|
The ドイツ語:Volkshalle (“People's Hall”), also called ドイツ語:Große Halle (“Great Hall”) or ドイツ語:Ruhmeshalle (“Hall of Glory”), was a huge domed monumental building planned by Adolf Hitler and his architect Albert Speer for Germania in Berlin. The project was never realized. The word ''Volk'' had a particular resonance in Nazi thinking. The term völkisch movement, which can be translated to English as "the people's movement" or "the folkish movement", derives from ''ドイツ語:Volk'' but also implies a particularly racial undertone. Before the First World War, ''völkisch'' thought had developed an attitude to the arts as the German ''ドイツ語:Volk''; that is, from an organically linked Aryan or Nordic community (''ドイツ語:Volksgemeinschaft''), racially unpolluted and with its roots in the German soil of the Heimat (homeland). ==Hitler and Hadrian's Pantheon== Just as Augustus's house on the Palatine was connected to the temple of Apollo, so Hitler's palace was to have been connected by a cryptoporticus to the Volkshalle, which filled the entire north side of the forum. This truly enormous building was, according to Albert Speer,〔Speer, Erinnerungen, 167.〕 inspired by Hadrian's Pantheon, which Hitler visited privately on May 7, 1938. But Hitler's interest in and admiration for the Pantheon predated this visit, since his sketch of the Volkshalle dates from about 1925.〔Giesler 325.〕 Hermann Giesler records a conversation he had with Hitler in the winter of 1939/40, when Hitler was recalling his “Roman Impressions” (''ドイツ語:Römische Impressionen''): Hitler's impressions of the Roman Pantheon were revived when on June 24, 1940 he made a tour of selected buildings in Paris, with the German architects Albert Speer, Hermann Giesler and Arno Breker, including the Paris Panthéon, which seems to have disappointed him. His disappointment is independently recorded by Giesler〔Giesler 391.〕 and Breker.〔Breker 106.〕 The sketch of the Volkshalle given by Hitler to Speer shows a traditional gabled pronaos supported by ten columns, a shallow rectangular intermediate block and behind it the domed main building.〔Scobie 110.〕 Giesler notes that the pronaos of the temple in Hitler's sketch is reminiscent of Hadrian's Pantheon and of the style of Friedrich Gilly or Karl Friedrich Schinkel.〔Giesler 326.〕 However, there was little about Speer's elaboration of the sketch that might be termed Doric, except perhaps for the triglyphs in the entablature,〔Larsson 79.〕 supported by the geminated red granite columns with their Egyptian palm-leaf capitals, previously employed by Speer in the portico outside Hitler's study on the garden side of the new Chancellery.〔 Speer's Monster-Building ((ドイツ語:Monsterbau)) was to be the capital's most important and impressive building in terms of its size and symbolism. Visually it was to have been the architectural centrepiece of Berlin as the world capital (Welthauptstadt). Its dimensions were so large that it would have dwarfed every other structure in Berlin, including those on the north-south axis itself. The oculus of the building's dome, in diameter, would have accommodated the entire rotunda of Hadrian's Pantheon and the dome of St. Peter's Basilica. The dome of the Volkshalle was to rise from a massive granite podium and high, to a total inclusive height of . The diameter of the dome, , was to be exceeded, much to Speer's annoyance, by the diameter of Giesler's new domed railway station at the east end of Munich's east-west axis. It was to be greater in diameter than Speer's Volkshalle.〔Giesler 177.〕 The resemblance of the Volkshalle to the Pantheon is far more obvious when their interiors are compared. The large niche (50 metres high by 28 metres wide) at the north end of the Volkshalle was to be surfaced with gold mosaic and to enclose an eagle high, beneath which was situated Hitler's tribunal. From here he would address 180,000 listeners, some standing in the central round arena, others seated in three concentric tiers of seats crowned by one hundred marble pillars, high, which rose to meet the base of the coffered ceiling suspended from steel girders sheathed on the exterior with copper.〔Speer, Erinnerungen, 168.〕 The three concentric tiers of seats enclosing a circular arena in diameter owe nothing to the Pantheon but resemble the seating arrangements in Ludwig Ruff's Congress Hall at Nuremberg, which was modeled on the Colosseum.〔Scobie 80.〕 Other features of the Volkshalle's interior are clearly indebted to Hadrian's Pantheon: the coffered dome, the pillared zone, which here is continuous, except where it flanks the huge niche on the north side. The second zone in the Pantheon, consisting of blind windows with intervening pilasters, is represented in Speer's building by a zone above the pillars consisting of uniform, oblong shallow recesses. The coffered dome rests on this zone. The design and size of the external decoration of this Volkshalle, are all exceptional and call for explanations that do not apply to community halls planned for Nazi fora in other German cities.〔Scobie 114.〕 The temple-like nature of the domed building was noted by Speer,〔 who surmised that the building was ultimately intended for public worship of Hitler, his successors and the German Reich, that is, it was to be a dynastic temple/palace complex of the kind Augustus built on the Palatine, where his modest house was connected to the temple of Apollo.〔Speer, Erinnerungen, 56.〕 Hitler's aspirations to hegemony over Europe and the establishment of the New Order, already evident from architectural and decorative features of the new Chancellery, are even more clearly expressed here. External symbols suggest that the domed hall was where Hitler as cosmocrat (ドイツ語:Herr der Welt) would appear before his Herrenvolk: On top of the dome's lantern was the German heraldic eagle clutching the globe of the Earth (''ドイツ語:Erdball''). This symbolism was well known in imperial Roman iconography, for example, the restored statue of Claudius holding a ball and eagle in his right hand. The vast dome, on which it rested, as with Hadrian's Pantheon, symbolically represented the vault of the sky spanning Germany's empire. The globe on the dome's lantern was enhanced and emphasized by two monumental sculptures by Breker, each 15 metres high, which flanked the north façade of the building: at its west end Atlas supporting the heavens, at its east end Tellus supporting the Earth. Both mythological figures were chosen by Hitler himself.〔 Giesler says that Speer was wrong to represent the Volkshalle as a symbol of World Domination (''ドイツ語:Weltherrschaft''). Speer in his ''Playboy'' magazine interview states: Nevertheless, Giesler remarked that Hitler never made plans for world domination and that to suggest as much is not only nonsense (''ドイツ語:Unsinn'') but 'Speer Rubbish' (''ドイツ語:Speerlicher Quatsch''). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Volkshalle」の詳細全文を読む スポンサード リンク
|