouvement de construction de théâtres en plein air sous le Troisième Reich ou Thingbewegung est un aspect relativement méconnu de la politique culturelle national-socialiste. Ce théâtre de propagande devait réunir plusieurs milliers de spectateurs dans des lieux excentrés, des espaces construits spécialement par le régime afin de célébrer la communauté du peuple dégagée de toute différenciation sociale ou, pour reprendre la terminologie nazie, la Volksgemeinschaft. L’aspect central reste la volonté du régime de faire coïncider, à une échelle considérable, une nouvelle forme d’architecture et de spectacle théâtral de masse. L’objectif, exprimé clairement dès le début du mouvement en 1933, était l’élaboration de 400 scènes sur l’ensemble du territoire. Dès 1934, vingt étaient effectivement en construction et en 1939, au début de la Seconde Guerre mondiale, elles étaient environ au nombre de trente. Ce projet de recherche part de l’hypothèse qu’une meilleure compréhension du phénomène devient possible lorsque ce dernier est restitué dans la tradition historique double du théâtre et de l’architecture. Cette démarche, à la fois synchronique et diachronique, fondée sur une approche pluridisciplinaire, vise à mettre au jour les formes spécifiques de création de ces lieux scéniques tout en soulignant l’appartenance à la politique idéologique totalitaire du national-socialisme
The open-air theatre construction movement under the Third Reich or Thingbewegung is a relatively unknown aspect of National Socialist cultural policy. This propaganda theatre was to gather several thousand spectators in outlying places, spaces specially built by the regime to celebrate the community of the people free of any social differentiation or, to use Nazi terminology, the Volksgemeinschaft. The central aspect remains the regime’s desire to bring together, on a considerable scale, a new form of architecture and mass theatrical performance. The objective, clearly expressed from the beginning of the movement in 1933, was to develop 400 stages throughout the country. By 1934, twenty were actually under construction and, at the beginning of the Second World War in 1939, there were about thirty of them. This research project is based on the hypothesis that a better understanding of the phenomenon becomes possible when it is replaced within the dual historical tradition of theatre and architecture. This approach, both synchronic and diachronic, based on a multidisciplinary approach, aims to uncover the specific forms of creation of these scenic places while emphasizing the association with the totalitarian ideological policy of National Socialism
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Voigt, Wolfgang Nohlen Marie-José. "Planifier et construire dans les territoires annexés : architectes allemands en Alsace de 1940 à 1944 /." [Strasbourg] : Publications de la Société savante d'Alsace, 2008. http://catalogue.bnf.fr/ark:/12148/cb41286404j.

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Thèse d'État--Architecture--Hannovre--Université Leibnitz, 1998. Titre de soutenance : Planen und bauen im besetzten Gebiet, deutsche Architekten im Elsass 1940-1944.
Thèse conduite dans le cadre du projet international de recherche "Les relations franco-allemandes de 1940 à 1950 et leurs répercussions sur l'architecture et l'urbanisme" Bibliogr. p. 199-211.
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Schäfers, Stefanie. "Vom Verkbund zum Vierjahresplan : die Ausstellung "Schaffendes Volk", Düsseldorf 1937 /." Düsseldorf : Droste, 2001. http://catalogue.bnf.fr/ark:/12148/cb38801885h.

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Chlebovská, Markéta. "Budování jugoslávské identity za pomoci výstavby modernistických pomníků." Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-448750.

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This master's thesis examines the shaping of the collective Yugoslavian identity after World War II, utilizing the construction of post-war socialist monuments. The thesis outlines the relationship between monuments and memory politics of the state, focusing on the critical period of modernist memorial construction in the 1960s and 70s. At that time, the monuments were part of an ideological program that sought to create an official interpretation of war events to gain control over society. The thesis includes the historical context, which describes the development in the construction of monuments from the end of World War II to the disintegration of Yugoslavia. It examines the extent to which the monuments were linked to tourism, leisure, and spirituality, as well as the role of the veteran organization S(U)BNOR. Part of the research is devoted to places that did not resonate with the official narrative. All of the above is then demonstrated on specific examples in Serbia: Kragujevac, Niš, Kruševac, Kosmaj and Kadinjača.
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Books on the topic "National socialist architecture"

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Sabine, Larsson, and Lamprecht Ingolf 1933-, eds. "Fröhliche Neugestaltung", oder, die Gigantoplanie von Berlin 1937-1943: Albert Speers Generalbebauungsplan im Spiegel satirischer Zeichnungen von Hans Stephan. Kiel: Ludwig, 2008.

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Albert, Speer. Architecture, 1932-1942. Bruxelles: Archives d'architecture moderne, 1985.

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Albert, Speer. Albert Speer: Architecture, 1932-1942. Bruxelles: Archives d'architecture moderne, 1985.

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Weihsmann, Helmut. Bauen unterm Hakenkreuz: Architektur des Untergangs. Wien: Promedia, 1998.

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Scobie, Alexander. Hitler's state architecture: The impact of classical antiquity. University Park: Published for College Art Association by the Pennsylvania State University Press, 1990.

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Hitler's state architecture: The impact of classical antiquity. University Park: Published for the College Art Association of America by the Pennsylvania State University Press, 1990.

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Bernlef, J. Albert Speer, de ruïnebouwer. Amsterdam: Querido's Uitgeverij, 2013.

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Zwischen Zucht und Ekstase: Zur Theatralik von NS-Architektur. Berlin: Mann, 1985.

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Fachtagung, Deutsches Nationalkomitee für Denkmalschutz. Architektur und Städtebau der 30er/40er Jahre: Ergebnisse der Fachtagung in München, 26.-28. November 1993, des Deutschen Nationalkomitees für Denkmalschutz. Bonn: Das Nationalkomitee, 1994.

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1886-1955, Fick Roderich, ed. Roderich Fick (1886-1955). Wien: Böhlau, 2014.

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Book chapters on the topic "National socialist architecture"

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Cherkes, Bohdan, and Józef Hernik. "National Identity in the Architecture of the Public Space in the Centre of Moscow." In Identity in Post-Socialist Public Space, 84–144. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003201427-4.

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Gröning, Gert. "Landscape Architecture University Education under National Socialism in Germany." In The Routledge Handbook of Landscape Architecture Education, 155–63. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003212645-18.

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Mair, Neil, and Quazi Mahtab Zaman. "Architecture and Identity Under National Socialism: Modernism Versus Monumentalism." In Springer Geography, 11–25. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51449-5_3.

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Peters, Michael A., and Tina Besley. "Contesting the Neoliberal Discourse of the World Class University: ‘Digital Socialism’, Openness and Academic Publishing." In Evaluating Education: Normative Systems and Institutional Practices, 235–50. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7598-3_14.

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AbstractThe principal aim of this paper is to contest the neoliberal discourse of the World Class University (WCU). The first section provides an understanding of the concept of the WCU within the context of a global competitive model of the knowledge economy and contrasts it with the social-democratic model based on open science and education that also provides links between new modes of openness, academic publishing and the world journal architecture. The paper makes the case for ‘knowledge socialism’ that accurately depicts the greater communitarian moment of the sharing and participative academic economy based on peer-to-peer production, social innovation and collective intelligence. It instantiates the notion of knowledge as a global public good. Profound changes in the nature of technology has enabled a kind of ‘digital socialism’ which is clearly evident in the shift in political economy of academic publishing based Open Access, cOAlition S, and ‘Plan S’ (mandated in 2020) established by national research funding organisations in Europe with the support of the European Commission and the European Research Council (ERC). The social democratic alternative to neoliberalism and the WCU is a form of the sharing academic economy known as ‘knowledge socialism’. Universities need to share knowledge in the search for effective responses to pressing world problems of fragile global ecologies and the growing significance of technological unemployment. This is a model that proceeds from a very different set of economic and moral assumptions than the neoliberal knowledge economy and the WCU.
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"Peoples at an Exhibition: Soviet Architecture and the National Question." In Socialist Realism without Shores, 91–119. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822398097-006.

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Stangl, Paul. "Unter den Linden." In Risen from Ruins. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503603202.003.0004.

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Shortly after the war, preservationists lobbied for funds to carry out emergency repairs to key structures on Unter den Linden. The SMAD displayed little interest, and German Communist politicians sought to efface monumental buildings as symbols of the Prussian-German monarchy and military. The adoption of socialist realism in 1950 meant that valuable architecture should be restored as national cultural heritage. Buildings created for cultural purposes were readily rehabilitated, while those with militaristic place-based meaning prompted debate over how best to reinterpret them. Socialist realism allowed multiple possibilities, and decision-makers sought a solution that best mitigated concerns over militarism while maintaining conceptual and formal continuity.
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Donovan, Victoria. "Zapovedniks or Tourist Resorts?" In Chronicles in Stone, 57–83. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501747878.003.0003.

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This chapter addresses the role of cultural heritage in the drive to strengthen social solidarity and national unity in the ideologically unstable era of de-Stalinization. During the second, reconstitutive phase of de-Stalinization after 1961, the heritage of the Northwest played a strategic role in “imagining” the post-Stalin Soviet nation, a community founded on the political principles of socialist democracy, collectivism, and internationalism. The chapter shows how the creation of a touristic infrastructure in the region served as a means of exhibiting the heritage of the Northwest to the Soviet people. A key component in this enterprise is the body of touristic and kraevedenie materials focusing on the region's historic architecture. These texts reinforced a politically correct understanding of heritage as an integral part of Soviet modernity.
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"National Socialism, Classicism, and Architecture." In Brill’s Companion to the Classics, Fascist Italy and Nazi Germany, 404–34. BRILL, 2017. http://dx.doi.org/10.1163/9789004299061_016.

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Evans, Victoria L. "Final Chord and ‘Die Neue Welt’: The Mise-en-scène of Aufbruch1." In Douglas Sirk, Aesthetic Modernism and the Culture of Modernity. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474409391.003.0006.

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Chapter 5 ("Final Chord and 'Die Neue Welt': The Mise-en-Scène of Aufbruch")examines the only film from Sirk's German period to depict twentieth-century urban life. In the prologue that the director added to the existing script, two antithetical aesthetics appear to underscore the philosophical and political disparities that distinguish a democratic New York from a Fascist Berlin. Because the architectural symbolism of each of these cities may be read both positively and negatively (from a Modernist and a National Socialist point of view), after outlining the main arguments on either side, the author then attempts to resolve the vexed question of which metropolis offers the most desirable "New World" of the future, based upon the formal and narrative evidence that is provided by the film.
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Chapoutot, Johann. "From Empire to Reich." In Greeks, Romans, Germans. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520275720.003.0007.

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This chapter examines Rome as a source of political, military, and even architectural inspiration for Nazism. A source of infinite lessons and precise instructions, the history of Rome showed not only how to build empires but also the tangible symbols of that empire. National Socialism would thus have to pursue its imperial pretensions by imitating and eclipsing the shadows of the ancients in the granite of Nuremberg, where once the living, breathing mass of the Volksgemeinschaft met and rallied in congress, now only a desolate wasteland haunted by the devastation of the Nazi Walpurgisnacht. This chapter describes an organic link between the monuments of modern Germany, the distant history of the race, and its imperial future.
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Conference papers on the topic "National socialist architecture"

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Jara Venegas, Ana Eugenia, and Tomas Prado Lamas. "La madera (del material al territorio)." In Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11626.

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The forestry character of southern Chile and how this generates values associated with the timber industry, architecture and communities, has defined the agenda of the Practice Studio of the Universidad San Sebastian’s Architecture School. It seeks to understand and promote the reciprocal and systematic relationship between academia, social organizations and the possibilities offered by the local industry. The Service-Learning methodology is used, as an architectural office, developing projects up to the detail stage so that they can later be applied for funds for their execution. It is expected to strengthen students' transversal skills, with a strong component of social responsibility, seeking to contribute to the country's problems with a national solution. El carácter forestal del Sur de Chile y como ello genera valores asociados a la industria maderera, la arquitectura y las comunidades, ha definido la agenda del Taller de Práctica de la Escuela de Arquitectura de la Universidad San Sebastián. Se busca entender y fomentar la relación recíproca y sistemática entre academia, las organizaciones sociales y las posibilidades que ofrece la industria local. Se trabaja la metodología Aprendizaje-Servicio, a modo de estudio de arquitectura, desarrollando los proyectos hasta la etapa de detalles de modo que puedan ser postulados posteriormente a fondos para su ejecución. Se espera fortalecer en los estudiantes las habilidades transversales, con un fuerte componente de responsabilidad social, buscando aportar en problemas del país con una solución de país.
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