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University of Florida Thesis Or Dissertation Formatting ETIENNE-LOUIS BOULLÉE’S VISION OF NATURE IN ARCHITECTURE By LIANG SHUI A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURAL STUDIES UNIVERSITY OF FLORIDA 2019 © 2019 Liang Shui To my parents, mentors and friends, I couldn’t have done this without you ACKNOWLEDGMENTS I would first like to thank my thesis chair Dr. Hui Zou of the School of Architecture at the University of Florida, who has consistently allowed this thesis to be of my own work, while pushing me diligently to the right direction when he thought I needed it. I would also like to thank the co-chair of the committee Dr. Vandana Baweja without whose wholehearted dedication and passionate participation the validation of the thesis could not have been successfully conducted. I would also like to thank the graduate advisor Sheryl McIntosh for her unimpeded support and patience. Last but not the least I thank my family for supporting me spiritually throughout the writing of this thesis and for having always been the rock of my life. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF FIGURES .........................................................................................................................6 ABSTRACT .....................................................................................................................................8 CHAPTER 1 NATURE UNDER THE LIGHT OF ENLIGHTENMENT: 18TH-CENTURY FRENCH DISCOURSE ON NATURE AND ITS ARTISTIC RERESENTATION .............................10 Natural Aesthetic in 18th-Century ...........................................................................................12 French Garden: Nature in Order ......................................................................................13 English Garden: Nature in Disinterestedness ..................................................................15 Boullée between Two Gardens ........................................................................................17 Boullée’s Collage of Beautiful, Sublime, and Picturesque .............................................18 Sentimental Transition in Space and Time ......................................................................22 Nature in Moral and Rational Models ....................................................................................26 2 NATURE IN COMPOSITION...............................................................................................30 Tableaux, a Self-sufficient Visual Structure ...........................................................................31 Panorama and Horizon ...........................................................................................................32 The Grand ...............................................................................................................................35 New Grammar in the Neoclassic Interlude .............................................................................39 3 NATURE IN SENTIMENT ...................................................................................................45 Re-creating Nature through Phenomenology .........................................................................45 Sublime as the Aesthetic Experience of Nature ..............................................................47 Death, the Most Sublime of All .......................................................................................49 Theatre of Nature .............................................................................................................54 The Mise-en-Œuvre of Nature ................................................................................................58 4 NATURE IN CONTEMPLATION ........................................................................................64 The Mourning Nature .............................................................................................................64 Cenotaph for Newton, the Reunion of Nature and Human ....................................................66 LIST OF REFERENCES ...............................................................................................................74 BIOGRAPHICAL SKETCH .........................................................................................................77 5 LIST OF FIGURES Figure page 1-1 Painting of Funeral of Phocion, by Nicolas Poussin (1648). National Museum, Cardiff. ...............................................................................................................................14 1-2 Painting of Harbor Scene with Grieving Heliades, by Claude Lorrain .............................15 1-3 J. Benoit, View of the Castle from the Southern Garden...................................................15 1-4 Drawing of La Bibliothèque Nationale, by E. Boullée ......................................................21 1-5 Detail of La Bibliothèque Nationale. .................................................................................22 1-6 Watercolor painting of Ruines et tombeaux, by Hubert Robert. ........................................26 1-7 Frontispiece of Marc-Antoine Laugier’s Essai sur l'Architecture, by Charles Eisen. .......29 2-1 Drawing of Cirque deuxième projet, by E. Boullée...........................................................35 2-2 Drawing of Le Fort, by E Boullée. ...................................................................................38 2-3 Detail of Le Fort. ...............................................................................................................38 2-4 Section drawing of Eglise de Madeline, by E. Boullée. ....................................................44 3-1 Drawing of a hermitage gate and a hunting retreat , by Jean-Jacques Lequeu ..................46 3-2 Drawing of Nécropoles, by E. Boullée. .............................................................................47 3-3 Drawing of Funerary Monument, by E. Boullée. ..............................................................53 3-4 Detail of Funerary Monument. ..........................................................................................54 3-5 Drawing of Cenotaph proposal for the 1785 Grand Prix competition, by Pierre Fontaine..............................................................................................................................54 3-6 Drawing of Cemetery Entrance by the Moonlight, by E. Boullée. ....................................57 3-7 Detail of Cemetery Entrance by the Moonlight. ................................................................57 3-8 Drawing of Cénotaphe en forme de pyramide, by E. Boullée ...........................................58 3-9 E. Boullée, Drawing of Cénotaphe Tronqué, by E. Boullée..............................................62 3-10 Section drawing of Cénotaphe Tronqué, by E. Boullée ....................................................63 4-1 Drawing of Cénotaphe de Newton, by E. Boullée. ............................................................72 6 4-2 Drawing of l’effet de nuit intérieur, by by E. Boullée. ......................................................72 4-3 Section drawing of Temple of earth, by E. Boullée. ..........................................................73 7 Abstract of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architectural Studies ETIENNE-LOUIS BOULLÉE’S VISION OF NATURE IN ARCHITECTURE By Liang Shui May 2019 Chair: Hui Zou Member: Vandana Baweja Major: Architecture Relations with what is called “nature” are often fundamental to the understanding of our experience of the world, and therefore of our knowledge and our everyday life. Through centuries artists and architects have attempted relentlessly to integrate nature into the creative process. However, the meaning of nature is as ambiguous as it is complex and any attempt to systemize it once and for all will end in failure as nature by itself is multifaceted construct in constant evolution. Nevertheless, it is possible to examine specific narratives of nature in a particular section of history, which will provide critically important archeological examples that could potentially help today’s society to better understand our relations with nature. In this regard, the thesis conducted a hermeneutic study of the 18th-century French architect Etienne- Louis Boullée’s vision of nature by examining his architectural works from three major perspectives: composition, sentience, and contemplative value. Boullée's architectural designs are paradigmatic of the 18th-century French understanding of nature and at the same time they represent the distillation of his critical thinking about nature. Boullée's architectural works are a successful attempt to reconcile the infinite nature and finite mankind and moreover, they 8 provided today's architects with a way of articulating the abstract concept of nature through tangible architectural language. 9 CHAPTER 1 NATURE UNDER THE LIGHT OF ENLIGHTENMENT: 18TH-CENTURY FRENCH DISCOURSE ON NATURE AND ITS ARTISTIC RERESENTATION It does not seem to me that there is any other way at all surer than to admire Nature herself and, in general, to examine for a long time and very attentively in what manner Nature...has arranged the surfaces on beautiful
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