布莱的设计方法不仅体现了他个人的创造性天才，还标志着建筑作为一门纯粹的艺术与建筑科学的分裂。他拒绝了维特鲁维关于建筑的概念，认为它是建筑的艺术，写作“为了执行，首先有必要构思…。正是这个思想的产物，这个创造的过程，构成了建筑…“(1)设计的目的是通过空间形式来想象、启发、表达概念。Boullee寻找的是一种不可改变的、具有综合性的建筑。

Beyond representing his individual creative genius, Boullée’s approach to design signaled the schism of architecture as a pure art from the science of building. He rejected the Vitruvian notion of architecture as the art of building, writing “In order to execute, it is first necessary to conceive… It is this product of the mind, this process of creation, that constitutes architecture…” (1).  The purpose of design is to envision, to inspire, to make manifest a conceptual idea though spatial forms. Boullee’s search was for an immutable and totalizing architecture. 

Beyond representing his individual creative genius, Boullée’s approach to design signaled the schism of architecture as a pure art from the science of building. He rejected the Vitruvian notion of architecture as the art of building, writing “In order to execute, it is first necessary to conceive… It is this product of the mind, this process of creation, that constitutes architecture…” (1).  The purpose of design is to envision, to inspire, to make manifest a conceptual idea though spatial forms. Boullee’s search was for an immutable and totalizing architecture. 

 Exterior elevation

外部高程

布莱生前(1728-1799)的巴黎是世界的文化中心，也是一次巨大的变革。奥斯曼化前的街道是阶级冲突的温床，因为贫瘠的庄稼和昂贵的战争导致了金融危机。启蒙运动的理想，特别是人民主权和不可剥夺权利的概念，影响了不满情绪的上升和最终的革命(2)。

Paris during Boullée’s lifetime (1728-1799) was the cultural center of the world as well as a nexus great transformation.  Pre-Haussmanization streets were the breeding ground of class strife as poor crops and costly wars led to financial crisis. Enlightenment ideals, particularly notions of popular sovereignty and inalienable rights, influenced the rise of malcontent and eventual revolution (2). 

Paris during Boullée’s lifetime (1728-1799) was the cultural center of the world as well as a nexus great transformation.  Pre-Haussmanization streets were the breeding ground of class strife as poor crops and costly wars led to financial crisis. Enlightenment ideals, particularly notions of popular sovereignty and inalienable rights, influenced the rise of malcontent and eventual revolution (2). 

尽管BoulinE已经为私人和宗教顾客完成了一些小规模建造的委员会，但在他一生中，他在ColeColornaledesPonts等人的学术角色和AcadMieRoyaleD"建筑中发挥了最大的影响力。伯伦·E拒绝了奢华的洛可可设计的感觉，支持希腊人和罗马人的僵硬的命令。他从自然的角度寻找纯粹的形式，他重新回到了历史上，对古希腊的各种文化构成了成见。超越仅仅是历史先例的解释，博利在一定程度上重新混合了经典元素，并在以前未达到的戏剧水平上重新混合了经典元素。

Although Boullée completed a number of small-scale built commissions for private and religious patrons, he was most influential during his lifetime in academic roles at the École Nationale des Ponts et Chaussées and the Académie Royale d'Architecture. Boullée rejected the perceived frivolity of sumptuous Rococo design in favor of the rigid orders of the Greeks and Romans.  Driven by his search for pure forms derived from nature, he looked back into history to the monumental forms of cultures that predated the Greeks.  Transcending mere adulation of historical precedents, Boullée remixed classic elements at a scale and level of drama previously unachieved.  

Although Boullée completed a number of small-scale built commissions for private and religious patrons, he was most influential during his lifetime in academic roles at the École Nationale des Ponts et Chaussées and the Académie Royale d'Architecture. Boullée rejected the perceived frivolity of sumptuous Rococo design in favor of the rigid orders of the Greeks and Romans.  Driven by his search for pure forms derived from nature, he looked back into history to the monumental forms of cultures that predated the Greeks.  Transcending mere adulation of historical precedents, Boullée remixed classic elements at a scale and level of drama previously unachieved.  

对布莱来说，球体代表着完美和威严，在它的曲面上创造了柔和的光线等级，并“对我们的感官有着不可估量的控制”(3)。对于牛顿的锡诺塔来说，直径500英尺的球体嵌入在一个三层的圆柱底座中，给人的印象是埋下的体积。布莱巧妙地用一副弯曲的坡道完成了球体的形状。(鼓掌)

For Boullée the sphere represented perfection and majesty, creating soft gradations of light across its curved surface and having an “immeasurable hold over our senses” (3).  For Newton’s cenotaph a 500 ft diameter sphere is embedded within a three-tiered cylindrical base, giving the impression of a buried volume. Boullée smartly completes the figure of the sphere with a flanking pair of curved ramps.  

For Boullée the sphere represented perfection and majesty, creating soft gradations of light across its curved surface and having an “immeasurable hold over our senses” (3).  For Newton’s cenotaph a 500 ft diameter sphere is embedded within a three-tiered cylindrical base, giving the impression of a buried volume. Boullée smartly completes the figure of the sphere with a flanking pair of curved ramps.  

 Split plan showing interior and from above

平面图显示内部和上方

一个单一的大楼梯通向一个圆形的桥墩。图纸特权影响和氛围对布局的可读性，例如，显示在第二层之上的第二层的小外部门，但没有说明进入的途径。狭窄的侧翼楼梯在第二梯田和最上层梯田之间提供了外部连接。在希腊和罗马文化中，与哀悼相关的紧密间隔的柏树，每一层都受到限制。较低层的球形入口让位于中央空间下方的一条黑暗而长的隧道。当它接近中心时，最后一段楼梯会把游客带入一个洞穴。在重心处，有一座为牛顿建造的石棺。室内人类规模的唯一标志。(鼓掌)

A single grand staircase leads up to a round plinth. The drawings privilege impact and atmosphere over legibility of the layout, for example showing 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 uppermost terrace. Closely spaced cypress trees, associated with mourning in Greek and Roman cultures, circumscribe each level.  The spherical entry portal at the lower level gives way to a dark, long tunnel that runs below the central volume.  Rising up as it approaches the center, a final run of stairs brings visitors into a cavernous void.  Here at the center of gravity lies a sarcophagus for Newton, the sole indication of human scale in the interior.  

A single grand staircase leads up to a round plinth. The drawings privilege impact and atmosphere over legibility of the layout, for example showing 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 uppermost terrace. Closely spaced cypress trees, associated with mourning in Greek and Roman cultures, circumscribe each level.  The spherical entry portal at the lower level gives way to a dark, long tunnel that runs below the central volume.  Rising up as it approaches the center, a final run of stairs brings visitors into a cavernous void.  Here at the center of gravity lies a sarcophagus for Newton, the sole indication of human scale in the interior.  

 Section, during the day with interior night effect

剖面，白天有室内夜间效果

布莱创造了一个内部世界，扭转外部照明条件。晚上，光线从一个悬挂在球体中心点的超大灯具发出。从形式上看，它的光线从长长的入口隧道里散发出来，白天，一片漆黑的星光笼罩着室内。光点通过狭小的穿孔穿透厚厚的外壳，其排列与行星和星座的位置相对应。一条看上去很难进入的走廊，有一个四分圆的区域，环绕着周边地区。

Boullée creates an interior world that inverts exterior lighting conditions.  At night, light radiates from an oversize luminaire suspended at the center point of the sphere. Vaguely celestial in form, its light spills through the long the entry tunnels.  During the day, a black starlit night blankets the interior. Points of light penetrate the thick shell through narrow punctures whose arrangement corresponds with locations of planets and constellations. A seemingly inaccessible corridor with a quarter-circle section rings the perimeter.

Boullée creates an interior world that inverts exterior lighting conditions.  At night, light radiates from an oversize luminaire suspended at the center point of the sphere. Vaguely celestial in form, its light spills through the long the entry tunnels.  During the day, a black starlit night blankets the interior. Points of light penetrate the thick shell through narrow punctures whose arrangement corresponds with locations of planets and constellations. A seemingly inaccessible corridor with a quarter-circle section rings the perimeter.

这些部分开始暗示力量的谈判，因为穹顶似乎在顶部减弱或凹陷，并向支撑处变厚。光秃秃的墙壁和缺乏点缀的感觉给人一种阴郁的印象。色调和雾样元素的变化增强了神秘感。

The sections begin to suggest a negotiation of forces, as the dome appears to attenuate or hollow out at the top and thicken towards the supports. The bare walls and lack of ornament create a sombre impression.  Changes in tone and fog-like elements bolster the sense of mystery. 

The sections begin to suggest a negotiation of forces, as the dome appears to attenuate or hollow out at the top and thicken towards the supports. The bare walls and lack of ornament create a sombre impression.  Changes in tone and fog-like elements bolster the sense of mystery. 

布莱的画作虽未建成，却被雕刻并广为传阅。他留给法国国家图书馆的论文直到二十世纪才出版。在“建筑绘画的艺术：想象与技巧”中，托马斯·威尔斯·夏勒(ThomasWellsScharer)称这是一个“令人震惊的作品”，它是“时代的完美体现，也是人类的完美象征”(4)。与克劳德·尼古拉斯·莱杜克斯(Claude Nicholas Ledoux)和让·雅克斯·莱奎(Jean-Jaques Lequeu)一起，布莱和他的同时代人的作品在十九世纪中后期影响了Beaux艺术学院的作品。他的作品至今仍激励着设计师。例如，1980年，莱布贝乌斯·伍兹为爱因斯坦设计了一个由牛顿设计的塞纳塔。(鼓掌)

Although unbuilt, Boullée’s drawings were engraved and widely circulated.  His treatise, bequeathed to the Bibliotèque National de France, was not published until the twentieth century.  In The Art of Architectural Drawing: Imagination and Technique, Thomas Wells Schaller calls the cenotaph an “astounding piece” that is “perfectly symptomatic of the age as much as it is of the man” (4). Considered along with Claude Nicholas Ledoux and Jean-Jaques Lequeu the work of Boullée and his contemporaries influenced the work at the École des Beaux-Arts during the mid and latter nineteenth century.  His works still inspire designers. For example, in 1980 Lebbeus Woods designed a cenotaph for Einstein, inspired by the Cenotaph for Newton.  

Although unbuilt, Boullée’s drawings were engraved and widely circulated.  His treatise, bequeathed to the Bibliotèque National de France, was not published until the twentieth century.  In The Art of Architectural Drawing: Imagination and Technique, Thomas Wells Schaller calls the cenotaph an “astounding piece” that is “perfectly symptomatic of the age as much as it is of the man” (4). Considered along with Claude Nicholas Ledoux and Jean-Jaques Lequeu the work of Boullée and his contemporaries influenced the work at the École des Beaux-Arts during the mid and latter nineteenth century.  His works still inspire designers. For example, in 1980 Lebbeus Woods designed a cenotaph for Einstein, inspired by the Cenotaph for Newton.  

请参阅Boullee关于建筑师作为艺术家、自然和其他项目的想法的英文翻译。

Check out an English language translation of Boullee’s thoughts on the architect as artist, nature, and additional projects here.

Check out an English language translation of Boullee’s thoughts on the architect as artist, nature, and additional projects here.

 Interior night effect

室内夜间效应

艾蒂安-路易斯·布莱。建筑，艺术论文。题名/责任者；译自Sheila da Vallée。82.http：/www.History y.com/Topes/法语-革命-Boullée，86 Scharer，160

Etienne-Louis Boullée. Architecture, Essay on Art. Edited and annotated by Helen Rosenau. Translated by Sheila da Vallée. 82.  http://www.history.com/topics/french-revolution Boullée, 86 Schaller, 160

Etienne-Louis Boullée. Architecture, Essay on Art. Edited and annotated by Helen Rosenau. Translated by Sheila da Vallée. 82.  http://www.history.com/topics/french-revolution Boullée, 86 Schaller, 160

主要来源

Main Sources

Main Sources

Kaufmann,Emil.美国哲学协会的“三个革命性的建筑师，博勒、E、Leidoux和Lequieu，”交易，新系列，42号3(1952)，431-564

Kaufmann, Emil. “Three Revolutionary Architects, Boullée, Ledoux, and Lequeu,” Transactions of the American Philosophical Society, New Series, 42 No. 3 (1952), 431-564

Kaufmann, Emil. “Three Revolutionary Architects, Boullée, Ledoux, and Lequeu,” Transactions of the American Philosophical Society, New Series, 42 No. 3 (1952), 431-564

罗塞诺海伦。布莱的“建筑论”。伦敦：Alec TirantiLtd.，1953年。

Rosenau, Helen. Boullée’s Treatise on Architecture. London: Alec Tiranti Ltd., 1953.

Rosenau, Helen. Boullée’s Treatise on Architecture. London: Alec Tiranti Ltd., 1953.

佩鲁·德·蒙哥罗，让-玛丽。艾蒂安·路易斯·布莱(1728-1799)：革命建筑理论家。纽约：乔治·巴西勒，1974年。

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

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

布莱，艾蒂安-路易斯。建筑，艺术论文。题名/责任者；译自Sheila da Vallée。访问网址：http：/signichum.com/History yweb/boulleenotse.pdf

Boullée, Etienne-Louis. Architecture, Essay on Art. Edited and annotated by Helen Rosenau. Translated by Sheila da Vallée. Accessed at http://designspeculum.com/Historyweb/boulleetreatise.pdf

Boullée, Etienne-Louis. Architecture, Essay on Art. Edited and annotated by Helen Rosenau. Translated by Sheila da Vallée. Accessed at http://designspeculum.com/Historyweb/boulleetreatise.pdf

夏勒托马斯·威尔斯建筑绘画艺术：想象与技巧。纽约：范诺斯特兰·雷因霍尔德，1997年。

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

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