Contents

[03] Introduction

[05] The perception of space

[08] The psychological impact of buildings

[13] The psychological impact of cities

[16] Hitlers use of monumental architecture

[21] Reich Chancellery

[27] Conclusion

[30] Bibliography

Introduction
just as we think architecture with our bodies, we think our bodies through architecture1 Architecture affects us on a subconscious level. The human brain has evolved the ability to understand and react to our environment for survival. At some point in our evolutionary history our brains developed consciousness. With the advent of this new ability we lost the connection that many animals have with the environment. Where we once were aware of our surroundings, these reactions have been pushed to our subconscious. Often overlooked or dismissed by rational thought these deep reactions still greatly affect us. Architects may like to rationalize the variables of design, but people largely perceive buildings emotionally through the senses. Moreover, in doing so they employ those higher cognitive powers to only varying extents.2

The environment a creature lives in is what defines it, i.e. fish have gills to breathe in water, and mammals have lungs to breathe air. This is an example of a physical response to the environment but there are also psychological and behavioural responses. The environment is our reality, if it changes our reality changes with it. Therefore the ability to change the environment is also the ability to influence how people perceive the world they live in. This dissertation will investigate how architecture affects the mind and discuss how it can be used to manipulate the behaviour of individuals and more importantly of populations. One example of a time when architecture was used to great effect to influence a group of people was during the Nazi rule of Germany. The architecture of this period shall be explored as an example of how architecture can be used in this way. This dissertation will look at how the processing of
1 2

Marco Frascari, Monsters of Architecture Anthropomorphism in Architectural Theory, p.1 Harry Francis Mallgrave, Architects Brain: Neuroscience, Creativity and Architecture, p.188

memory is an integral part of how we understand the environment. This cognitive mechanism is a fundamental part of why architecture has such an impact on us.

Monumental architecture [] refers to large man-made structures of stone or earth. These generally are used as public buildings or spaces, such as pyramids, large tombs, large mounds (but not single burials), plazas, platform mounds, temples, standing stones, and the like. The defining characteristic of monumental architecture is typically its public naturethe fact that the structure or space was built by lots of people for lots of people to look at or share in the use of, whether the labor was coerced or consensual. 3 This paper considers how the act of being in a crowd affects the behaviour of an individual. Therefore this paper explores how monumental architecture can be used to influence how people behave in large groups. Hitler was a prime example of a powerful figure that attempted to use monumental architecture to influence a population. This paper will focus on one of Hitlers buildings, the Reich Chancellery, as an example of the architecture that Hitler created for this purpose.

K. Kris Hurst, Monumental Architecture, http://archaeology.about.com/cs/glossary/g/monumental.htm, accessed 2nd October 2010

The perception of space

Our perception is visceral. Reason plays a secondary role4

In 2004 Semir Zeki and Hideaki Kawabata conducted an experiment on 10 subjects. Each subject examined 300 paintings and, after classifying them as ugly, neutral, beautiful, they were shown the same images when inside an fMRI scanner. The results were both expected and surprising. The works judged beautiful, as expected, produced the highest activity in the orbitofrontal cortex, an area that is intimately linked with the emotional limbic centres of the brain and known to be associated with such emotional states as romantic love. The works judged ugly, quite unexpectedly, activated the motor cortex, as if the subjects wanted to take evasive action. The architectural translation is clear. Good buildings fill us emotionally with a sense of happiness and gratification, while bad buildings cause us to take flight []. 5 This test shows the very real reaction our primal instincts have to our environment. Humans have evolved to instantly analyse an environment, to know if it is safe, or dangerous and take the appropriate action. This is called the fight or flight instinct6 and scientists are beginning to understand that we respond to all encounters on a subconscious level prior to our conscious rationalisation. This means that our brain reacts to all new experiences in the same way, rapidly assessing the situation. It is our consciousness that later allows us to choose which action to take. Viewing a new building elicits the same autonomic response as every other new experience.

4 5

Harry Francis Mallgrave, Architects Brain: Neuroscience, Creativity and Architecture, p.189 Ibid, p.184 6 See Walter Bradford Cannon (1915). Bodily Changes in Pain, Hunger, Fear and Rage: An Account of Recent Researches into the Function of Emotional Excitement, for further reading on the fight or flight instinct

To understand how the brain perceives space one must understand that we approach every act of perception with a stored visual record of forms and colors, which we have acquired over the course of a lifetime. These patterns, as it were, interface with new perceptions and of course affect the way we view new images.7 If this is applied to Nazi architecture one can see the power that building in the neo-classical style has. Upon viewing one of Hitlers neo-classical buildings the brain will be filtering through past experiences of Roman architecture to classify this new experience, bringing with it thoughts of stability, power and time that are associated with Rome. The following is an example to explain more clearly the process, lets assume that you just returned from a trip to Greece where you visited the Parthenon in Athens.

Figure 18

7 8

Harry Francis Mallgrave, Architects Brain: Neuroscience, Creativity and Architecture, p.146 The Parthenon, Greece, approx. 438 B.C.E. http://employees.oneonta.edu/farberas/arth/arth200/politics/parthenon.html, accessed 12 December 2010

The perceptions that you would have formed of this experience are myriad.9 all of these stimuli [] would be processed in different areas of the brain: the Athenian heat in one area, the color of the marble in another, the brightness of the sunlight in still another, the forms of the columns and entablature in other areas.10

suppose that before you had viewed the Parthenon you had visited the classical Temple of Hephaestus adjacent to the old Athenian agora. Here you would have a similar perceptual event of a fifth-century Doric temple, and its memory would have brought something to the new experience. For instance, the smaller scale of the Hephaestus might have given you a better appreciation of the scale of the Parthenon, and the relatively intact condition of the Hephaestus might have allowed you better to imagine the former glory of the ParthenonHence your perception of the Parthenon would have been altered by this earlier experience.11

if you sit back in your living room a few months later and recall the image of the Parthenon, you pretty much activate the same neural circuitry that you excited when first viewing the monument. The neuroscientist Joaqun M. Fuster concludes from this discovery two important results with regard to memory: first, that all memory is in essence associative, or an act of classification.12 What this example highlights is that our brain, when confronted with new information, uses past experiences to classify it. Imagine how the brain begins to react if instead of viewing the Parthenon and
9

Harry Francis Mallgrave, Architects Brain: Neuroscience, Creativity and Architecture, p.161 Ibid, p.162 11 Ibid, p.163 12 Ibid, p.164
10

Hephaestus, the brain is processing the image of one of Hitlers buildings such as the Zeppelin fields or the Reich Chancellery. The neo-classical style triggers images and memories of the Parthenon and Rome to be used in its cerebral classification. Because neurons that fire together wire together13, with those neural messages of Rome come thoughts of power, empire, and agelessness. When it is taken into account that decisions made in the prefrontal and parietal cortices can take place up to 10 seconds before they enter our conscious awareness [] our judgments about buildings and other things may take place long before we stand back and ponder their higher meaning14 it is a powerful subliminal force. As Karl Marx noted, A commodity appears at first sight an extremely obvious, trivial thing. But its analysis brings out that it is a very strange thing, abounding in metaphysical subtleties and theological niceties.15 The buildings we inhabit are such commodities. It is only once we investigate them that we begin to consciously understand all the qualities that they hold and effect us with.

The psychological impact of buildings

Architects and the people who hold the power to build have often changed the environment we live in to affect the populations view of the person or people in power. This technique is mostly used though monumental architecture of which the Parthenon is an early example. It was a symbol of the power of Rome and emphasised Romes ability to create grand structures. The building itself speaks to the people of the manpower and finance needed to construct
13

See D.O. Hebb, The organization of behavior, for further reading on the Hebbian theory of how neurons may connect to become engrams 14 Harry Francis Mallgrave, Architects Brain: Neuroscience, Creativity and Architecture, p.184 15 Karl Marx, http://www.brainyquote.com/quotes/quotes/k/karlmarx157963.html, accessed 26th September 2010

it, but it also creates a space for huge crowds to assemble. The sheer size of the building would have inspired awe in people and for many the effect would be to make them feel insignificant. At a time when communication was extremely slow bringing so many people together in one place would be a rare event. The combination of the size of the building and the crowds would have had an impact on crowd behaviour and made them more easily influenced.

According to Carl Jung, we synchronize our emotions and thoughts when we come together in a group because we all share an identical "collective unconscious", a universal framework of archetypes and motifs. It's as if, when we get together, we all have the same subconscious script we're reading from, written by our collective culture.16 This makes sense when combined with the knowledge that our brain is constantly collecting experiences and using them to categorise and respond to new experiences. If you take a group of people from a geographical location the majority of them would have come into contact with similar culture, architecture and politics. Therefore their brain would be using similar archetypes to respond to new experiences.

The chameleon effect refers to nonconscious mimicry of the postures, mannerisms, facial expressions and other behaviors of ones interaction partners, such that ones behavior passively and unintentionally changes to match that of others in ones current social environment. The authors suggest that the [] mere perception of anothers behavior automatically increases the likelihood of engaging in that behavior oneself. 17 If you combine these two

16

Gord, The Psychology of Entertainment Why We Love Watching in Crowds, http://www.outofmygord.com/archive/2010/02/20/The-Psychology-of-Entertainment-Why-WeLove-Watching-in-Crowds.aspx, accessed 6th November 2010. 17 John A. Bargh and Tanya L. Chartrand, The Chameleon Effect: The Perception-Behavior Link and Social Interaction, http://www.yale.edu/acmelab/articles/chartrand_bargh_1999.pdf, p. 893, accessed 7th November 2010.

pieces of information about how the brain works one can begin to understand how the behaviour of a crowd of people can be very different from the behaviour of one of the individuals who make up the crowd. By creating places that people could congregate in large numbers (Zeppelin Fields) Hitler was using these innate neurological responses. Hitler built architecture where people could gather which allowed him to create an environment where people would feed off of each others responses. In this way he could affect a greater number of people as the emotion spread and was magnified throughout the crowd. An additional effect is that any dissenters would be intimidated by the crowds response, most would find it difficult to express opposition when faced with the overwhelming unity of the crowd.

Monumental buildings also have a passive effect when not in use that advertises their potential to be filled with people all with the same mindset. This sends a signal to everyone of the latent power of the regime that built it. The structure is broadcasting that it will be filled with thousands of people all part of the power that commissioned it.

If architecture depicts the nature of reality, then new ideas about reality can be demonstrated through manipulation of architectural symbolism.18 A person or institution can influence how the population views them by what they build. They can also use building to communicate their views, for example Labour governments have traditionally built housing for the workforce as a way of demonstrating that they care for the working population. Leaders manipulate the architectural vocabulary of a specific culture to make the people think [] whatever [] it is that they are attempting to convey. Though they do not
18

Molly Glenn, Architecture Demonstrates Power http://thesis.haverford.edu/dspace/bitstream/10066/714/7/2003GlennM(Abridged).pdf, p.12, accessed 28th September 2010.

manipulate the actual cosmos, they manipulate the peoples understanding of that cosmos, the peoples cosmology, to make the people think that what they state architecturally is real.19 This shows how architecture can affect us at the subconscious, pre-rational level. Our brains interpret our environment before our consciousness registers what it has seen. Our brains are designed to see our environment as lines, colour and as associations with previous memories. After our initial unconscious responses we tap into our instinct to rationalise and our consciousness adds to our initial reaction with an assessment of the value of the building. This assessment could include the cultural, political and economic forces involved.

It is architecture that allows a structured view of society to form. Architecture is a physical manifestation of structure since it must itself stand.20 To create a building one must comprehend what is required for it to stand. From this understanding Architecture allows structured thinking about reality in general, leading society to create a structured cosmology [] a societys cosmology is intricately linked to its architecture since its architecture provides the model for thinking about it.21

Monumental architecture embodies the leaders ability to control and affect his followers. It both shows the group his actual power and demonstrates his worthiness and capacity to possess that power. Architecture is a sign pointing to a leaders power.22 Upon viewing a piece of monumental architecture the viewer is able to recognise the power of the person who commissioned the
19

Molly Glenn, Architecture Demonstrates Power http://thesis.haverford.edu/dspace/bitstream/10066/714/7/2003GlennM(Abridged).pdf, p.13, accessed 28th September 2010. 20 Ibid, p.9 21 Ibid, p.10 22 Ibid, p.18

10

building in the building itself. It is clear by the scale alone that the person who commissioned the building has significant wealth or resources in order to do so. The thought occurs to the viewer that only someone who wields power and deserves it could muster the resources needed to build on that scale. The pharaohs of ancient Egypt were masters of this concept. They ordered the population to create mountains of stone (pyramids Fig. 2) in honour of their status as gods. Not only were they creating architecture that enhanced their status among the people, but also the act of building their monuments reinforced in the work force the sense of their worthiness to rule. It is selfsupporting; I build because I am powerful, only the powerful could build what I have built.

Figure 223

23

The Pyramids, Giza, approx 2700-2500 B.C. http://www.travlang.com/blog/pyramids-of-gizaa-landmark-in-the-history-of-architecture/, accessed on 28th November 2010.

11

The psychological impact of cities

A societys organisation can also be read through its architecture, whether it is democratic or totalitarian. A pattern exists wherein axial buildings and cities are created by authoritarian powers concentrated in a single ruling figure [] furthermore, this correspondence between building orientation and power scheme results directly from differing ideals about the nature of the world and power.24 Different cities demonstrate this phenomenon. For example London being based in a culture that is democratic has resulted in a city that has been allowed to grow organically (Fig. 3). This has created a network of intertwining streets that are mazelike. The range of architectural styles reflects the organic growth of the city.

Figure 325

24

Molly Glenn, Architecture Demonstrates Power http://thesis.haverford.edu/dspace/bitstream/10066/714/7/2003GlennM(Abridged).pdf, p.24, accessed 28th September 2010. 25 Aerial view of London, 1851, http://www.dukemagazine.duke.edu/issues/091007/flow3.html, accessed 28th September 2010.

12

In France the oppressive nature of the government created revolution. These were particularly prevalent in Paris. On being elected president of the Republic of France in 1848 Napoleon III decided to modernize Paris. In response to the street revolutions he changed the architecture to reduce the ability for revolutionists to hide on the narrow streets. Under the instruction of Georges Eugne Haussmann they tore down the old Paris that had grown organically like London and rebuilt it with straight roads that could be policed more easily (Fig. 4). Streets were wide enough for mounted police and the lack of nooks and crannies meant less places for people to hide.

Figure 426

26

Paris and the Arc de Triomphe, 1852, https://marinacarlson.wordpress.com/category/dorkythings-that-make-me-happy/, accessed 13th December 2010.

13

Interestingly New York (Fig. 5) has a similar grid pattern to Paris but for completely different reasons. The ideology of the grid in New York was to ensure that every building was perceived as equal. Each building is on route to something else as apposed to a focal point. This feeds into and supports the American belief that everyone is born equal.

Figure 527

27

Aerial view of New York City, approx. present day, http://www.ektopia.co.uk/ektopia/2009/10/29/karen-o%E2%80%99leary%E2%80%99s-newyork-city-and-paris-map-cut-outs/, accessed 2nd December 2010

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Hitlers use of monumental architecture

Nazism was a totalitarian regime and as discussed leaders of these regimes tend to build axial buildings and cities. Hitlers ideology was clearly visible in his plans for Berlin, which was a blueprint for a totalitarian city (Fig. 6).

Figure 628

Nazi supporters thought that the circular plan [] was (un-Aryan) and belonged to the matriarchal society of the Etruscans29, [] this reappeared later in the central (or circular) type of church plan (versus the basilica, or rectilinear plan). These architectural forms, the circular plan and the round arch, had always been foreign to the Germans, said Rosenberg. The circular form limits the view on all sides. It is directionless; it is, in plan, at the same time free on all sides; in the deepest sense of the three-dimensional, a round building cannot communicate a real sense of space, no matter how strong the
28

Proposed model of Germania, http://www.holocaustresearchproject.org/holoprelude/speer.html, accessed 2nd December 2010

29

See Sybille Haynes, Etruscan Civilization: A Cultural History, for further reading on the Etruscans.

15

artists hand that formed it.30 In contrast to this was the German appreciation of the axial design of Catholic Churches. Hitler admired the organisation of the Catholic Church and recognised the influence that its architecture has.

The Catholic Church is an example of a hierarchal body that employs architecture to great affect to warp the perception of reality. The places of worship constructed by their followers use material and scale to propagate the leaders view of the world, the doctrine employed by its priests and the standing of the pope. Hitler wanted to mimic the power that the Church is able to convey through its architecture. Hitlers model [] was the Roman Catholic Church. The mysticism of Christianity, he said, created buildings with a mysterious gloom which made men more ready to submit to the renunciation of self. Hitler was deeply impressed by the organisation, ritual, and architecture of the church. In writing of the spell which an orator can weave over an audience, he said, The same purpose is served by the artificial and yet mysterious twilight in Catholic churches.31 Architecture was one of Hitlers weapons in Germanys political battles.32

Hitlers love of architecture [] was intense.33 He thought of architecture as an art, and although he worked closely with the architects to whom he gave commissions, he allowed the chosen few a remarkable freedom [] not only did Hitler rarely intervene in the plans of his leading architect (Albert Speer 1905-1981), but he treated him with unusual respect, refused to allow him to enlist, and concerned himself with the wellbeing of Speers family. When Speer [] contravened Hitlers scorched earth orders in 1945 [] Speer
30

Robert R. Taylor, The Word in Stone: The Role of Architecture in the National Socialist Ideology, p.57/58 31 Ibid, p.33 32 Ibid, p.33 33 Ibid, p 29

16

quotes him as saying, if you were not my architect I would have to take the steps necessary in these cases.34 Hitler had an innate understanding of the power of architecture that he enhanced through years of reading on the subject. He demonstrated an understanding of the impact that architecture has on people through the buildings he commissioned while in power. Hitler wanted his buildings to inspire the German people and he understood what properties a building needed to have this effect. Much of what he was attempting to do through architecture is now being described by research into the neuroscience of how we perceive space. Hitler said that, [] good (German) architecture would have both a therapeutic and propaganda function. I am convinced, said Hitler, that art, since it forms the most uncorrupted, the most immediate reflection of the peoples soul, exercises unconsciously by far the greatest direct influence upon the masses of the people. Of the power of building, Hitler declared that everyone was influenced by the buildings in which work and recreation took place. Architecture, then, could be used to improve the spiritual and psychological condition of the German people. Appropriately designed buildings would help the German community to rid itself of its inferiority complex, and would inspire patriotism the architecture of the Third Reich would give people a strong sense of unity and a limitless self-confidence.35 Through constant interaction with architects and architectural theory Hitlers secretary reports that he could discourse on a staggering number of details in the building style of churches, abbeys, and castles.36 What is interesting is that all these types of structure are built to represent power. He is focusing in on the architecture he could use to serve the purpose he intended it for. Hitlers eclectic reading could have included
34

Robert R. Taylor, The Word in Stone: The Role of Architecture in the National Socialist Ideology, p.29/p.30 35 Ibid, p.31/32 36 Ibid, p.21/22

17

Gottfried von Sempers Uber Baustyle (1869), in which the Viennese architect maintained that monumental architecture served those in power, and helped to direct and control the apathetic, restless masses. If he did read von Semper, it is possible that he remembered this advice later when he inaugurated the Third Reichs monumental building program.37

Hitler wanted his monumental buildings to be in a certain style, interested in simple horizontal and vertical lines, his favourite styles were the neo-classical. This didactic architecture, then, had an important role to play in proclaiming the National Socialist ideology.

There are recurrent motifs which, in large representative structures, characterise the architecture of the Third Reich. These buildings have neoclassical colonnades (of columns or, more often, pillars), severe porticos, horizontal lines and a rectilinear appearance emphasised by heavy cornices and rows of thickly framed windows. The traditional elaboration of columns with bases or capitols was simplified and the quality of the stone itself was stressed. Both these trends suggest that the Nazi architects were aware of the avant-garde drive for simplicity and for stress on the texture of building materials.

In general, a heavy neo-classicism was the most obvious characteristic of the monumental style of the Third Reich.38 It is important to note here how the brain perceives space and form. Each part of our environment is broken down and processed in different parts of the brain. Single cells or columns of cells in the visual cortex, as we noted, might respond only to lines, but some even
37

Robert R. Taylor, The Word in Stone: The Role of Architecture in the National Socialist Ideology, p20/21 38 Ibid, p.12/13

18

more selectively to just horizontal lines, others to vertical or diagonal lines. Similarly, some respond only to one color or to one color placed against a specific background. If we extend this principle to the realm of art, we begin to see visual perception from a different perspective. The horizontal line of a gable on a Greek temple, for example, might be processed in one part of the visual cortex, while the diagonal sides of the gable are read in a another part, the vertical columns in a third part. In no one part of the brain are the results of these different processing stations joined again.39 This is a technique used by the brain so that if there is wear and tear over time, or damage due to trauma then we can still recall old memories so they can be used for further categorisation. Our perceptions are deeply ingrained into our memories; this is in part why architecture can have such an effect.

By building in a style that maximised the horizontal and vertical and stressed the materials used Hitler was imprinting the form of his buildings into the most basic parts of the brain. The effect of using a simple form was that when viewed for the first time the classifications that the brain used to recognise this form would be far broader. Making the task of associative recognition quicker. This means that the image would spark more memories and create a visceral reaction. By using a style that maximizes on the horizontal and vertical Hitler had inadvertently tapped into the process described above that the brain uses to safeguard against the loss of memory. So Hitlers buildings had a significant and prolonged impact on those who saw them.

Reich Chancellery
39

Harry Francis Mallgrave, Architects Brain: Neuroscience, Creativity and Architecture, p.145

19

Figure 740

The Reich chancellery was the nerve centre of the Nazi party. Hitler wanted it to be a representation and symbol of the Nazi ideals. It was to be impressive and intimidating to visiting officials so that it proclaimed the strength of the new Germany. An example shown below is the Voss-Strasse entrance. The scale of the design is vast compared to a person. One would pass between tall pillars before entering through two massive doors. It literally dwarfs any visitor making them feel insignificant in the presence of such power. The windows are placed at such a height that people in the street could not see into the building but those inside could see out onto the street. A passer by would never know if they are being watched. The windows also add to the symmetry of the exterior. They are positioned in evenly aligned rows with small stone ridges running along them. Except for an eagle above the door this was the
40

Hitler stands over a proposed model with Albert Speer and other Nazi officials, no date, http://www.holocaustresearchproject.org/holoprelude/speer.html, accessed 2nd December 2010

20

only decoration. The faade is a homage to order, no decoration interrupts the lines of the pillars and windows. This is an echo of how Hitler wished the Nazi ideals to be perceived, nothing would disrupt the order of the Nazi way.

Figure 8 shows the Voss-Strasse entrance of the Reich Chancellery designed by Albert Speer. The high columns and massive doors were used to create an intimidating entrance to the centre of Nazi power.

Figure 841

Through the entrance is the Ehrenplatz (Fig. 9), or court of honor. Here there
41

Voss-Strasse entrance to the Reich Chancellery, Germany, 1939, http://www.rjkoehler.com/travelog/2010/10/into-the-past-old-keijo-imperial-university/, accessed 2nd December 2010

21

is a continuation of an aesthetic of order. The courtyard is symmetrical, again with very little decoration. This space had no other function but to intimidate.

Figure 942

It was a transitional area that was both inside and outside, preparing the visitor to enter deeper into the heart of the Nazi court.

Once past the Ehrenplatz a visitor would be confronted with the mosaic hall
42

The Ehrenplatz, Germany, 1939, http://sitemaker.umich.edu/artunderfascism/architecture, accessed 2nd December 2010

22

(Fig. 10).

Figure 1043

This was a room created almost entirely from red granite. On viewing, the brain is being confronted with a bold environment.

The viewer is first impressed by the overpowering nature of the exterior then moves into a stark courtyard, which then leads into a room full of red granite. In turn this then leads into the rotunda, a circular room that allows for the odd twist of the original plan. Up until this point the visitor would have seen only squares, rectangles and straight lines and the brain would have been anticipating this pattern to continue. Just as the visitor would be getting used to the addition of red marble they enter a round room. The rotunda is markedly
43

The Mosaic Hall, Germany, 1939, http://sitemaker.umich.edu/artunderfascism/architecture, accessed 2nd December 2010

23

smaller than the previous spaces but again the visitor would only have a brief moment to adjust to this before they are confronted by the marble gallery (Fig. 11), which was a vast space that stretched off into the distance.

Figure 1144

The movement through these spaces would not allow the visitor to anticipate what is coming next and this would have thrown people off balance and left them disorientated by the time they arrived at Hitlers office (Fig. 12).

44

The Marble Gallery, Germany, 1939, http://www.ww2aircraft.net/forum/album/general/p12963-the-reich-chancellerythe-marblehall.html, accessed 2nd December 2010

24

Figure 1245

It is a procession that assaults the minds ability to react to the environment. In the middle of the marble gallery is the entrance to Hitlers study, which is itself large in scale. Hitler said of this procession "The diplomats sitting in front of me . . . [will] learn to shiver and shake,"46 In reality it did more than to cause diplomats to merely shiver and shake. The political leader of Czechoslovakia at the time was Dr. Emil Hcha. He experienced first hand the procession through the Reich Chancellery on Tuesday March 14th 1939. During the meeting with Hitler, which took place in his office, Hcha collapsed, unconscious on the floor. It was only until after being seen by a physician that he awoke. On Wednesday, March 15th, 1939 at 3.55am Hcha, the Czech President, signed the document stating he had "confidently placed the fate of the Czech people and country in the hands of the Fhrer of the German
45

Hitlers Office, Germany, 1939, http://www.ww2aircraft.net/forum/album/general/p12961hitlers-office-in-the-reich-chancellery.html, accessed 2nd December 2010 46 Steven Lehrer, The Reich Chancellery and Fhrerbunker Complex: An Illustrated History of the Seat of the Nazi Regime. Quote taken from http://sitemaker.umich.edu/artunderfascism/architecture, accessed 3rd November 2010

25

Reich." This is an incredible account of the power of an environment to have an effect on an individual. One could argue that the highly stressful point in history influenced Hcha. Or perhaps the age or personality of Hcha played a part. However, it seems highly likely that the physical environment that Hcha found himself in was a significant contributory factor. This argument is

supported by the theories discussed in this paper which points to information that suggests the environment influenced Hchas response.

Conclusion

comforting or disturbing, the fact is we are basically dreaming machines that construct virtual models of the real world47

Western society continues to rely on architecture as a symbol of power. This is demonstrated by the continued use of monumental architecture. For example the media televises views of Westminster during times of crisis or significant events. This is because it represents the power of Great Britain as a whole and can be used to reassure the public. The public recognise that the building holds the people in power. Whether the leaders change over time does not matter it is the building that represents or symbolises the power.

This dissertation has looked at the information behind the theory of how all architecture can affect the mind. The paper explored how the brain processes memory through classification and how this can be manipulated through architecture. The way we perceive reality is influenced by our environment and therefore the architecture we are surrounded by will determine how we view
47

Rodolfo R. Llins, I of the vortex: From Neurons to Self, p.168

26

the world.

In considering these theories the paper explored the impact that they can have on individuals and groups of people when they become crowds in public places. Humans are ingrained with the protective instinct to mimic which results in the phenomenon of the crowd mentality. Crowd mentality is a

symptom of the contagiousness of one persons emotions. This can and has been used to great effect through the ages by the building of monumental architecture such as the Parthenon and the pyramids.

In particular this paper has considered the impact that Hitlers monumental architecture had on people. The paper took Hitler and the Nazi regime and discussed how he was able to use this type of design to influence people. The decision was made to focus on the Reich Chancellery because Hitler had wanted the building to be the focal point of his regime and so he used all of the techniques of monumental building to maximum effect.

The same techniques can be, and still are, replicated in modern architecture. The findings of partnered research by experts in the field of psychology, neuroscience and architecture are revealing how the environment causes changes in the way we live. Hitlers use of monumental building is one way that these aspects of architecture were used to subjugate and influence a nation to genocide and war.

Without the necessary research we do not truly understand the effect that all architecture has on the way we live our lives. Better understanding of these concepts could lead architects to design environments that are beneficial to 27

education, healthcare, and rehabilitation. The combination of fields could not only lead to better community structures, but also to the houses we spend our lives in.

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