Monday, July 5, 2010

Speer son attacks plan to make Nazi complex a world heritage site

Albert Speer, son of the man who designed Adolf Hitler's pompous Nazi Party rally grounds in Nuremberg, attacked Sunday a plan to declare the tourist-magnet complex a UNESCO world heritage site. 

Albert Speer senior designed the vast park as a place where hundreds of thousands of fanatical Nazis could worship Hitler as he spoke. It includes an avenue wider than an airport runway for parades and a vast, unfinished indoor congress centre.

The municipality of Nuremberg, fed up with the cost of maintaining the crumbling, cracked buildings, decided last month to seek UNESCO recognition for a swathe of buildings as a heritage site, effectively handing over the problem to the international community.

Albert Speer junior, 75, who is also an architect, said, in an interview with the German news magazine Focus, that a UNESCO listing was "a weird idea," the wrong way to deal with the Nazi site, and totally out of line with other nations' ways of preserving a repugnant past.

The city council, which is turning the site of the Nuremberg War Crimes trials into a museum, argues that this should be the principal part of the UNESCO heritage site, with the nearby Nazi monuments added to the set as "Exhibit A" of Hitler's crimes.

The Frankfurt architect said he was not necessarily arguing the whole Nazi site should be ripped down. He said Italy had demolished most of the monuments put up by fascist dictator Benito Mussolini "which was not right either."

His father, who was Hitler's chief architect in the 1930s but repented of his misdeeds after the Second World War, created the overall park plan and designed one of the multiple sites where Hitler could speak to vast audiences of uniformed Nazis, the Zeppelin Field.

Its grandstand, where Hitler could stand surrounded by hangers-on while he reviewed the parades, was based on a Greek temple and 360 meters wide. Nuremberg's trade-fair grounds now abuts the field.
A stadium, a plaza and the congress hall were the other venues.

Tourists from round the globe visit the vast Nazi site to get a feeling for Hitler's megalomania. A museum in one of the battered buildings explains how the Nazis impressed Germans with big, torchlit parades in the park.

 

Thursday, June 3, 2010

Speer And Hitler: The Devil's Architect



Plot:This three-part docudrama tears open the veil of myths and half-truths obscuring a central figure of the Nazi regime, Albert Speer, and his alliance with the 20th-century's most horrifying embodiment of evil, Adolf Hitler.
Overview:110 million troops mobilized in two thirds of the world's nations. The Third Reich at war with 53 countries. More than five years of death and horror triggered by the German people. How was it possible? How could an entire nation allow itself to become part of a cold machinery of hatred and destruction? "Speer & Hitler: The Devil's Architect" helps us understand what caused the Germans to unleash such devastation upon the world. This three-part docudrama tears open the veil of myths and half-truths obscuring a central figure of the Nazi regime. A man of profound contradictions, Albert Speer was a cultivated intellectual who allied himself with the 20th-century's most horrifying embodiment of evil... A man schooled in the humanities, yet who controlled Germany's wartime industry and used slave labor to increase production... A brilliant architect willing to build the ostentatious monuments of a doomed Thousand-Year Reich... A protegé who turned against his master during Hitler's last months and was the only Nazi leader at the Nuremberg trials to admit a certain responsibility for the regime's actions, if only in an abstract sense. Filmmaker Heinrich Breloer, writer and director of the Emmy Awardwinning miniseries "The Manns," is joined by many of the same creative minds who helped produce "The Manns." For the first time ever, three of Speer's children are interviewed on camera and confronted with painful truths about their father. Breloer's research is crowned by revealing facts found in previously unknown documents. Fictional re-enactments played out by a cast of leading film and TV stars provide emotional immediacy and allow an intimate look behind the staged self-portrayals of Hitler and his architect.

Thursday, February 25, 2010

Thursday, July 9, 2009

NAZI ARCHITECTURE



Paul Troost was commissioned by Hitler to build this Temple of Honor (“Ehrentempel’’) to commemorate those who died in the abortive Munich putsch of 1923. The annual reenactment of this event became part of the Nazi calendar.
No art form has been more consistently associated with fascism than architecture. Yet architecture under fascism was more diverse than is popularly thought and cannot be reduced to a specific “fascist style.” Fascist architecture is more correctly defined by how it was used to support or carry out specific ideological aims or political goals, rather than as a coherent set of symbolic forms. As evidenced in particular by the sponsorship of large-scale public works in Italy as well as the personal involvement of Hitler in architectural projects in Germany and Austria, monumental building became a key element upon which a political ideology could be projected and, in some cases, through which specific policy goals could be enacted. While most interwar states favored some variation of classicism for their major public buildings, for several fascistic regimes, architectural production was more central to their cultural and social concerns. This was particularly true in Germany and Italy. By the end of World War II, a series of high profile architects and major public commissions had become firmly associated with their respective governments and leaders. Because of the massive scale of the projects, the involvement of political leaders, including the dictators themselves in specific instances, and the use of building and construction for the enactment of political and ideological goals, architecture continues to be crucial for our understanding of the relationship of art and politics under fascism.
Italy was not only the first state in which a fascist party came to power but also the first to use public commissions to establish an ideological connection between architecture and fascist politics. In the capital, many of these projects related to Mussolini’s interest in connecting his regime to the political symbols of Augustan Rome, a period of consolidation of political authority that was also well represented in such famous works as the Ara Pacis in the forum. Not only were Augustan sites like this forum excavated and studied but, in addition, imperial building types like the triumphal arch and the classical temple front were reintroduced in commissions for memorials and party buildings in Bolzano, Genoa, and Florence, among other cities. In addition, the interest in the urban form of the ancient forum, marked by an open space at the intersection of a major east/west and north/south axis, was also revived, particularly in plans for new cities such as the provincial city of Littoria (1932; now named Latina) and the famous Rome Universal Exposition (EUR) grounds begun in 1937. The latter was to be the site of a proposed 1942 World’s Fair, but the buildings were subsequently turned over to government administrative work. The prominent architect Marcello Piacentini led the team that developed EUR’s marble-clad buildings with stripped-down neoclassical details. Piacentini had already shown early on in the regime his ability to adapt classical prototypes to contemporary state and party ideological needs. Such ideological claims became active policy in 1935, with the very real expansion of imperial interests through the invasion of Ethiopia, after which Addis Ababa was remodeled and some sections of the city based on classical Roman urban prototypes.
Yet while a modified neoclassicism was used in particular projects, it is important to emphasize that no single official style can be claimed for Fascist Italy. The streamlined and modernist-inspired work of the group of architects known as the Italian Rationalists, as well as regional variations by lesser-known designers that invoked vernacular medievalist traditions, could also be adapted to an often contradictory Fascist ideology. The range of building styles and types reflected the interest of particular patrons, regional administrations, and immediate propagandistic needs that could encompass claims of Italy’s modernity and technological sophistication alongside arguments for a premodern return to the land. For example, the abstract forms and structural emphasis of the Rationalists were not rejected as too removed from the classicism favored in other commissions but rather celebrated in cases such as the famous Casa del Fascio in Como (1932–1936) by Giuseppe Terragni. Still, Terragni’s modern structural expression nevertheless was complemented by the use of traditional materials like marble that could be interpreted with a specifically nationalist rhetoric, as well as interior decorations that included not only abstract sculpture but also images of Mussolini.
The range of stylistic options that allowed for a variety of patrons and propagandistic interpretations of architecture existed as well in National Socialist Germany. However, given the key role of Hitler and his greater influence on major commissions, the plurality of formal variations was more limited for major commissions and the political instrumentality of the building process more intense than in other authoritarian regimes. Architecture in Germany was not only a matter of promoting the physical presence of the Nazi Party—for example, through such commissions as Paul Ludwig Troost’s party buildings for the Königsplatz in Munich (1933–1937). It was also a matter of enabling and promoting the governing principles of the regime in terms of a polycratic system of patronage for which Hitler was the final arbiter. Reflecting his interest as a young adult in becoming an artist and his experience in trying to live off of his sketches of buildings and tourist locations prior to World War I, Hitler had strong opinions about what he considered suitable state and party architecture. He was more decisive in his intervention in architectural production than were other fascist and authoritarian leaders.
Architecture had been crucial to National Socialist politicians and propagandists even in the struggle for power at the end of the Weimar Republic. Hitler signaled the importance of architecture to the Nazi Party by proclaiming in his autobiography, Mein Kampf, that powerful architecture was an expression of a strong Volk, praising dynastic cultures like ancient Egypt and Rome while decrying Berlin and its Jewish department stores. But further, Nazi denunciations concerning the supposedly internationalist and Bolshevik tendencies of the flat-roofed architecture of the Bauhaus and other modernist architects became one part of the antidemocratic propaganda.
Yet once in power after 1933, neither party leaders nor Hitler came out with an officially decreed style. Rather, different kinds of architecture tended to be favored by specific patrons, while politically or ideologically suspect architects were purged from public commissions. In this sense, architecture followed the general Gleichschaltung, or coordination, of other cultural administrations. So, for example, the SS often favored medievalist architecture for its buildings, and certain industrial and military complexes like those of the Luftwaffe might use the steel and glass of modernism. Still, for large-scale public and party commissions involving Hitler, architects tended to stick to a stripped down neoclassicism massive in scale and solid in its masonry. Such buildings could be variably interpreted as either examples of an ideology of racial purity, in which contemporary Germany was linked to the supposedly Aryan peoples of classical Greece, or as manifestations of a new and powerful imperial state rivaling that of ancient Rome. Different patrons in the Nazi Party proposed these varying meanings for the built environment. Beginning in 1937 and the architect Albert Speer’s announcement of plans to rebuild Berlin as the first of five “Hitler Cities” (including Munich, Nuremberg, Hamburg, and Linz), it had become clear to all who wanted to gain Hitler’s attention that architecture and urban planning would be key to his peacetime initiatives.
But architecture served not only practical and ideological goals within the Nazi state. Architectural production was also integrated into specific policy initiatives and hence functionally related to the radicalization of racism and militarism. Speer’s architectural office in Berlin, for instance, began to promote as early as 1938 a new policy for the concentration of the Berlin Jewish community and the deprivation of its property rights. For the architects, this was a way of gaining control over the property of displaced German Jews that could then in turn be used for non-Jewish citizens who needed to be compensated should the government appropriate their property for the massive site clearing necessary for the rebuilding plans. Furthermore, architects and urban planners also took part in streamlining specific aspects of the most extreme anti-Semitic policies. For example, the ghettoization of Jews in Eastern Europe depended on the manipulation of space and structures by professionals; most grotesquely, the SS architectural staff at Auschwitz helped make it possible through efficient planning of space to kill even more of European Jewry. In these instances, as in others, the Nazi state was the extreme example of how far architecture could be instrumentalized to promote a fascist project.
While fascist patrons made use of architecture in Italy and Germany to the greatest extent, architecture could also play a significant role at particular moments for other fascistic or right-wing authoritarian states. Most famously, at the 1937 Paris World’s Fair, not only was the face-off of the Soviet and Nazi pavilions much discussed, but, in addition, the steel and glass structure for the Spanish Pavilion by Josep Lluis Sert and Luis Lacasa was seen with its art (including Picasso’s Guernica) as a modernist rejection of the massive masonry structures of both the fascist and Soviet states. As a Republican building, it signaled the Popular Front policy of the government, which extended from the liberal to the left in their struggles against Franco. Yet while the pavilion might appear ideologically neutral because of its simple materials, the context of the other monuments of the fair, the content of the Spanish exhibition, and the use of the facade as a support for statements promoting the Republican government meant that the architecture naturally paralleled the antifascist message. After defeating the Republicans, Franco did not devote his regime to architecture anywhere as much as Hitler did, but he did patronize several large-scale ideological projects, such as the massive complex in the Valley of the Fallen (1959) to memorialize supposedly both the fascist and antifascist soldiers who had died in the Civil War, although the antifascist message remains unclear at best.
With the defeat of the Axis powers at the end of World War II, the scale of the interwar projects and, particularly, those that focused on neoclassical masonry construction became associated not only with the extreme fascist Right but also the bombast of the Stalinist Eastern Block. Such associations further played a postwar role as polarized definitions of fascist or communist architecture were juxtaposed to the apparently democratic architecture of modernism, even though such easy transparencies between architecture and ideology would not have been recognized before the Cold War. Civic and corporate patrons in democratic capitalist cities increasingly favored modernist architects and steel and glass structures as a way of distinguishing themselves from the interwar politicization of masonry construction. Public interest continued to be drawn most intensely to Hitler’s biography (including his early years as a failed artist) and the revelations brought forward by Speer, who completed several autobiographical accounts after his release in 1966 from Spandau Prison. In the postwar period, while modernists like Terragni had been relatively easily accepted as a focus of aesthetic study, Speer and other more traditional architects were not systematically treated in relation to their contribution to cultural policy. That situation began to change, particularly with the publication of several foundational texts from the late 1960s and early 1970s that confronted the role of architecture in fascist states.
References
Ades, Dawn, et al., eds. 1996. Art and Power: Europe under the Dictators, 1930–45. London: Hayward Gallery.
Etlin, Richard. 1991. Modernism in Italian Architecture. Cambridge: MIT Press.
Ghirardo, Diane. 1989. Building New Communities: New Deal America and Fascist Italy. Princeton: Princeton University Press.
Jaskot, Paul B. 2000. The Architecture of Oppression: The SS, Forced Labor, and the Nazi Monumental Building Economy. New York: Routledge.
Miller Lane, Barbara. 1968. Architecture and Politics in Germany, 1918–1945. Cambridge: Harvard University Press.
Scobie, Alex. 1990. Hitler’s State Architecture: The Impact of Classical Antiquity. University Park: Penn State University Press.

Monday, May 4, 2009

And Tomorrow, the World?


In May 1942, Professor Konrad Meyer delivered the memorandum 'Generalplan Ost: Legal, Economic and Spatial Foundations for Development in the East'. The plan, which exists only in summarised form, envisaged the creation of three vast 'marcher settlements' (Ingermanland, Memel-Narew and Gothengau) which would consist of 50 per cent German colonists, linked to the Reich at 100 kilometre intervals by thirty-six 'settlement strongpoints' whose inhabitants would be 25 per cent German. The plan would take twenty-five years to implement, would involve five million German settlers and would cost 66 billion Reichsmarks.


The deteriorating course of the war put a stop to the planning activities of Professor Meyer in the spring of 1943, although Himmler continued to fantasise about settlements in the East long after the Red Army had crossed the frontiers of East Prussia. Ultimately, as we know, the moral and material might of the Allies prevented the realisation of the nightmarish scenarios of the SS. The expulsion and flight of millions of ethnic Germans from eastern Europe and the division of Germany for forty-five years ensued. But it is important to remember that German victory on the Eastern Front would have had wider consequences than those affecting the population of the Soviet empire.


Historians have long debated whether Hitler's final goal was simply the conquest of 'living space' in Eastern Europe or whether this was 'merely' the prerequisite for world domination (implying an ultimate conflict with Britain and America). Some historians, notably Hugh Trevor-Roper and Eberhard Jàckel, insist that Hitler was a 'continentalist', with his final objective consisting of the acquisition of Lebensraum in the East and the resolution of the 'Jewish Question'. Others, notably Giinther Moltmann, Milan Hauner and Meier Michaelis, have insisted that Hitler's ambitions were 'globalise. In fact, the two positions are not mutually exclusive, but rather reflect different emphases. The continentalists point to the frequency with which Hitler dilated upon the East, relegating his more expansive remarks to the world of fantasy; the globalists piece together his more random utterances about colonies or a war with America and take them seriously. Some historians, for example Andreas Hillgruber, have systematised Hitler's statements into a 'programme' for aggression:


After the creation of a European continental empire buttressed by the conquest of Russia, a second stage of imperial expansion was to follow with the acquisition of complementary territory in Central Africa and a system of bases to support a strong surface fleet in the Atlantic and the Indian Ocean. Germany, in alliance with Japan and if possible also Britain, would in the first place isolate the USA and confine it to the Western hemisphere. Then, in the next generation, there would be a 'battle of the continents' in which the 'Germanic empire of the German nation' would fight America for world supremacy.


Subsequent research, while not endorsing the notion of a 'programme', does appear to confirm that Hitler's aims were global. It has drawn attention to Hermann Rauschning's liberal, rather than literal, accounts of Hitler's conversation in 1933-4, accounts originally designed, of course, to deter fellow conservatives from their liaison dangereuse with Nazism. In this period shortly after the 'seizure of power', Hitler announced his intention of 'creating a new Germany' in Brazil and taking over the Dutch colonial empire, Central Africa and 'the whole of New Guinea'. The allegedly dominant Anglo-Saxon influence in North America would be subverted 'as a preliminary step towards incorporating the United States into the German World Empire'. These objectives were accompanied by quasi-messianic declarations of intent about 'recasting the world', or the 'liberation' of mankind from the restraints of intellect, freedom and morality.


Hitler and his associates returned to these themes during the first flush of victory. In 1940 Ribbentrop and officials in the Foreign Ministry were thinking of augmenting the 'Greater European economic sphere' with a 'supplementary colonial area' carved from British and French West Africa, French Equatorial Africa, the Belgian Congo, Uganda, Kenya, Zanzibar and Northern Rhodesia, with Madagascar acquired for the purpose of 'resettling' the Jews. The Racial Political Office of the NSDAP began detailed planning for the creation of colonial regimes in Africa and for the regulation of relations between whites and blacks. Back in Europe, neutrality, benevolent or otherwise, was no guarantee against attack. Operation Tannenbaum was designed to conquer Switzerland, which was to be divided between its neighbours; Operation Polar Fox would secure the iron ore reserves of Sweden; while Operations Isabella and Felix would secure respectively Portugal and Gibraltar, in the latter case with or without the consent of Franco.


In the aftermath of a victory on the Eastern Front, Hitler would have been in a position to dictate terms to Britain. If the government had once again rejected his offers of peaceful coexistence, then the resources of the occupied East would have been deployed in a sustained air war against Britain, a war which, if won, could have resulted in the eventual activation of Operation Sealion (see the previous chapter). The war would then probably have extended into the late 1940s. Only a Russian recovery behind the Urals and an American intervention with atomic weapons would have averted the consolidation of Nazi rule throughout the continent of Europe and the conquered regions of the Soviet Union - and neither of these would have been guaranteed if Britain had been defeated.57 Indeed, they would have been positively unlikely if Hitler had made more effective use of his alliance with Japan, which formally joined the German-Italian axis in September 1940, against the Soviet Union or against the British Empire. Hitler could, for example, have agreed to concentrate on driving the British out of Egypt and the Middle East, leaving Japan to direct its military efforts against the British in Singapore and India. Alternatively, he could have coordinated the German and Japanese attacks on the Soviet Union. Either way, there would have been a pincer effect which would have been very hard to defeat. And, of course, the Americans would have still been on the sidelines, because Pearl Harbor would not have been attacked.


Instead, of course, the Japanese were allowed to conclude a neutrality agreement with Stalin just two and a half months before Barbarossa was launched, and were actually encouraged by Hitler to attack the United States in November 1941. The next month, on 6 December the Russian counter-offensive was launched; and, two days later, the Japanese attacked Pearl Harbor, bringing the Americans into the war. To compound the mistake, Hitler declared war on the US on 11 December. This decision has often been seen as a short-sighted and fatal mistake. Yet Hitler seems to have envisaged confrontation with the United States from a relatively early stage. For some time, he persisted in the delusion that Britain would accept German leadership in a 'revitalised' Europe, turning with Germany upon the USA: 'I shall no longer be there to see it, but I rejoice on behalf of the German people at the idea that one day we will see England and Germany marching together against America'. But, in the event that neither the prospect of an alliance with Britain nor an economic blockade would bring the USA to its knees, he seems to have been willing to contemplate transatlantic aggression. He toyed with the idea of air-strikes against America from bases in the Azores and Canary Islands, commissioning the development of Messerschmitt four-engine bombers, capable of delivering eight-ton payloads at a range of 11,000-15,000 kilometres. Similar ambitions were also apparent in his special 'Z plan' naval directive of 27 January 1939, for a fleet which by 1944-6 would be capable of challenging any power on the high seas from its vast base at Trondheim. The 800 ships were to include 100,000-ton battleships with a length of over 300 metres and guns of 53 cm calibre.


In sum, there is some evidence that Hitler's objectives were almost without limit. Nor was his planning hampered by questions of cost, human or otherwise, for war in his eyes had a positive, regenerative value for the 'health' of the race and nation. As he said, 'We may have a hundred years of struggle before us; if so, all the better - it will prevent us from going to sleep.'


How long would a Nazi empire have endured if Hitler had been successful in at least one part of his programme, the defeat of the Soviet Union? A hundred years, as he himself envisaged? Certainly, that was the assumption on which he based his grandiose projects for the reconstruction of postwar German cities. Hitler, the failed architecture student and small-town bohemian, was obsessed with architectural planning. During the last weeks of the war, with Soviet soldiers scuttling through the debris of Berlin, he spent much of his time reshuffling architectural models in the glare of spotlights positioned to simulate sunlight. The main purpose of Hitler's architecture was to overawe through excesses of scale and to give his regime the aura of power and permanence by reducing human beings to the scale of Lilliputians. Hitler made his views on the function of architecture quite clear when he remarked in 1941, 'Those who enter the Reich Chancellery should feel that they stand before the lords of the world.' He gave this a characteristically barbaric twist with regard to the surviving population of conquered Russia: '... once a year, a troop of Kirghiz will be led through the Reich capital in order that they may fill their minds with the power and the grandeur of its stone monuments.'


This need to overawe was accompanied with an obsession with scale which bordered on the infantile. Musing with Himmler in 1941, Hitler remarked:


Nothing will be too good for the beautification of Berlin One will arrive there along wide avenues containing the Triumphal Arch, the Pantheon of the Army, the Square of the People - things to take your breath away! It's only thus that we shall succeed in eclipsing our only rival in the world, Rome. Let it be built on such a scale that St Peter's and its Square will seem like toys in comparison!


Similar competitive gigantomania was evident in his plans for the redevelopment of Hamburg. These included plans for a massive suspension bridge across the Elbe, with pylons soaring to 180 metres. He explained the project to his army commanders as follows:


You will perhaps ask: Why don't you build a tunnel? I don't consider a tunnel useful. But even if I did, I would still have the largest bridge in the world erected in Hamburg, so that any German coming from abroad or who has the opportunity to compare Germany with other countries must say to himself: 'What is so extraordinary about America and its bridges? We can do the same.' That is why I am having skyscrapers built which will be just as 'impressive' as the American ones.


The skyscrapers included a new NSDAP Regional Headquarters, designed to relegate the Empire State Building in the league table of tallest buildings. (Some idea of the scale is conveyed by the fact that due to the poor sub-soil, the structure had to be reduced by 250 metres.) Modernity, megalomania and vulgarity were to be conjoined in a gigantic neon swastika on top of the building, which would guide vessels at night into the Elbe.


The largest buildings were inevitably reserved for Berlin, which in 1950, once building work was complete, would have been rechristened 'Germania'.6 0 The city was to be rebuilt around a vast axial grid, whose avenues would be over a hundred metres wide. Emerging from railway terminals larger than Grand Central Station, the visitor would be confronted by wide vistas and enormous marble-clad buildings. A triumphal arch, double the height and breadth of Napoleon's Arc de Triomphe, would be inscribed with the names of the fallen, while defunct enemy weaponry would be displayed on plinths erected for the purpose. Passing the new 'Führer Palace', equipped with a dining hall for thousands and a private theatre, the visitor would arrive at the great Hall, billed as the largest assembly hall in the world. With a capacity of a quarter of a million, the light in the cupola could alone encircle the dome of the Pantheon, the condensation thus raising the problem of interior rainfalls. Above, some 290 metres from the ground, a lantern supported an eagle perched at first upon a swastika, and then in the revised version, upon the globe.61 These buildings, and the parade grounds that went with them, were to be the stage for the choreography of millions, marching, singing, acclaiming seas of people, beneath the glacial shafts of a hundred searchlights. And they were intended to last. As Hitler once remarked: 'Granite will ensure that our monuments will last for ever. In ten thousand years they'll be still standing, just as they are, unless meanwhile the sea has again covered our plains.' The materials were to come from a new generation of concentration camps, established by the SS in the vicinity of stone quarries.


Beyond Germany, architectural planning became a matter of Wilhelm Kreis's monuments to the dead which were to punctuate the landscape from Africa to the plains of Russia. More importantly, the regime planned major changes to Europe's infrastructure. Canals would bring the grain and petroleum of Russia along the Danube, and three-lane motorways would enable German tourists to speed along in their Volkswagens from Calais to Warsaw or Klagenfurt to Trondheim. In early 1942, Hitler and his chief engineer, Fritz Todt, began plans for a four-metre-gauge railway, which would convey double-decker trains at 190 kilometres an hour to the Caspian Sea and the Urals. Some time after the defeats at Stalingrad and Kursk, Hitler was still designing saloon and dining cars to take ethnic German settlers to and fro in Russia.


Of course, historians who stress the chaotic and ultimately self-destructive character of the Third Reich would have us believe that all such plans were mere fantasy: the Third Reich was preprogrammed to collapse in 1945. What remains unclear, however, is how far their assumptions of an inevitable Nazi defeat are based on a realistic assessment of what could have happened - and how far on mere wishful and teleological thinking. Certainly, many aspects of Nazi planning appear so bizarre to us that it is hard to imagine their ever having been realised. But not all. While Himmler planned his ethnic revolution and Hitler built his architectural models, other agencies were mapping out futures for ordinary Germans which were far from unrealistic in their conception. Robert Ley's mammoth German Labour Front apparatus (DAF) was the socially 'progressive' arm of a regime better known for repression and terror. Through its subordinate 'Beauty of Labour' and 'Strength through Joy' organisations it endeavoured to bring improved conditions, cheap holidays, sport and a greater sense of worth to the 'German worker', and hence to boost his or her productivity while breaking down traditional class solidarities. Even the exiled SPD leadership was forced to acknowledge the efficacy of these policies, lamenting the 'petit bourgeois inclinations' evinced by sections of its erstwhile constituency. During the first years of the war, the DAF's Scientific Labour Institute made detailed plans for the provision of comprehensive health, insurance and pension coverage, thus simultaneously generating and responding to expectations of a postwar reward for present deprivation. Interpreting a specific mandate to improve public housing - a field hitherto neglected in favour of monumental building - as a general commission for welfare reform, Ley and his staff made proposals which bear some superficial similarities to the Beveridge Report. For example, there was to be a new national pensions scheme whereby the over sixty-fives would receive 60 per cent of their average earnings over the last decade of employment. These plans were augmented with a child benefit scheme and measures to reform health provision.


Only a closer examination of these schemes reveals that the benefits were contingent upon past 'performance', and that whole categories of people were to be excluded from any provision whatsoever on the grounds of race or 'asocial' behaviour. The projected health-care reforms, including the provision of public clinics, factory physicians and affordable spas and sanatoria, also concealed a collectivist and mechanical view of human beings as epitomised in the chilling slogan 'Your health does not belong to you', or in the objective of 'periodically overhauling' the German population in the same way as 'one services an engine'. This would have been a welfare state only for those Germans who were not imprisoned, sterilised or murdered as 'ballast existences', 'asocials' or racial 'aliens'. Perhaps it is this aspect of the counterfactual of a German victory which is most chilling of all - precisely because in its superficial 'modernity' it is so easy to imagine it coming true.


'Turn Left at Gestapo Headquarters'

By Juan Moreno in Munich
Foreign tourists flock to the Third Reich walking tours in Munich. Even now, 64 years after World War II ended, visitors from abroad still only seem to associate Germany with two things -- beer and Hitler. The country's image seems to be changing far more slowly than it would prefer.


Three tour guides are standing next to each other on Munich's central Marienplatz square, and one could almost feel sorry for two of them: the man with the spectacles and the Spanish woman. But Jeff Cox, the third, is doing very well.

It's Easter, the sun is shining on the neo-Gothic façade of Munich's town hall, and the city is full of tourists. Ideal conditions. Cox and the other two have been waiting for customers. Each of them is offering a different tour.

These days, city tours are tailor-made for certain target groups. The Spanish guide has a sign that says "El centro en espanol!". The man with the spectacles has a board offering a "Walk Around the Old Town." The tourists walk past them. Not a single customer shows any interest in them.

Jeff Cox doesn't have a sign. Just a blue folder containing photos. He doesn't even have to hold the folder up. You have to step up close to read what Cox is offering. "Third Reich Tour. Munich Walk Tours in English."
The Third Reich in Munich. That means Hitler, Göring, the Gestapo, the SS. Hitler in the city where everything started. The "Capital of the Movement." Cox is pleased. He's got 18 tourists standing in front of him. British, American, an Indian family. Each one of them has paid €12 ($15.50). When it comes to city tours, Hitler is a surefire bet. Nazis always sell.

Cox speaks beautifully clear English. He would have made a good history teacher. He's an affable Londoner who tries to get his listeners interested rather than boring them with dry lectures. He's been a city guide for 10 years.
He's just been talking about Hitler's time in the Austrian town of Linz, then his time in Vienna. Later on he'll take the group to the legendary Hofbräuhaus beer hall where Hitler held several speeches. Then to the corner of Brienner and Türkenstrasse. That's where the Gestapo headquarters was. The tour ends on Königsplatz square, where the Nazi party staged its early rallies.

"Who knows what Adolf Hitler was almost called?" says Cox. "Schicklgruber; his father was called Alois Schicklgruber but changed his name."

Alan Stark has read seven biographies of Adolf Hitler. He listens attentively to Cox, even though he knows most of it. Stark has blond hair and lives in California, he likes to wear running shoes in his free time, and he's interested in German history. When Stark says German history, he really means Adolf Hitler.

Stark is in Germany for six days. It's really only four days if you subtract the travel time. So he and his wife have to focus on what's essential.

Day one: Nuremberg, the site of the Nazi party rallies. Day two: Berchtesgaden, Obersalzberg, the site of Hitler's mountain retreat. Day three: Munich, Third Reich tour. Day four: the highlight point, Bayreuth. "Parsifal," five hours of Wagner.

"I'm really no Nazi," says Stark. "I'm just interested in Germany."

Stark would make a lot of Germans sad. But tourists who come to Munich, Berlin or Heidelberg have a pretty preconceived notion of this country: Beer and Hitler.

If Germans think the world now sees them differently, they may well be suffering from a misconception. Despite 60 years of the Federal Republic, despite the Soccer World Cup in 2006,when Germans wore wigs in their national colors of black, red and gold and played host to the whole world.

The Nazi story is over, and a colourful, easygoing patriotism has dawned. Or so they thought.

Adolf Hitler Beer Tables
Cox has led the group into the Hofbräuhaus. Some waiters are standing between the large wooden tables of the vaulted hall. They know the score. The Hitler tours are here every day. "There on the right, that's where Adolf Hitler stood," says Cox. The group takes photos of a beer table.

"This is where Hitler presented the Nazi party's first party manifesto." Stark walks along the rows of tables and takes pictures. He'll be taking a lot of beer table images back to San Francisco.

The Starks will show their friends a Germany that is alien to most Germans. The world is changing: An African American is the most powerful man in the world, a white man is the best rapper, and Britain has the world's most famous chef. But Germany remains the land of Adolf Hitler beer tables.

"In Britain schools virtually only teach German history from 1933 to 1945," says Cox. He tries to change that image of Germany in his tours, he says. Germany is changing, Cox tells his listeners. He also talks about the resistance of siblings Hans and Sophie Scholl and the White Rose and how some people in Munich refused to say "Heil Hitler" instead of "Grüß Gott," the standard phrase used to greet someone.

But his group is clearly more interested in his descriptions of where the SS was founded and where Hitler drank his beer. After all, the tourists want to hear about the Nazis, and not about the new Germany.

The tour is over a little after noon. Three American women walk up to Cox and ask him to recommend a good café. Cox tells them to try the district of Schwabing.

"Where is Schwabing?"

"That's easy," says Cox. "You walk straight on up to the traffic lights. Then turn left at Gestapo headquarters."