This book traces cultural landscape as the manifestation of the state and national community under the Nazi regime, and how the Nazi era produced what could be referred to as a totalitarian cultural landscape. For the Nazi regime, cultural landscape was indeed a heritage resource, but it was much more than that: cultural landscape was the nation. The project of Nazi racial purification and cultural renewal demanded the physical reshaping and reconceptualization of the existing environment to create the so-called "new Nazi cultural landscape." One of the most important components of this was a set of monumental sites thought to embody blood and soil beliefs through the harmonious synthesis of architecture and landscape. This special group of "landscape-bound" architectural complexes was interconnected by the new autobahn highway system, itself thought to be a monumental work embedded in nature. Behind this intentionally aestheticized view of the nation as cultural landscape lay the all-pervasive system of deception and violence that characterized the emerging totalitarian state. This is the first historical study to consider the importance of these monumental sites together with the autobahn as evidence of key Nazi cultural and geographic strategies during the pre-war years. This book concludes by examining racial and nationalistic themes underlying cultural landscape concepts today, against this historic background.

This richly illustrated book details the wide-ranging construction and urban planning projects launched across Germany after the Nazi Party seized power. The authors show that it was an intentional program to thoroughly reorganize the country's economic, cultural, and political landscapes in order to create a dramatically new Germany, saturated with Nazi ideology.

This book traces how Gottfried Feder and Fritz Todt made technology essential to the Nazi ‘world view’. They groomed engineers with a racist technical ideology that prepared them to later supervise slave labor and the Holocaust. Their concepts evolved from völkisch technocracy to an idealized harmony of man, machine and nature, and were eclipsed by Albert Speer’s total war. Partially due to willing ‘self-coordination’ from engineers, they gained political control over the engineering profession. Destined to be pillars of the Volksgemeinschaft, engineers were indoctrinated with Nazi principles of Aryan superiority at the Reich School of Technology, the Plassenburg. Nazi propaganda announced a bright future through technology, furthering a sense of normalcy in Germany, despite the ruthless exclusion of those unwanted.

Crumbled shells of mosques in Iraq, the bombing of British cathedrals in World War II, the fall of the World Trade Center towers on September 11: when architectural totems such as these are destroyed by conflicts and the ravages of war, more than mere buildings are at stake. The Destruction of Memory reveals the extent to which a nation weds itself to its landscape; Robert Bevan argues that such destruction not only shatters a nation’s culture and morale but is also a deliberate act of eradicating a culture’s memory and, ultimately, its existence. Bevan combs through world history to highlight a range of wars and conflicts in which the destruction of architecture was pivotal. From Cortez’s razing of Aztec cities to the carpet bombings of Dresden and Tokyo in World War II to the war in the former Yugoslavia, The Destruction of Memory exposes the cultural war that rages behind architectural annihilation, revealing that in this subliminal assault lies the complex aim of exterminating a people. He provocatively argues for “the fatally intertwined experience of genocide and cultural genocide,” ultimately proposing the elevation of cultural genocide to a crime punishable by international law. In an age in which Frank Gehry, I. M. Pei, and Frank Lloyd Wright are revered and yet museums and temples of priceless value are destroyed in wars around the world, Bevan challenges the notion of “collateral damage,” arguing that it is in fact a deliberate act of war.

"How Nazi architects and planners envisioned and began to build a model 'Aryan' society in Norway during World War II"--

Cornelia Hahn Oberlander is one of the most important landscape architects of the twentieth century, yet despite her lasting influence, few outside the field know her name. Her work has been instrumental in the development of the late-twentieth-century design ethic, and her early years working with architectural luminaries such as Louis Kahn and Dan Kiley prepared her to bring a truly modern—and audaciously abstract—sensibility to the landscape design tradition. In Cornelia Hahn Oberlander: Making the Modern Landscape, Susan Herrington draws upon archival research, site analyses, and numerous interviews with Oberlander and her collaborators to offer the first biography of this adventurous and influential landscape architect. Born in 1921, Oberlander fled Nazi Germany at the age of eighteen with her family, going on to become one of the few women to graduate from Harvard University’s Graduate School of Design in the late 1940s. For six decades she has practiced socially responsible and ecologically sensitive planning for public landscapes, including the 1970s design of the Robson Square landscape and its adjoining Provincial Law Courts—one of Vancouver’s most famous spaces. Herrington places Oberlander within a larger social and aesthetic context, chronicling both her personal and professional trajectory and her work in New York, Philadelphia, Vancouver, Seattle, Berlin, Toronto, and Montreal. Oberlander is a progenitor of some of the most significant currents informing landscape architecture today, particularly in the area of ecological focus. In her thorough biography, Herrington draws much-deserved attention to one of the truly important figures in landscape architecture.

Art, Culture, and Media Under the Third Reich explores the ways in which the Nazis used art and media to portray their country as the champion of Kultur and civilization. Rather than focusing strictly on the role of the arts in state-supported propaganda, this volume contributes to Holocaust studies by revealing how multiple domains of cultural activity served to conceptually dehumanize Jews and other groups. Contributors address nearly every facet of the arts and mass media under the Third Reich—efforts to define degenerate music and art; the promotion of race hatred through film and public assemblies; views of the racially ideal garden and landscape; race as portrayed in popular literature; the reception of art and culture abroad; the treatment of exiled artists; and issues of territory, conquest, and appeasement. Familiar subjects such as the Munich Accord, Nuremberg Party Rally Grounds, and Lebensraum (Living Space) are considered from a new perspective. Anyone studying the history of Nazi Germany or the role of the arts in nationalist projects will benefit from this book. Contributors: Ruth Ben-Ghiat David Culbert Albrecht Dümling Richard A. Etlin Karen A. Fiss Keith Holz Kathleen James-Chakraborty Paul B. Jaskot Karen Koehler Mary-Elizabeth O'Brien Jonathan Petropoulos Robert Jan van Pelt Joachim Wolschke-Bulmahn and Gert Gröning

How does a city and a nation deal with a legacy of perpetrating atrocity? How are contemporary identities negotiated and shaped in the face of concrete reminders of a past that most wish they did not have? Difficult Heritage focuses on the case of Nuremberg – a city whose name is indelibly linked with Nazism – to explore these questions and their implications. Using an original in-depth research, using archival, interview and ethnographic sources, it provides not only fascinating new material and perspectives, but also more general original theorizing of the relationship between heritage, identity and material culture. The book looks at how Nuremberg has dealt with its Nazi past post-1945. It focuses especially, but not exclusively, on the city’s architectural heritage, in particular, the former Nazi party rally grounds, on which the Nuremburg rallies were staged. The book draws on original sources, such as city council debates and interviews, to chart a lively picture of debate, action and inaction in relation to this site and significant others, in Nuremberg and elsewhere. In doing so, Difficult Heritage seeks to highlight changes over time in the ways in which the Nazi past has been dealt with in Germany, and the underlying cultural assumptions, motivations and sources of friction involved. Whilst referencing wider debates and giving examples of what was happening elsewhere in Germany and beyond, Difficult Heritage provides a rich in-depth account of this most fascinating of cases. It also engages in comparative reflection on developments underway elsewhere in order to contextualize what was happening in Nuremberg and to show similarities to and differences from the ways in which other ‘difficult heritages’ have been dealt with elsewhere. By doing so, the author offers an informed perspective on ways of dealing with difficult heritage, today and in the future, discussing innovative museological, educational and artistic practice.

A look at Adolf Hitler’s residences and their role in constructing and promoting the dictator’s private persona both within Germany and abroad. Adolf Hitler’s makeover from rabble-rouser to statesman coincided with a series of dramatic home renovations he undertook during the mid-1930s. This provocative book exposes the dictator’s preoccupation with his private persona, which was shaped by the aesthetic and ideological management of his domestic architecture. Hitler’s bachelor life stirred rumors, and the Nazi regime relied on the dictator’s three dwellings—the Old Chancellery in Berlin, his apartment in Munich, and the Berghof, his mountain home on the Obersalzberg—to foster the myth of the Führer as a morally upstanding and refined man. Author Despina Stratigakos also reveals the previously untold story of Hitler’s interior designer, Gerdy Troost, through newly discovered archival sources. At the height of the Third Reich, media outlets around the world showcased Hitler’s homes to audiences eager for behind-the-scenes stories. After the war, fascination with Hitler’s domestic life continued as soldiers and journalists searched his dwellings for insights into his psychology. The book’s rich illustrations, many previously unpublished, offer readers a rare glimpse into the decisions involved in the making of Hitler’s homes and into the sheer power of the propaganda that influenced how the world saw him. “Inarguably the powder-keg title of the year.”—Mitchell Owen, Architectural Digest “A fascinating read, which reminds us that in Nazi Germany the architectural and the political can never be disentangled. Like his own confected image, Hitler’s buildings cannot be divorced from their odious political hinterland.”—Roger Moorhouse, Times

Considering the influence of the forms and tectonics of the Mediterranean vernacular on modern architectural practice and discourse from the 1920s to the 1960s.