Krössinsee (zachodniopomorski Złocieniec-Budowo) i inne narodowosocjalistyczne „zamki zakonne”. Budowa – funkcja – kostium stylowy

Abstract

In 1934, construction began on training centers for the upper echelons of future NS leadership: the Vogelsang in the Eifel, Krössinsee (Polish Złocieniec-Budowo) in western Pomerania, and Sonthofen in Allgäu. Through the enormous efforts of the German Labor Front (DAF) the training centres, called Ordensburgen (literally: ‘castles of the orders’), were completed in 1936. In the meantime, much literature has been published on all of the NS Ordenburgen, yet an investigation of the genesis and analysis of their form is still lacking, which this essay partially attempts to address. The intention was undoubtedly to build Ordensburgen on the southern, western and eastern fringes of the Reich distanced less than 60 kilometres from the border. Rosenberg, who had made a statement to this effect in a speech in 1934, coined the name ‘Ordensburg’ in connection with the Teutonic Order – the proud champion of ‘Germanness’. The name evoked other echoes from history: young men who were trained for warfare and administration and who lived a life closed of from outside influences. The name also recalled the medieval orders of knights who exercised their power as a military authority along the frontiers of Christianity from Spain to Palestine. If we go beyond a formal interpretation of the Ordensburgen, what can be seen in all the three structures is the important symbolic function of towers (two rectangular brick towers were erected in Kroessinsee in 1939). In all of them so-called Tingplätze were built, a kind of open-air theatre for political rallies. Moreover, the architect Clemens Klotz embraced the modern age. In adhering to contemporary thought, he blended the cosiness of the Heimatstil with the monumentality and pathos of Neoclassicism. Other forms are also found, such as oval risalites derived from ‘Neues Bauen’ or the protruding window reveal, or the use of unworked stone blocks, something that was particularly characteristic of NS architecture. Yet despite the name ’Ordensburg’, formal references to medieval architecture are sparse. The most apparent examples are seen in the Sonthofen architecture of Herman Giesler in the proportions of the main tower or the vaulted ceilings of the tavern (the so-called Fuchsbau). After 1945, the Ordensburgen became the military barracks of the victors: Vogelsang was British until 1950, then Belgian; Sonthofen was American until 1956 and then turned over to the German Bundeswehr; Krössinsee was used by the Soviet army from 1947 or 1948, and afterward became the Polish Budowo. Vogelsang was opened to the public in 2006. Today, we face ongoing questions about the preservation and new uses of the Ordensburg structures and facilities. The designation of the former NS training centres as memorial sites, in which the juncture between Ordensburgen and the NS crimes finds physical expression, will presumably be the sole way to ensure their continued existence. Between 1939 and 1940, approximately 260 Ordensjunkers (the name derived from ‘Junker’: a nobleman from the landed class) were sent from Krössinsee on military assignment to the area of Poznań (‘Warthegau’), from where up to a half a million Poles and Jews were expelled to the Government General. Further documentation shows the involvement of the Ordensjunkers in the Holocaust during 1941 in the occupied Soviet territories. In making the buildings of the Ordensburgen accessible to the public, while at the same time laying bare the reality behind the mystique, it seems necessary to proceed on a different path than that which has been taken up to now. ‘Domesticating’ the testimonies of a terror regime has been expressed in ways such as the oversized colourful pillows for visitor seating at the Wewelsburg Castle or the garish plastic forms in Vogelsang. Tus, in addition to taking stock of the buildings and making a case for their preservation, the serious question that must be asked is how to deal with this kind of legacy. (translated by Sharon Nemeth)