Sublime Architecture : Impossible?

The aesthetic conception of sublime architecture produces a distant and unknown effect that cannot be mastered but is nevertheless not ugly. It includes the two ideas that threaten self-preservation: pain and danger, which refer to terror as a psychological phenomenon in the presence of terrible objects.

Etienne-Louis Boullée and Giovanni Battista Piranesi are architects who visualize architecture in a unique way during the 18th century era. Both project architectural visualizations with works that were not built but imagined in a very peculiar way. Monumentality is essential in both conceptions of the architects but they were only maintained in two-dimensional drawings and perspective drawings, they did not manage to reach the real world in terms of construction.

This determines two very relevant and interesting concepts for their time:

1. Architecture has not yet reached its potential in terms of construction technology;

2. Architects imagine spaces limited by a context predetermined by society.

Boullée had a broad and often utopian vision of architecture, and his ideas have inspired architects and designers over the centuries, including in contexts such as the conception of funerary spaces. It is important to note that Boullée was better known for his theoretical and speculative projects than for his practical constructed work. His influence has been felt primarily through his writings and drawings, which have inspired later generations of architects and artists to explore new ideas and concepts in architectural design. Most of Boullée's theoretical projects are for cenotaphs, funerary structures and cemeteries, often associated with monumentality. Monumentality is a new architectural language for its time since it put new scales in proportion.

It is evident that the figure is pure in his compositions and this speaks volumes about his vision in architecture. Boullee is an architect who theoretically puts the use of emotions as a primary element in design; Boullée believed that architecture should inspire awe and admiration through its grandeur and scale. He advocated the creation of monumental buildings that were symbols of power, authority, or spiritual significance. Their designs often featured simple but imposing shapes, such as spheres, cylinders or pyramids, rising majestically from the landscape.

“I need to produce great ideas and I think that if I was tasked with designing a new universe, I would be crazy enough to undertake it.” - G.B. Piranesi

Piranesi developed a distinctive style in his prints, characterized by the dramatic representation of light and shadow, the complexity of the compositions, and the attention to architectural detail. He used engraving techniques to create impressive and realistic visual effects. His prints helped popularize interest in classical architecture and the study of ancient history, influencing the neoclassicism movement and the resurgence of taste for classical architectural forms in design. At Carceri, Plate VII, depicts elaborate architectural structures suggesting labyrinths of corridors, staircases, arches and chambers. These images evoke a dark, oppressive and surreal atmosphere, where perspective and scale are distorted to create a sense of bewilderment and confusion.

In his prints, Piranesi used perspective techniques that exaggerate the depth and scale of the spaces depicted. Through the use of converging lines and vanishing points, he created the illusion of vast, complex architectural labyrinths stretching into infinity. This exaggerated perspective intensifies the feeling of vastness and complexity, immersing the viewer in a surreal architectural world. Through the contrast between illuminated areas and darkened areas, he managed to enhance the mysterious and oppressive atmosphere of his compositions. The deep shadows and dark corners add an element of intrigue and suspense, making the viewer feel immersed in a claustrophobic and enigmatic environment. In his prints, Piranesi consciously distorted the scale and proportion of architectural elements to create a feeling of bewilderment and confusion. Arches and hallways twist and curve impossibly, defying the laws of physics and disorienting the viewer. This spatial distortion contributes to the surreal atmosphere of the "Imaginary Prisons" and underlines the fantastic and dreamlike nature of the landscapes represented.

Both Piranesi and Boullée were utopians who imagined a radically new and transformative architecture, from other points of view. His projects included bold proposals for buildings and monuments that defied the architectural conventions of their time and were often never realized. However, his utopian vision of architecture influenced later generations of architects and artists, inspiring the exploration of new ideas and concepts in architectural design.

Is sublime architecture, in terms of Piranesi and Boullee, attainable? Today, technology and the means of representation have made it possible to imagine new spaces with potential never seen before. Time is a key element in the perception that a new architecture has developed since the time of Piranesi and Boullée. However, the utopian aspect is yet to be found and expressed in real life. Current practice involves many aspects that may not have been present before, allowing many factors to act for or against us. However, both architects reflect on how we should imagine architecture and how it should move its surroundings and those who inhabit it. The effect that architecture leaves on human beings and on nature is increasingly essential, so we are even closer to imagining possibilities never seen before, such as with the use of Artificial Intelligence. In short, artificial intelligence is revolutionizing architecture by providing advanced tools and techniques for the design, construction and management of buildings and urban environments. These technologies are allowing architects and designers to create more efficient, sustainable and livable spaces, while driving innovation and creativity in the profession.