DOCUMENTATION PROCESSES

2. 

CENOTAPH TO NEWTON 

ETIENNE LOUIS BOULLEE 

IMAGINATION, EMPIRICISM, KNOWLEDGE

KEY CONCEPT 

Etienne- Louis Boullee’s Cenotaph to Newton is an imagined monument embodying and idealising the core theories of the enlightenment converging on empiricism and romanticism, celebrating the sublimity of architecture in an ode to Sir Isaac Newton (Kaufmann 1952). The 18^th century visionary for a colossal monument, represented as a series of ink and graphite rendered drawings portrays the provocative design which foreshadowed the modern conception of architectural design (Schaller 1997). The proposed ‘Cenotaph to Newtown’, which would have been erected at 150m, becoming the tallest built structure in the world, stumping the Pyramids of Giza, was idealised as the resting place for revolutionary scientist Isaac Newton, who’s work became a revered symbol of Enlightenment ideals (Kaufmann 1952). Newton described as a ‘natural philosopher’ formulated the laws of motion and universal gravitation which formed the dominant scientific viewpoint until it was superseded by the theory of relativity (Tiner 1975). Believing in a rationally immanent world (the theory that the divine encompasses or is manifested in the material world), it was inherent to Newton that the ordered and dynamically informed universe could be understood, and must be understood by an active reason (Tiner 1975). Newton was a visionary symbol of the Enlightenment, the movement dedicated to reason and knowledge, emphasising empiricism, the notion that knowledge or opinion is grounded in experience (Tiner 1975). Newton prioritised claims about truth at the basis of being backed by demonstration and evidence. Empiricism was verifiable, experiments could be repeated time and again, with the same result, revealing the same connection between cause and effect, the theory underlying the ‘laws of nature’ (Tiner 1975).

With this basis, Boullee’s approach to this design indicated the schism of architecture as pure art from the science of the building (Kaufmann 1952). This work denies traditional notions of architecture as the art of the building, but rather Boullee suggested “In order to execute, it is first necessary to conceive…it is the product of the mind, this process of creation, that constitutes architecture” (Kaufmann 1952). Inherent in this design is purpose to envision, inspire and manifest a conceptual idea through spatial form, Boullee’s search for an immutable and totalising architecture (Schaller 1997). Concept is ubiquitous, as this sphere represents perfection and the sublime majestic, the sphere’s refracting soft gradations of light across its surface, instilling an immeasurable hold over the senses (Kaufmann 1952).

Boullee had intended this ode to be free of political, religious or commercial concerns, yet beyond this period, the monument became embodiment of fascist symbolism as Hitler used it as a precedent for the Vokshalle, the unbuilt Nazi pavilion (Boehlert 2017). It is important to remember this piece of work for its philosophical embodiment of architecture, celebrating the role of space instilled by experience.

SELECTED DESIGN ELEMENT

This monument in its entirety is quintessential of geometric form, celebrating the joys of sublime experience and imagination. To personify this, a model should be represented through a sectional representation communicating the internal features, as the external surface envelops the interior spaces, utilising secondary elements as an identification of scale. The element I will model will be a direct cut through the dome, expressing the cavernous void, solid foundation and immediate ancillary elements. This involves the circumference of the plinths, the flanking curved ramps pairing symmetrically around the edges, the immense celestial void and corridor terminating at the peak of the sphere. The series of trees that surround the leading edges of the spherical plinths are the objects that contextualise and play a pivotal role in establishing the sublimity of scale. This section suggests the negotiation of forces, as the dome appears to attenuate or hollow out at the top and thicken toward the supports, as the bare walls and lack of ornament instil a poignant impression, while changes in tone and misty elements reinforce the sense of mystery. It is with this key element, that the core of the architectural notions of experience through space will be most evocatively expressed. I would like to express and establish the monumentality of this work but installing an illuminous element in the centre of the dome which will reflect the surfaces and ‘enlighten’ the concept.  

HOW IS THE KEY CONCEPT REFLECTED IN THE DESIGN STUDIO?

It is important throughout architectural practice to support design decisions based on a conceptual and ideological grounding. Schools of architecture have been educated over years and years around the foundations of philosophical understanding and teachings. For us to experience architecture, to be moved by it, it must speak to us. It speaks to us through shared symbolic references. Materials, textures, colours, surfaces and edges creating a living language. Taking the ideologies of Boullee and Newton, and the theory of empiricism, we “feel” what architecture is saying through intersubjective experience, or scientifically through the activation of mirror neutrons, we transcend the subject to object relationship (Botton 2006). Intersubjectivity is the cultivation of a liminal space, an in-between space, what can be called as threshold space in which we experience the other as an experience of our own self. In the form of alterity, in which we recognise others as being subjective selves and we ‘relate’ to these others through empathy. This is how art and architecture communicate to us, the wider audience. In our relationship with architecture, there is an intersubjective experience of our self.

Empiricism, the study of nature and human knowledge, which states all knowledge comes from experience gained through the five senses of sight, sound, taste, touch and smell (Berkeley 1969 ). It is with these theories in mind, that it becomes imperative to study works such as the Monument to Newton and ideologies of theorists such as Newton and Boullee to engage in a formulative discourse and understanding of architecture. This notion of experience to inform knowledge, defining the perception of space is crucial in consolidating the construction of architecture and design. 

GEOMETRICAL DESCRIPTION OF THE SHAPE

“Miniscule clusters of visitors ascend a monumental stairway at the base of spherical monument rising higher than the Great Pyramid of Giza. An arc of waning sunlight catches a small portion of the sphere, leaving the excavated entry portal and much of the mass in deep shadow. Bringing together the emotional affects of romanticism, the severe rationality of neoclassicism and a grandeur of antiquity” (Pérouse de Montclos 1974).               

The purpose of this design is to envision, inspire and manifest a conceptual idea through spatial forms. As an ode to Isaac Newton, it is critical to understand the scientific theory as a basis on the spatial conception of this design. “Every object persists in its state of rest or uniform motion in a straight line unless it is compelled to change that state by forces impressed on it. Force is equal to the change in momentum (mV) per change in time. For a constant mass, force equals mass times acceleration – F =ma. For every action, there is an equal and opposite reaction” (Tiner 1975). Newton’s first law states that every object will remain in rest or in uniform motion in a straight line unless compelled to change its state by the action of an external force. This is taken as the definition of inertia. The key here, that if there is no net force acting on an object (if all external forces cancel each other out) then the object will remain at a constant velocity. If that velocity is zero, then the object remains at rest. It an external force is applied; the velocity will change because of the force. (Tiner 1975).

The work is composed of a dome in the form of a sphere, with an immense void in the centre. The 152-metre sphere is embedded within a three-tiered cylindrical base, giving the impression of a buried volume. Wrapping around the plinth is a ramp which is circulated by series of trees, with the ramp terminating at the centre of the dome. The sphere which represents perfection and majesty, creating soft gradations of light across its curved surface. A single grand staircase leads up around the plinth. Boullee’s drawings celebrate impact and atmosphere over the legibility of the layout, for example, conveying a small exterior door on the second level above a band of crenellation yet illustrating no means of access. Narrow flanking stairs provide an exterior connection between the second and utmost terrace. Closely spaced cypress trees which allude to Green and Roman cultures, circumscribe each level (Kaufmann 1952). The spherical entry portal at the lower level gives way to a dark, long tunnel that runs below the central volume. Rising as it as it approaches the centre, a final run of stairs brings visitors into a hollow void, here at the centre of gravity lies the sarcophagus for Newton, the sole warning of human scale in the interior. 

PROPOSED SCALE, MATERIAL AND TECHNIQUE

SCALE: 152 metres is a monumental scale. I’ll represent this form in a scale at 1:500.

MATERIAL: Hydrocal casting plaster, Copper to line the interior of the dome, copper to form the cypress trees.

TECHNIQUE: Casting, using various sizes of metal bowls to form the spherical dome and plinth. Element of electrical wiring to illuminate the sphere

TIME COMMITMENT AND BUDGET

TIME: 3 days – 20 hours.

BUDGET: Hydrocal - $25 for 5 kilos. Utilise found pendant light – free. Found metal in workshop – free. 

REFERENCES 

Berkeley, George. 1969 . "Empiricism ." Macmillan Encyclopedia of Philosophy 297 .

Boehlert, Aaron Mumford. 2017. "Hitler's Germania: Propoganda Writ in Stone ." Bar Digital Columns 19 .

Boettger, Till. 2014. Threshold Spaces: Transitions in Architecture Analysis and Design Tools . Basel: Birkhäuser.

Botton, Alain De. 2006. The Architecture of Happiness . Camberwell : Hamish Hamilton .

Kaufmann, Emil. 1952. "“Three Revolutionary Architects, Boullée, Ledoux, and Lequeu,”." Transactions of the American Philosophical Society 431-452.

Pérouse de Montclos, Jean-Marie. 1974. Etienne-Louis Boullée (1728-1799): Theoretician of Revolutionary Architecture. New York : George Braziller.

Schaller, Thomas Wells. 1997. The Art of Architectural Drawing: Imagination and Technique. New York: Van Nostrand Reinhold.

Tiner, J.H. 1975. Isaac Newton: Inventor, Scientist and Teacher . Michigan : Mott Media.