Fahrerbunker

Fahrerbunker Entrance

The Fahrerbunker (driver’s bunker) was very close to the Fiihrerbunker and served as accommodation and bedroom for Hitler’s SS escort (Leibstandarte) command at the end of the war.
Also stored here were various stocks of ammunition. Connected to this bunker was also the “underground car park”, which housed Hitler’s transport fleet.

The bunker had been built in 1941 for the drivers and other members of Hitler’s Leibstandarte. It was rediscovered only in the ammunition search before a big concert for the Pink Floyd album “The Wall” at the Berlin Wall. What was revealed during subsequent excavations reveals what must have happened in the last days of the Third Reich.

In addition to weapons, cutlery and uniform were found along with empty bottles of alcohol and wine. The most striking feature of this bunker was the Nazi paintings on the walls (Wandmalerein). Dog tags, cartridges and beds were also discovered in the bunker.
The Fahrerbunker consists of eight rooms used to house members of the elite Leibstandarte.

Archaeologist Karin Wagner wanted to have the Fahrebunker situated on the corner of on the Ebertstraße and Voßstraße protected as a historical monument.
The 10 x 30-meter bunker which extends to a depth of eight meters has now become part of the foundation of a federal state-building in Berlin.

Doorway inside the Fahrerbunker

The bunker’s walls consist of 1.80 meter thick concrete slabs with a height of 1.5 meters.

The bunker was finally investigated in 1992 and 1996 by the Archaeological State Office under the direction of Alfred Kernd’ls together with members of the Association Berliner Unterwelten e.V., they measured and salvaged items found inside the bunker. The results of the survey, as well as a description and analysis of the murals, were published in 1997 by Alfred Kernd’l.

Since its rediscovery, the bunker has sparked controversy over the issue of whether it should be preserved and made accessible to the public or forgotten and buried. After the inspections, the bunker was closed and the entrance was filled up.

According to the association Berliner Unterwelten e.V., the driver’s bunker has been recognised as a ground monument since 2006; i.e. it should not be destroyed or used. The Fahrerbunker remains inaccessible to the general public.


 

Wall Murals (Wandmalerein)

The wall murals in the Fahrerbunker, which are all situated in the central office room of the bunker. Probably created in 1941, the author of the paintings is unknown. However, it is believed that he himself belonged to the SS. The depictions show different idealised scenes with corresponding symbolism from different spheres of life of the SS and glorify them as protectors of the people.
It is amazing how all these wall mural paintings have survived after all these decades.

Remains in the Fahrerbunker. This room was the actual “office”. All the paintings were in this room. Elsewhere in the bunker, there were no paintings, just the usual inscriptions of a technical nature.
The rural population under the protection of the LAH-SS soldiers. The boy on the right in the picture wears an HJ uniform (Hitler Youth).

 

 

 

 

 

 

 

 

 

 

 

 

This could represent soldiers in military training. In the background a kind of temple with the German eagle and the swastika in its claws. To the right of it two young blond women. In the background is one of the towers of the Nuremberg Nazi Party Rally Grounds.

 

 

 

 

 

 

 

 

 

 

 

 

 

That’s the LAH 1940 in France. In a castle monastery. The nuns watch timidly behind the tree. (You can easily identify the Castle Monastery through the history of the regiment.) These are all “anecdotes” to their war diary.

 

 

 

 

 

 

 

 

 

 

 

 

 

Portrait of SS Colonel Group Leader (SS-Oberstgruppenführer) and SS Colonel General (SS-Generaloberst) Sepp Dietrich.

 

 

 

 

 

 

 

 

 

 

 

 

German SS soldier with lance, swastika decorated shield and pistol on the left waist. With outstretched shield protecting the lying mother with her child.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The ideal image of the Nazis: the proud German mother and her children.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A soldier is cheering with a civilian. Traditional beer cellar scene.

 

 

 

 

 

 

 

 

 

 

 

 

 

Close up of the above mural.

 

 

 

 

 

 

 

 

 

 

 

 

The rural population under the almighty protection of the SS soldiers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This is an allegory about LAH in Greece. Exceeding the “Khyber Pass”. Do not forget that this room was painted in 1941 before the war against the USSR, after returning from Greece. “In (almost) peace” .. The painter has therefore presented the relatively few “highlights” of the campaign for the LAH. The LAH had attracted attention in Greece … because Sepp Dietrich accepted an important capitulation. Above is the “Olympus” to see the numerous gods of antiquity. Below, the still fairly new Panzerkampfwagen IV is moving forward. Greeks surrender with raised hands.

 

 

 

 

 

 

 

 

 

 

 

 

 

A leftover picture from the children’s book “Sinbad, the sailor”.
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