by Unknown
116 Carl Nordenfalk, as summarized by Cornell, in “The Sky as a Vault,” in Caldenby and Hultin 1985, p. 29.
117 Cornell in Caldenby and Hultin 1985, p. 29. Cornell stresses that making “a room of infinite sentiment,” to quote Lars Wahlman, was of interest to Asplund, Lewerentz, and their contemporaries in Finland (p. 24).
118 In his postwar memoirs, Speer entitled the chapter on the Nuremberg buildings “Gebaute Megalomanie,” rendered as “Architectural Megalomania” in the translated edition of Erinnerungen (Berlin 1969, Chapter 5; Inside the Third Reich, trans. Richard and Clara Winston, New York 1970). On the evolution of the Grosse Halle project, see Frederic Spotts, Hitler and the Power of Aesthetics, New York 2004, pp. 357–361.
119 Spotts 2004, p. 66.
120 Boullée 1968, p. 82 (fol. 89v).
121 Speer trans. 1970, pp. 74 and 153.
122 This had been a common criticism in the eighteenth century. See Michael Petzet, Soufflots Sainte-Geneviève und der französische Kirchenbau des 18. Jahrhunderts, Berlin 1961, pp. 111–112, and Richard A. Etlin, “St. Peter’s in the Modern Era: The Paradoxical Colossus,” in William Tronzo, ed., St. Peter’s in the Vatican, New York 2005, pp. 270–304; pp. 280–283.
123 Speer, Erinnerungen, p. 169 (my translation).
124 August Schmarsow, “The Essence of Architectural Creation,” in Harry Francis Mallgrave and Eleftherios Ikonomou, eds., Empathy, Form, and Space: Problems in German Aesthetics, 1873–1893, Santa Monica 1994, pp. 281–297; pp. 288–289.
125 Louis Kahn, Lecture at Princeton University, ca. 1970–1971. Unfortunately, this lecture, attended by the author, is not included in the anthology of Kahn’s writings edited by Alessandra Latour. Yet in Kahn’s “American Institute of Architects Gold Medal Award Address” of 1971, the architect observed about the Pantheon: “The entrance door is its only impurity” (Latour 1991, p. 264).
126 Boullée 1968, p. 139 (fol. 127v).
127 Schmarsow in Mallgrave and Ikonomou 1994, pp. 286–287.
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