For older generations in Nuremberg, the inner courtyard of the Congress Hall is remembered primarily as a fenced and guarded impound lot. Few recall those years with fondness; for decades, cars towed from across the city were brought here, and owners could only retrieve them after paying a hefty fine.
At the time, few questioned the peculiarity of using such a site for car storage. In fact, this was precisely the city authorities’ unspoken intent. For decades, the prevailing rule in the Franconian metropolis was that no one should settle or feel at home in the Congress Hall. The structure remains the largest surviving architectural relic of Nazi rule in Germany. Although left unfinished, the building—designed to mimic the Roman Colosseum—is an imposing testament to Hitler’s obsession with grandeur, posing a continuous challenge for Nuremberg’s urban planners.
Potential Uses for the Site
Standing 39 meters high (with a planned height of 68.5 meters) and covering a base area of 275 by 265 meters, the interior could easily accommodate a football stadium. Indeed, the idea of a home arena for FC Nürnberg was just one of many proposals debated over the decades. Other suggestions since 1945 have ranged from the practical to the bizarre, including a shopping mall and even a wellness oasis. None, however, came to fruition.
There was a significant reason for this stagnation: the looming question of what kind of use is ethically permissible at such a site. Until an answer was found, authorities settled on a “fragmented use” concept. One of the two end buildings housed the Nuremberg Symphony Orchestra; parts of the premises were leased to the company Quelle, while other areas were used by the municipality for storage. Briefly put, pragmatism ruled: the goal was to avoid any permanent commitment, leaving all options open for future generations.
The strategy shifted only a quarter-century ago. With significant financial support from publisher Bruno Schnell, the Documentation Center was established to educate the public about the Nazi Party rallies once staged here as propaganda tools. Architect Günther Domenig proposed a bold technical solution: a glass corridor that literally “pierces” the Nazi shell, opening one of the end buildings to hundreds of thousands of visitors. The center’s success far exceeded projections; originally planned for 100,000 visitors annually, it saw over 300,000 in 2019. Consequently, a renovated and expanded Documentation Center is set to open this autumn, with Federal President Frank-Walter Steinmeier expected to attend.
Forming a New Cultural Hub
However, those visiting the new exhibition will inevitably notice another construction site. The inner courtyard, used for decades as a parking lot, is being transformed into a home for the Nuremberg State Theatre. A new building (initially intended as a temporary structure) is being erected to house the opera and ballet starting in the 2028/29 season.
The city’s historic opera house, opened in 1905, is in desperate need of renovation. Concerns regarding fire safety, stage technology, and general structural integrity have reached a critical point; the theater currently operates only via periodically extended special permits. Since there are no firm projections for a brand-new opera house (with costs already estimated at one billion euros), the structure in the Congress Hall courtyard will likely host the State Theatre for the foreseeable future. The annex is officially designed for a 25-year lifespan.
Nuremberg is gaining a new cultural center, well-connected by existing tram lines. Beyond the creative troupes, a third of the Congress Hall shell will eventually house the State Theatre’s administration and its 650 employees.
Debates Over Architectural Heritage
Before the project was approved, public opinion was split. On one side were preservationists who argued against any structural changes to the protected monument, questioning the appropriateness of musical entertainment at a site of such dark historical weight. On the other side were those who saw the State Theatre’s presence as an opportunity for urban development. The latter group, led largely by Culture Mayor Julia Lehner, ultimately prevailed.
Lehner’s decisive argument was the creation of “spaces of opportunity”—areas within the building dedicated to Nuremberg’s independent cultural scene. This co-existence of the State Theatre and independent artists helped secure the necessary political approval. The plan includes everything from rehearsal rooms for local bands to diverse exhibition spaces.
This ambitious project has placed Nuremberg in the federal spotlight. Exhibitions are already drawing crowds to the Congress Hall, and the municipality expects the city to gain significant international attention. Media and cultural figures across Europe are showing growing interest in this site—a territory that, not long ago, served as little more than a parking lot for towed cars.
Source: Abendzeitung München
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