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Winged Victory detail

Key Information

Victory Column in its original size and location, on the Königsplatz across from the Reichstag, in 1900
Polish flag raised on the top of Berlin Victory Column on May 2, 1945
French tricolor raised atop the Victory Column statue during the 1945 Allied Victory Parade
View from the platform of the Victory Column towards the Brandenburg Gate

The Victory Column (German: Siegessäule pronounced [ˈziːɡəsˌzɔɪ̯lə] ⓘ, from Sieg 'victory' + Säule 'column') is a monument in Berlin, Germany. Designed by Heinrich Strack after 1864 to commemorate the Prussian victory over Denmark in the Second Schleswig War, by the time it was inaugurated on 2 September 1873, Prussia had also defeated Austria and its German allies in the Austro-Prussian War (1866) and France in the Franco-Prussian War (1870–71), giving the statue a new purpose. Different from the original plans, these later victories in the unification wars inspired the addition of the bronze sculpture of Victoria, the Roman goddess of victory, 8.3 metres (27 ft) high, designed by Friedrich Drake, giving the victory column its current height of 67m.[1][2]

Berliners have given the statue the nickname Goldelse, meaning something like "Golden Lizzy", named after an 1866 novel by E. Marlitt and its heroine.[3] The Victory Column is a major tourist attraction in the city of Berlin. Its viewing platform, for which a ticket is required, offers a view over Berlin.

History, design, and influences

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Design

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The base consists of polished red Swedish granite, measuring 18.8 meters square and 7.2 meters high. The base contains four bronze reliefs depicting scenes from the three victories. Measuring 12 meters wide and 2 meters high, they were designed by Moritz Schulz, Karl Keil, Alexander Calandrelli, and Albert Wolff. Upon the base is a round hall with 16 granite columns measuring 4.7 meters high. Along the hall's circumference is a glass mosaic designed by Anton von Werner. Four sandstone columns rise above this hall, the first three containing 20 gilded gun barrels each, 12 pounders from the Danish victory, 8 pounders from the Austrian victory, and 4 pounders from the French victory. On top of the fourth sandstone column resides the 8.52-meter-tall (28.0 ft) gilded bronze victory.[1]

The relief decoration was removed in 1945. It was restored for the 750th anniversary of Berlin in 1987 by the French president at that time, François Mitterrand.[1]: 114–115 

Locations

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The Victory Column originally stood in Königsplatz (now Platz der Republik). In 1938/1939, as part of the preparation of the monumental plans to redesign Berlin into Welthauptstadt Germania, the Nazis relocated the column to its present site at the Großer Stern (Great Star). At the same time, the column was augmented by another 6.5 metres, giving it its present height of 66.89 metres. The monument survived World War II without much damage. Surrounded by a street circle, the column is also accessible to pedestrians through four tunnels, according to plans by Albert Speer. A spiral staircase leads to a viewing platform under the statue.[1]: 99–107 

Historical significance

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During the Battle of Berlin of 1945, Soviet troops nicknamed the column "the Tall Woman".[4] Polish Army troops, fighting alongside their Soviet allies, hoisted the Polish flag on the column on 2 May 1945 at the end of the Battle in Berlin. This is celebrated yearly as Polish National Flag Day.

During the Berlin Victory Parade of 1945, the French tricolour was raised atop the column on the statue by French troops.[5]

It served as the location for Barack Obama's speech in Berlin as a US presidential candidate during his visit to Germany on 24 July 2008.[6][7]

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In Wim Wenders' Wings of Desire (1987), the column is one of many high places in the city where angels sit and look down.[8]

The golden statue atop the column, cast in 1873 by the Aktien-Gesellschaft Gladenbeck foundry in Berlin,[9][10] was featured in the music video to U2's 1993 "Stay (Faraway, So Close!)", an homage to Wings of Desire.

During the years of the techno Love Parade, the column was a meeting point where large numbers of people danced together.[11]

The Berlin queer monthly magazine Siegessäule, founded 1984 as a gay publication,[12][13] was named after the monument. The Berlin Pride (CSD parade) usually includes the column on its route for the symbolism.[14]

The monument is one of the many landmarks visited in the "Berlin Byways" course in Mario Kart Tour (since 2021), and later Mario Kart 8 Deluxe (since 2022).[15]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Berlin Victory Column

View on Grokipedia
from Grokipedia
The Berlin Victory Column, known in German as the Siegessäule, is a monumental column located in the Tiergarten park at the Großer Stern traffic circle in central Berlin, Germany, standing 67 meters tall and crowned by an 8.3-meter gilded bronze statue of Victoria, the Roman goddess of victory, weighing 35 tons and crafted by Friedrich Drake. Designed by architect Heinrich Strack, the structure was constructed primarily from Prussian cannons captured in battle, symbolizing military triumph, and includes a viewing platform at approximately 50 meters elevation accessible to the public for panoramic city vistas. Originally commissioned after Prussia's 1864 victory in the Second Schleswig War against , the column's completion in 1873—eight years after construction began in 1865—ultimately celebrated three decisive Prussian conflicts: the aforementioned Danish war, the 1866 , and the 1870–1871 , which facilitated German unification under Prussian leadership. Initially positioned near the Reichstag, the monument was relocated about 500 meters westward between 1938 and 1940 under Albert Speer's direction to align with Adolf Hitler's vision for a grand north-south axis in , enhancing its role in National Socialist as a emblem of martial glory despite its pre-existing Prussian origins. The column's bas-reliefs depicting battle scenes were dismantled by Allied forces after , particularly at French insistence, reflecting victors' repurposing of captured imperial symbols, though the core structure endured as a persistent reminder of 19th-century and expansionist warfare rather than democratic ideals. Today, it serves as a prominent and occasional site for political demonstrations, its golden figure—affectionately called Goldelse by locals—overlooking a transformed urban landscape, underscoring shifts from militaristic commemoration to civic landmark amid Germany's post-unification context.

Origins and Historical Context

Prussian Wars of Unification

The Prussian Wars of Unification encompassed three major conflicts—the Second Schleswig War of 1864, the of 1866, and the of 1870–1871—that positioned as the dominant force in German affairs and facilitated the creation of a unified under Prussian hegemony. These victories, orchestrated in part by Chancellor , demonstrated Prussia's military reforms under figures like Helmuth von Moltke, including superior artillery, railroads for mobilization, and needle-gun infantry rifles, which provided decisive edges over opponents. The Berlin Victory Column, constructed from 1864 to 1873, was initially planned to honor the 1864 triumph but ultimately symbolized all three, with its inscriptions and sculptural program referencing the campaigns that expelled foreign influence from German territories and resolved internal rivalries. The Second Schleswig War erupted on February 1, 1864, when allied with against over the disputed duchies of Schleswig and , which sought to integrate fully despite German nationalist claims. Prussian-Austrian forces, numbering around 60,000, overwhelmed Danish defenses, capturing the fortified redoubts on April 18 after a two-month and that inflicted heavy Danish losses of over 5,000 casualties. The conflict concluded with the Treaty of Vienna on October 30, 1864, under which ceded both duchies to Prussian-Austrian administration, marking 's first step in asserting leadership over German unification by sidelining Danish control and setting the stage for with . The , or Seven Weeks' War, began on June 14, 1866, as mobilized against and its allies (including , , and ) to dismantle the Austrian-led and claim supremacy in German affairs. The decisive engagement occurred at the (Sadowa) on July 3, where Prussian forces of approximately 220,000 defeated an Austrian army of similar size, suffering 9,000 casualties to Austria's 44,000, thanks to rapid flanking maneuvers enabled by telegraph coordination and breech-loading rifles. The Peace of Prague on August 23 formalized 's victory, dissolving the Confederation, annexing fully, , Hesse-Kassel, Nassau, and to , and establishing the Prussian-dominated , effectively excluding from German politics. The Franco-Prussian War commenced on July 19, 1870, provoked by Bismarck's editing of the Ems Dispatch to inflame French opinion, drawing France into conflict with the North German Confederation and southern German states over fears of Prussian expansion. Prussian-led forces achieved rapid successes, encircling and capturing Emperor Napoleon III's army of 120,000 at Sedan on September 2, with French losses exceeding 17,000 dead or wounded and 100,000 prisoners; Paris fell after a four-month siege on January 28, 1871. The Treaty of Frankfurt on May 10, 1871, imposed on France a 5 billion franc indemnity, the cession of Alsace-Lorraine, and recognition of the German Empire, proclaimed on January 18, 1871, in Versailles' Hall of Mirrors with Wilhelm I as emperor, completing unification by integrating Bavaria, Württemberg, and Baden into the new Reich. These wars' cumulative triumphs, yielding territorial gains and national cohesion, directly inspired the Victory Column's canonical bronze reliefs depicting episodes from each campaign, underscoring Prussian martial prowess as the foundation of German statehood.

Commissioning and Initial Construction

The Berlin Victory Column was commissioned by King Wilhelm I of in the aftermath of the Prussian victory over in the Second Schleswig War of 1864, initially as a monument celebrating that specific triumph. Following 's further successes in the of 1866 and the of 1870–1871, the scope expanded to commemorate all three conflicts as part of the Wars of Unification that forged the . This adaptation reflected the evolving national narrative under Wilhelm I's leadership, transforming the project from a localized tribute into a broader symbol of Prussian military prowess and unification efforts. Architect Johann Heinrich Strack, a proponent of neoclassical influenced by , was tasked with the execution after submitting plans in competition with figures such as Friedrich August Stüler and Johann Friedrich Drake. Strack's drew inspiration from ancient victory columns like Trajan's in , incorporating a tall shaft topped by a gilded figure of Victoria, the Roman goddess of victory, cast in bronze by Drake. Construction began in 1865 at the Königsplatz (now Platz der Republik), directly in front of the under-construction , utilizing cast-iron cannons captured from enemy forces as a symbolic element of repurposed spoils. The eight-year build process involved layering the 50-meter shaft with and incorporating reliefs depicting battle scenes, culminating in the column's inauguration on September 2, 1873, amid festivities marking the recent . This timeline aligned with the peak of Prussian militaristic confidence, though the monument's placement was chosen for its visibility from the royal palace rather than purely strategic reasons.

Architectural Features

Structural Design and Materials

The Berlin Victory Column, designed by architect Heinrich Strack, features a classical columnar structure elevated on a square plinth and consisting of four stacked cylindrical drums of decreasing diameter, topped by a monumental statue, evoking ancient Roman victory columns while incorporating Prussian militaristic motifs. The total height measures 67 meters, with the viewing platform accessible via an internal spiral staircase of 285 steps reaching approximately 51 meters. The base comprises a robust square clad in polished red from Virbo, symbolizing endurance, with embedded friezes cast from melted-down captured cannons, depicting scenes from the Prussian wars. Above this rises the shaft, constructed from Oberkirchen drums quarried for its fine grain and weather resistance, each segment adorned with rows of gilded cannon barrels arranged in spiral patterns to commemorate military triumphs and enhance structural ornamentation. Crowning the column is an 8.3-meter-tall, 35-ton gilded statue of the goddess Victoria, sculpted by Friedrich Drake in 17 cast sections, depicting her with outstretched wings, a in her right hand, and a banner bearing the in her left, her helmet surmounted by a Prussian eagle. The materials— for the durable core, for the stable foundation, and for symbolic and decorative elements—were selected for their permanence and historical resonance, with bronze elements patinated and gilded to withstand exposure. A fourth drum was added during the 1938–1939 relocation, increasing the original height from about 60 meters, but the core masonry and material composition remained consistent with the 1864–1873 .

Sculptural Elements and Iconography

The crowning feature of the Berlin Victory Column is a gilded of Victoria, the Roman goddess of victory, measuring 8.3 meters in height and weighing 35 tons. Designed and executed by sculptor Friedrich Drake between 1871 and 1873, the figure portrays Victoria in mid-stride, extending a symbolizing triumph while her other hand grasps a scepter, evoking imperial authority and martial success. Adorned with a helmet featuring the Prussian eagle, the statue integrates classical mythological with contemporary Prussian symbolism, portraying victory as both divine favor and national destiny. Encircling the plinth at the column's base are four large panels, each commemorating a pivotal event in the Prussian Wars of Unification that forged the . These include the from the 1864 against , the decisive Prussian victory at Königgrätz over in 1866, the bombardment during the Siege of in the of 1870–1871, and the return of victorious Prussian troops to . Crafted by multiple Berlin sculptors under the oversight of Heinrich Strack, the reliefs employ dramatic compositions of soldiers, cannons, and fallen foes to glorify conquest and unification, embedding a narrative of inexorable Prussian dominance. A further adorns the plinth, reinforcing the iconographic theme by illustrating the in Versailles on January 18, 1871, with motifs of imperial founding and collective resolve. The sculptural program as a whole draws on antique Roman triumphal motifs—such as captured weaponry integrated into the column's gilded barrels—to assert the legitimacy of Bismarck's through historical precedent, prioritizing martial causality over pacifist interpretations. This emphasis on empirical military causation underscores the monument's role in propagating a realist view of via decisive battlefield outcomes.

Relocations and Physical Changes

Original Placement and Purpose

The Berlin Victory Column, known as the Siegessäule, was erected to commemorate Prussia's military successes in that led to German unification. Specifically, it honors victories in the Second Schleswig War against in 1864, the against in 1866, and the against from 1870 to 1871. These conflicts expanded Prussian territory and influence, culminating in the in 1871 under King Wilhelm I of as emperor. Designed by architect Heinrich Strack, construction began in 1869 with the base intended initially for the Danish victory, but the monument's scope expanded to include subsequent triumphs by its completion. The column symbolizes Prussian martial prowess and the forging of national unity through conquest, standing as an early emblem of the new empire's . It was inaugurated on September 16, 1873, by Wilhelm I in a underscoring the regime's emphasis on military glory. Originally positioned at Königsplatz—now Platz der Republik—the column anchored the western end of the Siegesallee, a grand avenue of victory statues linking it visually to the under construction. This central location in , the imperial capital, reinforced its role as a public testament to unification-era achievements, visible from key government sites and intended to inspire civic pride in the empire's origins. The placement integrated the monument into the urban fabric of Wilhelmine , where propagated narratives of strength and expansion.

Nazi-Era Relocation and Modifications

In 1938, commissioned the relocation of the as part of architect Albert Speer's redesign of Berlin into Welthauptstadt Germania, a grandiose capital intended to symbolize Nazi dominance. The monument's original site near the Reichstag and Königsplatz obstructed the planned north-south triumphal axis, prompting its transfer to the Großer Stern roundabout in the Tiergarten to serve as a visual endpoint for parades and processions along the expanded avenue. The engineering feat, completed between late 1938 and August 1939, required dismantling the 8.3-meter-tall statue of Victoria, the 60-meter column shaft weighing approximately 400 tons, and associated elements before transporting them 1.5 kilometers westward using specialized rail and crane systems. To elevate the structure for better visibility amid the redesigned urban landscape, workers inserted an additional cylindrical drum section into the base, increasing the total height from 60 meters to 67 meters while preserving the original Prussian-era proportions and iconography. No alterations were made to the column's sculptural details, such as the reliefs commemorating the Danish and Austro-Prussian Wars or the gilded Victoria figure, which retained its pre-Nazi design without incorporation of regime symbols like swastikas. The relocation aligned the monument with Speer's vision of but prioritized practical enhancements for spectacle over ideological redesign, reflecting the 's adaptation of existing imperial symbols for propagandistic reuse.

Symbolism and Legacy

Commemoration of Military Achievements

The Berlin Victory Column, known as the Siegessäule, primarily commemorates Prussia's military victories in the three wars of German unification during the and early . Construction began in 1864 under the direction of architect Heinrich Strack, initially to honor the Prussian triumph in the Second Schleswig War against , which concluded with the Treaty of Vienna on October 30, 1864, granting and control over Schleswig and . As work progressed, the monument's significance broadened to encompass the of 1866, where Prussian forces decisively defeated the Austrian-led coalition at the on July 3, 1866, leading to the dissolution of the and Prussian dominance over northern German states via the formed in 1867. The column's completion and inauguration on September 2, 1873, aligned with celebrations of the Franco-Prussian War's outcome from 1870 to 1871, during which Prussian armies under Helmuth von Moltke captured at Sedan on September 2, 1870, and besieged , culminating in the Treaty of Frankfurt on May 10, 1871, which annexed Alsace-Lorraine and facilitated the German Empire's proclamation on January 18, 1871. Atop the 67-meter structure stands an 8.3-meter gilded statue of Victoria, the Roman goddess of victory, cast from cannons captured in these conflicts, symbolizing Prussian martial prowess and the forged unity of under King Wilhelm I, who became Emperor. The base's reliefs and the encircling captured pieces further embed these specific campaigns into the monument's iconography, emphasizing empirical triumphs in battle over abstract ideals.

Role in German National Identity

The Berlin Victory Column, inaugurated on September 2, 1873, by King Wilhelm I, served as a central emblem of the newly formed , commemorating Prussia's triumphs in the Wars of Unification from 1864 to 1871, which included victories over , , and . These conflicts, orchestrated under Otto von Bismarck's leadership, culminated in the of the Empire on January 18, 1871, at Versailles, and the column's —featuring reliefs of battle scenes, captured French cannons melted for its gilding, and a 8.3-meter statue of Victoria—visually encapsulated the military foundations of German national cohesion and Prussian dominance within the federation. In the imperial era, the monument reinforced a burgeoning rooted in martial success and monarchical authority, positioned originally at Königsplatz near the Reichstag to underscore parliamentary and imperial unity, where it drew crowds for state ceremonies and fostered a sense of collective pride among identifying with the Empire's expansion and industrial ascent. Its iconography, including mosaics depicting Borussia (personifying Prussia) aiding Victoria, symbolized not only battlefield glory but also the ideological narrative of destiny-driven unification, embedding as a core element of German self-conception until the Empire's collapse in 1918. The column's relocation in 1938–1939 under the Nazi regime to the Tiergarten's Großer Stern, where its height was extended by an additional drum to 67 meters, aligned it with Albert Speer's vision for a monumental as "," further entrenching its association with aggressive , though this distorted its original unification symbolism into for expansionist aims. Post-World War II, amid Allied occupation debates over demolition—particularly from French demands citing reparations—the structure endured, surviving as a preserved relic in , where its pre-Nazi roots evoked cautious historical reflection rather than overt pride, reflecting 's post-1945 emphasis on and democratic reinvention over imperial legacies. In contemporary united , it persists as a layered : a testament to the 1871 state's formative identity while tempered by awareness of militarism's perils, often invoked in discussions of national history without reclaiming unalloyed triumphalism.

Controversies and Debates

Accusations of Militarism and Imperialism

The Berlin Victory Column has faced accusations of embodying Prussian militarism since its construction in 1873, as it commemorates victories in the Second Schleswig War of 1864, the Austro-Prussian War of 1866, and the Franco-Prussian War of 1870–1871, events central to Otto von Bismarck's unification strategy through armed conflict. Critics argue that the monument's design, including bronze reliefs depicting battle scenes and a base formed from melted-down captured French cannons, inherently glorifies aggressive expansion and the cult of military prowess that characterized Prussian dominance. These elements, they contend, reflect a broader imperial ideology that prioritized Blut und Eisen (blood and iron) over diplomatic resolution, fostering a national identity rooted in conquest rather than consensus. Post-World War II, Allied occupation authorities debated its demolition on grounds of promoting militarism and , with French forces explicitly requesting its removal as a remnant of aggressive , though American, British, and Soviet delegates ultimately opposed or abstained from such action. In 1991, Berlin left-wing groups reiterated these charges, labeling the column a " of German-national great power lust, imperial claims to rule, and the glorification of and war," urging its contextualization or dismantling amid reunification discussions. Such critiques often link the monument to the Prussian militaristic tradition blamed for enabling both Wilhelmine and later Nazi aggression, despite its original non-colonial focus on European unification wars. In 2012, former CDU politician Heiner Geißler amplified these accusations by calling the Victory Column "Germany's dumbest memorial" and a direct emblem of and unfit for modern democratic values, advocating its by as the only practical means of erasure. Geißler's remarks, aired on television, drew from a longstanding leftist viewing Prussian symbols as perpetuating hierarchical and bellicose legacies, though they overlooked the column's survival through wartime relocations and its repurposing as a neutral urban . These opinions, while influential in academic and progressive circles, have not led to structural changes, as preservation efforts emphasize the monument's architectural and historical integrity over interpretive revisions.

Associations with Nazism and Post-War Critiques

The Nazi regime relocated the Victory Column from its original position at Königsplatz (now Platz der Republik) to the Großer Stern in the Tiergarten between 1938 and 1939, as part of Albert Speer's urban redesign plans for Welthauptstadt Germania. This move, ordered by Adolf Hitler, involved dismantling the 60-meter structure, transporting it approximately 2 kilometers westward, and elevating it by adding a new base drum, increasing its height to 67 meters to align with the projected north-south monumental axis. The Nazis appropriated the column's pre-existing iconography of military triumph—originally celebrating Prussian victories in the 1860s—as a propaganda emblem of German martial superiority, integrating it into their vision of imperial dominance despite its non-Nazi origins. Following the Allied capture of Berlin in May 1945, the column sustained bullet damage to its bronze reliefs but avoided demolition amid debates in the . Polish forces raised their atop the on May 2, 1945, symbolizing , though some soldiers later expressed regret over not destroying it. French occupation authorities advocated for its removal due to its militaristic connotations, but the and opposed the action, while the abstained, allowing the structure to remain intact and undergo repairs. This survival reflected broader post-war tensions over Prussian-era symbols, which critics linked causally to the aggressive nationalism enabling , though defenders argued the monument's relocation had inadvertently protected it from the intense bombing that devastated its former site near the Reichstag. In subsequent decades, the column faced intermittent critiques for embodying and , with associations to both Prussian and Nazi appropriation fueling calls for reevaluation. In 2012, former CDU politician Heiner Geißler described it as "the dumbest monument in the " and a "symbol for and ," proposing its by explosion as incompatible with modern democratic values. Detractors highlighted the "bloodthirsty" reliefs depicting wartime violence against , , and French as promoting a of conquest that echoed the ideological underpinnings of both world wars, questioning Berlin's historical narrative for retaining such icons centrally. These views, often from anti-militarist perspectives, contrasted with arguments preserving the column as a neutral artifact of 19th-century history, detached from 20th-century misuses, amid ongoing debates on Germany's . Despite such pressures, no removal occurred, and by the , its symbolism shifted through cultural repurposing, notably as a focal point for raves, emphasizing themes of unity over victory.

Contemporary Significance

Tourism, Preservation, and Public Use

The Siegessäule serves as a prominent tourist attraction within Berlin's Tiergarten park, drawing visitors for its elevated viewing platform that offers panoramic vistas of the city, including landmarks such as the Brandenburg Gate and Reichstag. Access to the platform requires climbing 285 steps, with admission fees set at €5 for adults and €2.50 for children as of 2024, contributing to ongoing maintenance efforts. The site is accessible via public transportation, including the nearby Tiergarten U-Bahn station, facilitating visits amid the park's recreational pathways. Preservation of the monument has involved periodic restorations to combat weathering and structural wear. In 1987, comprehensive repairs were undertaken to coincide with Berlin's 750th anniversary, addressing damage from environmental exposure and prior relocations. By 2008, officials identified deterioration requiring an estimated €3.5 million in funding, highlighting challenges in maintaining the 67-meter structure amid urban pollution and foot traffic. Current upkeep relies on revenue from entry fees and city allocations, ensuring the gilded statue of Victoria and elements remain intact despite historical modifications like the Nazi-era gold leaf addition. Public use of the Siegessäule extends beyond to integrate with Tiergarten's role as a communal green space, where it functions as a focal point for leisure activities such as walking, picnicking, and informal gatherings. The surrounding plaza accommodates seasonal events and demonstrations, though the column itself is primarily a static rather than a venue for programming. Accessibility features include ground-level ramps for users to approach the base, but the spiral precludes platform access for those with mobility impairments. Operating hours vary seasonally, from 9:30 a.m. to 6:30 p.m. weekdays in winter to extended summer timings, promoting year-round public engagement while balancing preservation needs.

Representations in Culture and Media

The Victory Column features prominently in Wim Wenders' 1987 film Wings of Desire (Der Himmel über Berlin), where angels perch atop the monument observing the divided city, with the angel Cassiel positioned alongside the golden Victoria statue to survey Berlin's inhabitants and landscapes. The column's elevated vantage point symbolizes a divine, detached perspective on human suffering and urban fragmentation during the Cold War era, reinforcing the film's themes of immortality and longing amid Berlin's physical and ideological barriers. This depiction elevated the Siegessäule as a cinematic emblem of Berlin's ethereal and historical layers, influencing subsequent representations of the city in media. In music-related media, the column served as a central gathering site for the annual events from 1989 to 2010, drawing hundreds of thousands of participants and transforming it into an icon of Berlin's electronic dance culture, often captured in documentaries and news footage as a pulsating hub of raves concluding at its base. Wenders further incorporated the Siegessäule in his direction of U2's 1993 music video for "Stay (Faraway, So Close!)", a sequel-inspired piece that revisited angelic motifs from , using the monument's silhouette to evoke continuity in Berlin's post-Wall reinvention. These portrayals shifted public perception of the column from militaristic relic to a versatile symbol in modern countercultural narratives, though without altering its physical form.

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  44. https://www.trend.az/azerbaijan/society/1134330.html
  45. https://traveltriangle.com/blog/column-of-victory-berlin/
  46. https://travo.me/destinations/germany/berlin/siegessaule
  47. https://www.accesstravel.com/en-US/ViatorAttraction/Index/488/20884?id=20884
  48. https://www.tripadvisor.com/Attraction_Review-g187323-d501639-Reviews-Victory_Column-Berlin.html
  49. https://www.bfi.org.uk/features/wings-desire-wim-wenders-berlin-locations
  50. https://movie-locations.com/movies/w/Wings-Of-Desire.php
  51. https://thattoweragain.wordpress.com/2018/01/18/angels-in-berlin/
  52. https://www.nomos-elibrary.de/373151.pdf
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