WA r 27
Visual Manifestations of Political Movement
Matthew Messere, BSA '21
Architecture, which is often considered solely within the visual realm,
is frequently accepted regardless of from who or what it recieves
inspiration. Much like music or any other art form, it has the capacity
to inspire, shape, transform, converse, and evoke a spectrum of
feelings. Other factors, such as politics and the advancements in
society, do the same to the architects who design urban landscapes.
This quality gives the built environment the power to influence others
and serve as a form of political propaganda. Through architecture,
people begin to inhabit dictated spaces that perform a functional duty
no other form of propaganda can attain. The user is integrated into a
system that communicates ideologies.
“It is no wonder that the majority of architects avoid the
political implications of their work. They believe themselves to
be creators, or innovators, when in actuality they are nothing
more nor less than the executors of a physical and social
order designed by those institutions presently holding political
authority and power.” [1]
It is clear that architecture becomes a tool for those who hold power.
It is a device to shape minds. Germany's architecture throughout
the twentieth century remains a vital case study and precedent to
analyze, understand, and learn from. In the Weimar Republic, which
encouraged democratic ideas, and freedom of creativity, the resulting
architecture reflected this spirit. Contrarily, in the case of Nazi
Germany, the public’s architecture was funded by an anti-Semitic,
repressive, and unethical regime. In Germany’s contemporary
political state, these histories are constantly being explored, revealed,
and recognized as a part of their turbulent history.
A Republic of Creative Freedom
Continuing with applications of historical buildings from antiquity, a
precedent surfaces in the first half of the twentieth century with the
Barcelona Pavilion. As one of the most prominent German architects
of the Weimar Republic, Mies van der Rohe was commissioned to
design a pavilion for the 1929 International Exposition. Showcasing
the new post-war Germany, the Barcelona Pavilion architecturally
manifested the new Weimar Republic, encompassing ideas of
democracy and freedom that were not expressed in the years before
the war. Mies’ Pavilion took precedent from the Parthenon in Athens.
His vision of the Barcelona Pavilion draws on the Parthenon’s plan
and geometries and explodes the classical form, reinterpreting
its configuration. The historic development of the Parthenon
reveals its architectural, cultural, and political symbolism. Pericles
commissioned this work during the rebuilding of Athens after the
defeat of the Persian armies. [2] This temple became an important
piece of architectural propaganda for Athenian power and pride,
though historians may seek alternative words to describe it since
"propaganda" contains such a heavy and negative connotation.
Just as the pure concept of a democratic society was not realized in
Athens, the Weimar Republic in Germany was complicated given its
political, social, and economic climate. However, the disillusionment
with previous political systems, provoked an investment in new
ideologies and traces of this can be seen in their contemporary
architectures. The Barcelona Pavilion embodied the spirit of a new
Republic in its use of transparency and open space, responding to
their hard past. Mies envisions a new, updated democracy adapted
from the Parthenon and Ancient Greece. This embodied symbolism
represented a new, radical vision of the Weimar Republic’s future,
despite the volatile conditions of the twentieth century.
Architecture Becomes a Means of Propaganda and Evil
This Republic could not endure these volatile global conditions. The
stock market crash of 1929 wreaked havoc all over the world, and
especially in Germany. Until then, the Weimar Republic depended
on financial and political support from the United States, but this
would not continue during the Great Depression. This, compounded
by a series of unfortunate events, eventually led to the rise of Adolf
Hitler and the Nazi Party. Through propaganda, charisma, and the
scapegoating of a failing Republic, the Nazis became a large minority
in parliament. In 1933, the Reichstag, Germany’s parliament building,
was burned down symbolizing the end of the brief Republic. With
the dissolution of the Republic, artistic freedom was suppressed
under a wave of political, cultural, and economic pressure. The days
of envisioning buildings like Mies’ Friedichstraße would never be
idealized in this new, darker epoch in German history.
During this time, political oppression condemned artistic expression,
particularly that in opposition to or critical of Nazism. This reversed
direction on architectural practice in Germany. Bauhaus thinkers fled
to America and elsewhere, where their teachings were welcomed. In
Germany, revolutionary ideas that had been on the forefront of theory
and practice, were suppressed and replaced with a return to classical
architectural tropes. The work of Nazi architects was the antithesis
of the Bauhaus movement that had been labeled as "degenerate
art," along with other works that did not carry the message of the
regime. [3] Neoclassical elements in architecture reappeared, and
the style of Hitler's Chief Architect, Albert Speer, is most notable
for its starkness, simplicity, and imposing form against the human
scale. The use of architecture was one of many tools that the Nazi
leadership used to fulfill and assert ideological agendas.
The implications of this architecture reached, and still reach, well
beyond its erection or destruction. The Cathedral of Lights, for
example, remains a prevalent and haunting image of the Nazi past,
but still carries the malevolent ideas that were once believed by
thousands, despite coming from one of the most advanced and
intellectual countries in the world at the time. Its imposing stance,
^ Andrea Welsh | Barcelona Pavilion (Ludwig Mies van der Rohe)

along with the message carried with it, creates a haunting and
effective display of power. The imposition of physical propaganda
that becomes something tangible combines the senses to create
one of the most effective pieces of propaganda. Can architecture, or
the origin story of a particular architecture, be separated from the
enduring physicality of the built work? The built form of the Cathedral
of Lights, or any other propaganda piece, cannot be distinguished
from the ideology that informed it. The two become synonymous with
one another. The architecture becomes a diagram of the ideologies
and goals, just as the basilica becomes an inseparable diagram of
organized religion.
Architecture Returns, Remembering the Past
"The transformation of the Reichstag is rooted in four related
issues: the Bundestag’s significance as a democratic forum, an
^ Cathedral of Lights, Nuremberg, Germany - 8 September 1936
understanding of history, a commitment to accessibility and a
vigorous environmental agenda." [4]
The renovated Reichstag building embodies another epoch in
twentieth century Germany. In order to celebrate the unification of
Germany, a plan to redevelop the Reichstag building was envisioned
by Foster + Partners. Foster's intervention thoughtfully reveals
layers of the past, in order to learn and heal from dark histories.
The original Reichstag, which burned down in the rise of a brutal
regime, is reconfigured as a living museum of the German history.
For example, graffiti and carvings from the Soviet soldiers who
occupied Berlin are preserved and celebrated. Foster understood the
implications of German history and the Reichstag's importance as a
symbol of democracy in the early twentieth century. The renovation
seeks to reclaim its place as the center of a democratic Germany.
Diagrammatically, the restoration is imbued with ideas of democracy
and transparency, something that was lost in the twentieth century.
While both visitors and government workers enter the building
together, the visitors ascend symbolically above the parliamentary
chamber to the occupiable dome. This architecture has enabled the
public’s ability to oversee the political officials who serve them.
Conclusion
Architecture can become a symbol of political movement as much,
if not more than, any other form of propaganda. This case study of
twentieth century Germany proves how powerful architecture can
be if paired with a political agenda. In the beginning of the twentieth
century, Mies’ work with modernism was inspired by the democracy
and advancement of a new nation and in response to the dark times
of the Great War. This epoch illustrates that the relationship between
architecture and politics are inexplicably linked.
WA r 29
The effects of Speer’s visions of Berlin and Nazi Germany starkly
contrast with work done less than a decade before Adolf Hitler
seized control of Germany. With changes in political climates
comes changes in architectural language. Considering the light and
transparent qualities of the Barcelona Pavilion and the dark and
surreal qualities of the Cathedral of Light, it is clear that architectural
intervention has reflected, and will continue to embody the character
of a socio-political climate.
For designers, these moments of architectural propaganda must
serve as cautionary tales that are continually metabolized and
understood for their implications in a social climate. / Notes p. 112,
See Image Ref 112
^ Kylie Barnes | The Reichstag, New German Parliament [Foster + Partners]

NOTES
From page 14. "A Glyphic Language in the Floor: Teaching a blind
client how to read her new home" So & So Studio, Rion Phillbin.
Image References
From page 13. So & So Studio, Casa MAC, Proportionate Portal.
(Image Credit: So & So Studio).
From page 15. So & So Studio, Casa MAC, Nonna. (Photo: © Stefano
Calgaro).
From page 15. So & So Studio, Casa MAC, 05. (Photo: © Stefano
Calgaro).
From page 15. So & So Studio, Casa MAC, Glyph 01. (Image Credit: So
& So Studio).
From page 16. So & So Studio, Casa MAC, Balanced-Imbal. (Image
Credit: So & So Studio).
From page 26. "Visual Manifestations of Political Movement"
Matthew Messere.
1. Lebbeus Woods, Anarchitecture: Architecture is a Political Act,
(Berkshire, UK: Academy Editions, 1995).
2. Jacqueline Gargus, "Greek Architecture and its Influence on Mies'
Barcelona Pavilion," (Class Lecture, History of Architecture I from
The Ohio State University, Columbus, OH, October 19, 2018).
3. "Art Term: Degenerate Art," Tate Modern, https://www.tate.org.uk/
art/art-terms/d/degenerate-art.
4. "Reichstag, New German Parliament," Foster + Partners, 1999,
https://www.fosterandpartners.com/projects/reichstag-new-german-
parliament/.
Image Reference
From page 26. Nürmberg, Reichsparteitag, Lichtdom. (Image Credit:
Unknown, Wikimedia Commons, accessed February 17, 2019, https://
commons.wikimedia.org/wiki/File:Bundesarchiv_Bild_183-1982-
1130-502,_N%C3%BCrnberg,_Reichsparteitag,_Lichtdom.jpg).
From page 34. "summerFAB" Project Team.
summerFAB 2018 would not have been possible without the help and
support of:
Residential Staff: Carlo Fierimonte, Tyler Nguyen, William Ma, Mark
Celoy
summerFAB Administration: Lora Kim, Carol Burns
Department of Architecture Administration: Keeran Hariprasad,
Priscilla Saul, Carrie Yates
Wentworth Architecture Center for Applied Research: Chris
Sledziona, Evan James
Thanks to:
Sharon Matthews, Eric Overstrom, and the Office of the Provost,
Keiko Broomhead and Enrollment Management; Bob Totino,
Brian Burns, and Finance Office; Don Tracia, Jessica Matson, and
Learning Innovation Technology; William Powers and Public Safety;
Phil Bernard, Jacqueline Fitzpatrick, and the Office of Housing
and Residential Life; Tony Tanzi and the Department of Technical
Services; Charlene Roy and Business Services; Mike D’Agostino and
the Department of Construction Management.
Special thanks to:
Maureen Dischino, Wentworth Admissions and Chuck Hotchkiss,
Dean of the College of Architecture, Design and Construction
Management.
From page 46. "Playscape Promenade: The Sculpture 'TunnelTeller'
by Alicja Kwade" Anne-Catrin Schultz.
1. "About Castle Hill on the Crane Estate," The Trustees of
Reservations, http://thetrustees.org/places-to-visit/north-shore/
castle-hill-crane.html.
2. "History," Crane Co., https://www.craneco.com/about/history.
3. "The National Historic Landmark Nomination," United States
Department of the Interior, National Park Service, February 13, 2004,
https://npgallery.nps.gov/NRHP/GetAsset/NHLS/77000183_text.
4. The Editors of Encyclopaedia Britannica, "Allée: French
Promenade," Encyclopaedia Britannica, May 27, 1999, https://www.
britannica.com/art/allee.
5. Adrian and Ian Fisher, Mazes and Follies, (Peterborough, UK:
Jarrold Publishing, 2004), 18.
6. Will Broaddus, "Tunnel Vision: Former maze at Crane Estate
rebuilt as work of art," The Daily News of Newburyport, June 14,
2018, https://www.newburyportnews.com/news/lifestyles/tunnel-
vision-former-maze-at-crane-estate-rebuilt-as-work/article_
d69b93a6-c686-5fee-8ead-01e0850f153d.html.
7. Ibid.
8. "History," Crane Co., https://www.craneco.com/about/history.
Image References
From page 47. TunnelTeller Sculpture, Crane Estate, Ipswich, MA.
(Photo: Anne-Catrin Schultz).
From page 47. Crane Estate, Ipswich, MA, Grand Allée. (Photo: Anne-
Catrin Schultz).
From page 47. Crane Estate, Ipswich, MA, Entry to Italian Garden,
view towards the house. (Photo: Anne-Catrin Schultz).
From page 47. Crane Estate, Ipswich, MA, Casino with area of former
pool. (Photo: Anne-Catrin Schultz).
From page 48. Crane Estate, Ipswich, MA, TunnelTeller seen from the
Big House. (Photo: Anne-Catrin Schultz).
From page 48. View from TunnelTeller towards Crane Beach and the
Atlantic Ocean. (Photo: Anne-Catrin Schultz).
From page 48. Crane Estate, Ipswich, MA, TunnelTeller looking back
at the Big House. (Photo: Anne-Catrin Schultz).
From page 50. Crane Estate, Ipswich, MA, TunnelTeller Detail of
Marble Spheres. (Photo: Anne-Catrin Schultz).
From page 51. Crane Estate, Ipswich, MA, TunnelTeller Detail of
Reflective View. (Photo: Anne-Catrin Schultz).
From page 51. Crane Estate, Ipswich, MA, TunnelTeller Colors of
Reflection View. (Photo: Anne-Catrin Schultz).
From page 58. "Whose Movement?," Interview with Sarah Gunawan.
Image References
Material designated as student work provided by course instructor,
Sarah Gunawan.
From page 86. "Counterpoint: Frank Gehry and the Pressure of
Mortality" Michael Bair.
1. Bret Easton Ellis, Less Then Zero, (New York: Simon & Schuster,
1985).
2. Geoff Manaugh, "Frank Gehry Is Still The World's Worst Living
Architect," Gizmodo, February 16, 2014, https://gizmodo.com/frank-
gehry-is-still-the-worlds-worst-living-architect-1523113249.
3. Rowan Moore, "The Bilbao Effect: How Frank Gehry's Guggenheim
Started a Global Craze," The Guardian, October 1, 2017, https://www.
theguardian.com/artanddesign/2017/oct/01/bilbao-effect-frank-
gehry-guggenheim-global-craze.
4. Adrian Glick Kudler, "Watch the Strange Growth of Los Angeles,
from 1877 to 2000," Curbed L.A., November 30, 2018, https://
la.curbed.com/2014/4/3/10121264/los-angeles-sprawl-history-map-
animation.
5. Imagine, "Frank Gehry: The Architect Says 'Why Can't I?'," Season
13, Episode 1, Directed by Sally Aitken and Luke McMahon, Written by
Helen Vatsikophoulos, BBC/ABC, June 25, 2015.
6. Rafael Moneo, Theoretical Anxiety and Design Strategies in the
Work of Eight Contemporary Architects, (Cambridge, MA: MIT Press,
2004).
Image References
From page 87. 1933 Long Beach earthquake damage 1. (Photo:
W.L. Hubber, USGS, Wikimedia Commons, August 8, 2005, https://
commons.wikimedia.org/wiki/File:1933_Long_Beach_earthquake_
damage_1.jpg).
From page 89. Gehry House - Image 02. (Photo: IK's World Trip,
Wikimedia Commons, accessed February 17, 2018, https://commons.
wikimedia.org/wiki/File:Gehry_House_-_Image02.jpg).
BIBLIOGRAPHY
From page 26. "Visual Manifestations of Political Movement"
Matthew Messere.
"Art Term: Degenerate Art." Tate Modern. https://www.tate.org.uk/
art/art-terms/d/degenerate-art.
Gargus, Jacqueline. "Greek Architecture and its Influence on Mies'
WA r 113
Barcelona Pavilion." Class Lecture. History of Architecture I from The
Ohio State University. Columbus, OH. October 19, 2018.
"Reichstag, New German Parliament." Foster + Partners. 1999.
https://www.fosterandpartners.com/projects/reichstag-new-german-
parliament/.
Woods, Lebbeus. Anarchitecture: Architecture is a Political Act.
Berkshire, UK: Academy Editions, 1995.
From page 46. "Playscape Promenade –The Sculpture 'TunnelTeller'
by Alicja Kwade" Anne-Catrin Schultz.
"About Castle Hill on the Crane Estate." The Trustees of
Reservations. http://thetrustees.org/places-to-visit/north-shore/
castle-hill-crane.html.
Broaddus, Will. "Tunnel Vision: Former maze at Crane Estate rebuilt
as work of art." The Daily News of Newburyport. June 14, 2018.
https://www.newburyportnews.com/news/lifestyles/tunnel-vision-
former-maze-at-crane-estate-rebuilt-as-work/article_d69b93a6-
c686-5fee-8ead-01e0850f153d.html.
The Editors of Encyclopaedia Britannica. "Allée: French Promenade."
Encyclopaedia Britannica. May 27, 1999. https://www.britannica.com/
art/allee.
Fisher, Adrian and Ian. Mazes and Follies. Peterborough, UK: Jarrold
Publishing, 2004. 18.
"History." Crane Co. https://www.craneco.com/about/history.
"The National Historic Landmark Nomination." United States
Department of the Interior, National Park Service. February 13, 2004.
https://npgallery.nps.gov/NRHP/GetAsset/NHLS/77000183_text.
From page 86. "Counterpoint: Frank Gehry and the Pressure of
Mortality" Michael Bair.
Ellis, Bret Easton. Less Then Zero. New York: Simon & Schuster,
1985.
Imagine. "Frank Gehry: The Architect Says 'Why Can't I?'" Season 13,
Episode 1. Directed by Sally Aitken and Luke McMahon. Written by
Helen Vatsikophoulos. BBC/ABC. June 25, 2015.
Kudler, Adrian Glick. "Watch the Strange Growth of Los Angeles, from
1877 to 2000." Curbed L.A. November 30, 2018. https://la.curbed.
com/2014/4/3/10121264/los-angeles-sprawl-history-map-animation.
Manaugh, Geoff. "Frank Gehry Is Still The World's Worst Living
Architect." Gizmodo. February 16, 2014. https://gizmodo.com/frank-
gehry-is-still-the-worlds-worst-living-architect-1523113249.
Moneo, Rafael. Theoretical Anxiety and Design Strategies in the Work
of Eight Contemporary Architects. Cambridge, MA: MIT Press, 2004.
Moore, Rowan. "The Bilbao Effect: How Frank Gehry's Guggenheim
Started a Global Craze." The Guardian. October 1, 2017. https://www.
theguardian.com/artanddesign/2017/oct/01/bilbao-effect-frank-
gehry-guggenheim-global-craze.
Moore, Rowan. "The Bilbao Effect: How Frank Gehry's Guggenheim
Started a Global Craze." The Guardian. October 1, 2017. https://www.
theguardian.com/artanddesign/2017/oct/01/bilbao-effect-frank-
gehry-guggenheim-global-craze.
 WA r 115
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