arch

1. Etienne-Louis Boullee
Boullee is an French ar.chitect.He is also
called French visionary architect. In his
important theoretical designs for public
monuments, Boullée sought to inspire
lofty sentiments in the viewer by
architectural forms suggesting the
sublimity, immensity, and awesomeness
of the natural world, as well as the
divine intelligence underlying its
creation. At the same time, he was
strongly influenced by the indiscriminate
enthusiasm for antiquity, and especially
Egyptian monuments, felt by his
contemporaries.
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Determined to honor Newton with a worthy cenotaph — he designed a memorial tomb for a person
buried elsewhere — he designed a sphere 500 feet in diameter, taller than the Pyramids of Giza,
nested into a colossal pedestal and encircled by hundreds of cypress trees, giving it the transfixing
illusion of being both half- buried into the Earth and hovering unmoored from gravity. It was also, in
essence, the world’s first domed planetarium design.

2. • A sphere is, in all respects, the image of perfection. It combines
strict symmetry with the most perfect regularity and the greatest
possible variety; its form is developed to the fullest extent and is
the simplest that exists; its shape is outlined by the most
agreeable contour and, finally, the light effects that it produces are
so beautifully graduated that they could not possibly be softer,
more agreeable or more varied. These unique advantages, which
the sphere derives from nature, have an immeasurable hold over
our senses.
• Boullée predicated his cenotaph for Newton on an enormous
sphere that would convey his ultimate intent for the temple — to
arouse in the visitor’s soul “feelings in keeping with religious
ceremonies.
• At night one comes in from the darkness entering to an
exceedingly bright light. After allowing eyes to adjust and come
into focus, one begins to understand the vastness of scale and
the one point light in the center, symbolizing the sun. Looking at
the section, scale is vast in relation to human scale, the tiny
figures at the bottom of the interior.
During the day, the interior is ominous and dark. The interior
ceiling represents the celestial sky as light penetrating through
openings in the ceiling. The idea of an eclipse is encapsulated
within the building is sublime. The effect of changing day to night
and reverse, creates a feeling of awe enhanced by scale.

3. He interpreted the laws of nature, as clarified by Newton’s optics and mathematics, to intimate that no
shape embodies this serenade to the senses with greater power and precision than the sphere
• He said-
Symmetry… is what results from the order that extends
in every direction and multiplies them at our glance
until we can no longer count them. By extending the
sweep of an avenue so that its end is out of sight, the
laws of optics and the effects of perspective given an
impression of immensity; at each step, the objects
appear in a new guise and our pleasure is renewed by a
succession of different vistas.
Symmetry

4. Ledoux, The the ideal city of Chaux
Claude-Nicolas Ledoux (March 21th, 1736
– November 18th, 1806) was one of the
earliest exponents of French Neoclassical
architecture. He used his knowledge of
architectural theory to design not only in
domestic architecture but town planning;.

5. as a consequence of his visionary plan for the Ideal City of
Chaux, he became known as a utopian. Claude-Nicolas
Ledoux was one of the representatives of the architectural
revolution. Especially in his writings of architectural theory, he
was much worried about the ideal city as a living place of
virtuous people who were supposed to live in harmony with
their fellow residents and nature. the architect of King Louis
XVI.
The salt was recovered from a brine that has been brought in
over a direct length of 23 kilometers from the rock salt deposits
in Salins. The machinate is a historical monument of early
manufacturing production and was accepted by UNESCO in
the list of world cultural heritage. The Saline reveals the
thought of ​​revolution architect Claude-Nicolas Ledoux of an
ideal form in architecture, the ball, the prism and the cylinder.

6. • The concept of the ideal city goes back to thoughts of
contemporary philosophers and social reformers on the
positive effects of the toiling work. She was credited with
maintaining the morale and thus an end to terrible habits.
Also Claude-Nicolas Ledoux, like the other Revolutionary
architects submitted their plans based on these thoughts.
This meant that the workers should live with their families to
live and work sites.
• during the Revolution and specifically during his
imprisonment, architect Claude-Nicolas Ledoux started
the project for the “Ideal City of Chaux”. The architect had
designed and built the Royal Saltworks (Les Salines
Royales) at Arc-et- Senans in the territory of the massive
forest of Chaux, in the region of Franche- Comté, a
complex of buildings which would become the starting
point for the project of an utopian city.

7. The language developed is a reinterpretation of the classical combined with elements completely invented by Ledoux to suit
the industrial nature of the building, like the massive rusticated columns, and the references to local architecture in the form
of rustic roofs. Several decorative solutions play allusion to the elements of water and salt, like the “petrified” water fountains
on the walls or the cavernous hall which mimics an actual salt mine and is further ornated with concrete representations of
the forces of nature and the organizing genius of Man. The Ideal City takes the plan of the saltworks as a central point for its
development, embodying an idea of communal life joined to that of a new industrial urbanism.
Doric colums