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Historians views on albert speer
Albert Speer rise in the nazi party
Albert Speer rise in the nazi party
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Albert Speer had an extraordinary rise to prominence once joined the Nazi Party in 1931, but it evident that with the help of Hitler his rise was made exceedingly successful. There was numerous ways that helped to push Speer’s rise to prominence throughout this period of time. This included the early work Speer had done for the Nazi Party including his work for Hitler which had assisted him to achieve a high position in the building of the Reich Capital, this allowed Speer to only answer to Hitler. It was clear that as time went by Hitler saw a great potential in the structures that Speer was designing, hence the appointment of Speer as the First Architect of the Reich. In 1942 Speer was elected as the Minister of Armaments due to his immense practical skills and the quick completion of tasks appointed. This resulted in Speer’s control of Germany’s economy.
Speer had been handed numerous structures to designs for celebrations of Berlin’s May Day, the Nuremberg Rally as well as the refurbishment of the Chancellery. His reputation increased significantly amongst the Nazi Party and was given a number of important architectural ideas following the party’s rise to power in 1933. It was known that Speer was building a reputation not only for his architectural designs but also his excellent organisational skills. As Speer became well known amongst the Nazi party he was delegated the position of designing and decorating the Nuremburg Rally, where he incorporated his theory ‘ruin value’. ‘Ruin value’ reflected the sights history and importance, this theory realised Hitler’s concept of the ‘thousand year reign’. As historian Fest has viewed this period, it is evident that he sees this rally at Nuremberg is the start to his career as it ...
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...ol of the armaments department. As minister of Armaments, he changed many of the processes for the better, more streamline and efficient weaponry. Through the remarkable skills that Speer had presented, it helped to slow down the prevalence of war occurring (Sereny 1995).
It was clear, that with the help from Hitler and various other significant figures, Speer had the ability to rise to prominence throughout this period of time in Germany successfully. It was known that he was able to gain a well-known title and reputation amongst the Nazi Party as a well-organised architect. Though with a lack of qualifications and knowledge it helped him to strive to the top with the control of the German economy by August 1944.
Reference:
➢ Fest, JC, 1999, The Face of the Third Reich, Da capo press.
➢ Sereny, G, 1995, Albert Speer: His battle with the truth, Macmillan.
Speer’s well structured and thought out defence shaped historical interpretation for years to come. At Nuremberg he presented himself as a pure technician and not involved in the politics or ideology of the party. He also claimed collective responsibility for crimes against Jews but also his ignorance of the Nazi intentions. As he stated at a later time: “I just stood aside and said to myself that as long as I did not personally participate it had nothing to do with me. My toleration for the anti Semitic campaign made me responsible for it.” This admission of guilt won a fair amount of sympathy from the court. The reasons he gave for being with the Nazi party was that he was taken by Hitler’s personality and also realised that if he was to achieve his dream as an architect he will have to sell his soul to the party. This image of Speer was to be accepted for a while by most historians and was given little attention. This was probably because Speer was a little less ‘spectacular’ than Hitler’s other henchmen. There were however some suspicions. John Galbraith, a member of the US team that debriefed Speer before the Nuremberg trial, said in Life magazine 1945 that Speer’s claims contained “elements of fantasy”. He also believed that Speer’s confession was a part of his “well developed strategy of self vindication and survival.”
Speer’s Rise in the Nazi Party Albert Speer rose from a mere architect to be one of the most influential Nazi leaders of the Third Reich, and self-admittedly Hitler’s closest friend. As a young, struggling architect Speer joined the Nazi Party as a ‘Septemberling’, and subsequently began to design many of the displays and structures that succeeded in promoting the Fuhrer Myth. Within the NSDAP Speer progressed to the position of Minister for Armaments and War Production in 1942, a reward for his superior managerial skills, and effectively utilised in the Nazi war effort. However, Speer’s rise in the NSDAP was often degraded by the members of the ‘old guard’, who thought that he had not earned his affluent position in Nazi society, but was rather a result of his friendship with Hitler. Albert Speer was born on 19th March 1905 into an upper-middle class family in the German city of Mannheim, and as a result of his families affluent position in society, they were relatively untouched by the Second World War.
Speer, after becoming acquainted with Hitler, became close friends, and he was accepted into Hitler's inner circle. In 1934, Speer succeeded Paul Ludwig Troost, Hitler's architect, who had died early in the same year.
"Monument proposal draws criticism Design's appearance called similar to that of Nazi architecture." The Baltimore Sun. N.p., 22 June 1997. Web. 5 Apr. 2011. .
Did you know what hitler wanted to go to school for? He wanted to be an artist. Hitler was the leader of germany from 1933 to 1945. On September 1, 1939 he started World War I. In this paper will cover his early years (Like school, home life, mother, and father). His homeless years in Vienna. What was World War I like for him, and After World War I. The purpose of this paper is to show why hitler did what he did and how became what he was. The reason for this paper is to tell more people about hitler and how his childhood and things that happened as an adult and made him like he was.
In an effort to ensure this memorial museum was meaningful, Mr. James Ingo Freed was chosen. Not only was he educated in this field, but was a survivor with his own personal experiences during this horrific time period. Freed was born in Essen, Germany in 1930. At the age of eight, James and his younger sister were removed from their home and sent to Chicago where they were later joined by their parents. James studied architecture at the Illinois Institute of Technology, and received his bachelor’s degree in 1953. In later years, Mr. Freed taught at major institutions such as Cooper Union, Cornell University, Rhode Island School of Design, Columbia University, and Yale University. He was also the Dean of the College of Architecture, Planning, and Design at the Illinois Institute of Technology (“Holocaust Encyclopedia”). One’s work ethic can be greatly influenced due to their emotional state of mind on certain topics; therefore, James was an excellent candidate that had personal ties to this museum...
I personally have mixed feelings about whether Albert Speer was in fact a ‘Good Nazi’. First of all, although being an architect could be harmless, his closeness and loyalty to Hitler seemed to tarnish his character, perhaps making him turn a cold shoulder towards the horrible things being conducted by Hitler and his government. There have been many arguments on whether Speer knew the full extent of what happened in the concentration camps and the upcoming fate of Jewish civilians. I believe that Speer did evidently understand the magnitude of what went on in the concentration camps and slave workers as he was present during Heinrich Himmler’s addressing of the Jews during the Posen Conference on October 6, 1943. Although Speer denies being
As the young boy grew, he began to have a love for art and wanted to become an artist, but his father, however, did not have a care of his son’s dreams, but instead wanted him to grow up, following in his footsteps; in which Adolf rebelled against.
Born on the 9th of March 1905 and died on the 1st of September 1981, Albert Speer was the Chief Architect for the Nazi Party from 1933 to 1941. Hitler admired Speer’s architectural works due to the large usage of the Nazi’s National symbol; the Swastika which was conveyed as a symbol of “pain” at the time.
The way in which Speer was able to “exploit Hitler’s love for architecture” in order to obtain such a high position in Hitler’s inner circle is a portion of history that clearly favours winners. In a primary source by Nazi historian Condon (2009) Condon states that as an architect in the Nazi Party, Speer started off with relatively small projects. His first job was to modify the party headquarters and that this “launched a unique career.” This is supported by the historian Schmidt who also believes that within only a few years Speer became Hitler’s favourite architect (Schmidt, 1985,
Bibliography Primary Sources J Hite and C Hinton, ‘Weimar and Nazi Germany 2000’. Manchester Guardian Report, 13th April 1933. Franz Von Papen’s Speech at Marburg University, 17th June 1934. Rohm’s Speech to foreign press April 18th 1934. Field von Weich’s account of Hitler’s Speech to the leaders of the SA and most of the senior Reichswehr generals 28th February 1934.
Because of the state of Germany’s economy, Hitler portrayed himself as the saviour of Germany, the man that was going to restore the respect that their forefathers had earned & installed. However, under no uncertain terms was he going to do it alone, he pr...
Vat, Dan, and Albert Speer. The good Nazi: the life and lies of Albert Speer. Boston: Houghton Mifflin, 1997.
Located in once the bombarded Berlin, a new language of architecture emerged. It appears with multiple contradictions, yet not confliction, from itself to the surroundings and within its own construction. That is the Berlin Jewish Museum, submitted by the young Daniel Libeskind in a competition to provoke the unsavory history of Berlin very soon after the fall of the Berlin Wall in 1989. The Western tradition in building museum is twisted by its expressionistic form, not merely to house the remains, the relics, the display of art, it stands by itself naked, untreated to house the ghost of German Judaism, a rare opportunity to visit an empty building for its such high profile budget. The challenge is to excavate the memory that was already there but suppressed by the medium of contemporary architecture, uncanny. This essay is to analyze the capturing of a spiritual existence from a part of the bygone Berlin, and the museum’s capacity to address one of the most profoundly tragic events of the twentieth century, the Holocaust, in the use of light, material, and structural methods of construction. Moreover, this study is an attempt to evaluate the Libeskind’s response to the concept to reveal the implication in its shape, and its spatial quality. This project is also a chance to examine the interdisciplinary character of architecture in combining social-cultural relationship, psychology, history, theory, music, material methodology, vision, etc. To be able to do that, the architect’s background and his operations of process to the problem will be shortly studied, then his solution in dealing with the res...
The German Pavilion, more commonly known as the Barcelona Pavilion, is one of the most recognizable buildings of the modern period during the early 20th century. It encapsulates every element of modern architecture in one structure. Ludwig Mies van der Rohe, one of the fathers of modern architecture, was the architect of this beautiful building. In this essay I will explore how Mies impacted the modern movement in architecture through his groundbreaking ideas, using the Barcelona Pavilion as a case study. The German Pavilion was designed in 1929 for the International Exposition in Barcelona.