He was obsessed with adding an expensive new wing to the Reich chancellery, part of his grandiose architectural ambitions for the nation’s capital.

He wanted it big. He wanted lots of gold, lots of marble. He wanted visitors awestruck by his architectural expansion of the country’s symbolic seat of power. “They should sense the strength and grandeur of the German Reich as they walk from the entrance to the reception hall,” Adolf Hitler told his chief architect, Albert Speer, outlining his plans for an extension to the old Reich chancellery, at Wilhelmstrasse 77 in Berlin.

The new annex, connected to the chancellery by a marble corridor hung with crystal chandeliers, was part of Hitler’s ambitious plans to align the Berlin cityscape with his vision for the future of the country. Hitler wanted a Triumphbogen, a triumphal arch, twice the size of the Arc de Triomphe in Paris. He wanted an “Avenue of Splendor” for military parades. “The Champs-Élysées is a hundred meters wide,” Hitler told Speer. “We will make our avenue twenty meters wider.” A planned Volkshalle was to accommodate 180,000. The Eiffel Tower could fit beneath its cupola. This “Hall of the People” was to be topped by the largest swastika on Earth. Berlin itself was to be rechristened as Weltstadt Germania, “Capital of the World.”

Speer embellished these extravagantly outsized “Hitler branded designs”—Entwürfe Hitlerscher Prägung—with fascistic flourishes: bundled reeds, or fasces; spread-winged eagles; and enormous twisted crosses. In 1938, when André François Poncet, the French ambassador to Berlin, visited Hitler at the Berghof, the Nazi leader’s Alpine retreat outside Berchtesgaden, he was led through a “gallery of Roman pillars” to an “immense glassed-in rotunda” with a dramatic view that gave one the impression of being suspended in the air. “Was this edifice the work of a normal mind,” François-Poncet wondered in his memoirs, “or of one tormented by megalomania and haunted by visions of domination?”