History, Theory & Criticism | 49CTBUH Journal | 2023 Issue III
Figure 6. Étienne-Louis Boullée’s Cenotaph for Sir Isaac Newton, 1784, is in some ways
a pre-digital work of AI—its purpose was to express Newtonian ideas and symbolism,
not to be a real building. Source: Miller, 2014
outcomes are extensive, and thus reveal T2I
AI’s greatest power: providing answers to
“what if?” in compelling ways.
T2I AI as Architectural “What Ifs?”
While seductive and instantaneous images
are not the goal of architecture, the value of
T2I AI lies in its ability to inspire new ideas. It’s
a tool free from constraints, which can
facilitate unconventional design solutions.
Proposing grand, audacious, and
intentionally conceptual ideas is not new in
architecture. Throughout history, there has
been a consistent parallel form of expression
and thought, separate from everyday
practice, intended to push the boundaries of
what is possible.
Étienne-Louis Boullée and Claude-Nicolas
Ledoux were French architects who lived
during the 18th century, a time of great
intellectual and artistic innovation in Europe.
Both were leaders of the Neoclassical
movement, which sought to revive the
classical forms and principles of ancient
Greece and Rome. Their designs were bold
and innovative, often characterized by
massive scale and powerful geometry.
One of the most notable works of Boullée
was his Cenotaph for Sir Isaac Newton
(Figure 6), which he designed in 1784, 40
years after Newton’s death (Miller 2014). The
Cenotaph was not intended to be a practical
or functional building, but rather an
avant-garde work of architecture. Boullée’s
design was highly conceptual and was
meant to express the grandeur and
significance of Newton’s achievements
through a monumental, symbolic form.
Ledoux’s most famous project was his 1804
design for the House of Surveyors of the
Loue River (see Figure 7) and was also
intended to be visionary work. The project
was part of Ledoux’s larger plan for a utopian
city called Chaux, which he designed for the
king of Prussia. It was a vision of a self-
sufficient community, with all the necessary
functions of daily life contained within a
single, massive complex. The buildings were
to be surrounded by gardens and farmland,
with a central courtyard containing a
fountain and statue (Etlin 1995).
The work of avant-garde architects such as
Archigram (1961–74) are modern examples
of conceptual thinkers who proposed
several radical and innovative concepts that
challenged notions of architecture and
urban design (Moore 2018). Their ideas
were diverse and futuristic. Some of their
most notable concepts include the “Plug-in
City” to the “Walking City” and the “Instant
City.” The “Plug-in City” was a modular and
adaptable city that could be built and
rebuilt as needed, while the “Walking City”
was made up of giant, self-contained
robots or “pods” that could move around
and reconfigure themselves based on the
needs of their inhabitants. The “Instant City”
(see Figure 8), on the other hand, was a
concept for creating temporary and mobile
structures that could be deployed quickly to
meet the needs of people in emergency
situations. While these concepts may have
seemed far-fetched at the time, they have
had a profound impact on the field of
architecture and continue to inspire new
ways of thinking about the built
environment. By pushing the boundaries of
what is possible in architecture, groups like
Archigram have influenced architects to
explore new possibilities.
Archigram’s influence on real-world
architecture can be seen in many
contemporary buildings and designs that
have been inspired by their futuristic and
unconventional concepts (see TalkingTall,
page 58). For example, one could compare
the design of the Centre Pompidou in Paris
(see Figure 9 )completed in 1977 and
designed by Richard Rogers and Renzo Piano,
to the Plug-in City concept. The 20th-century
high-tech design was driven by the concept
of “inside-out” or “reverse architecture,”
where the building’s mechanical and
functional systems are exposed on the
outside. This design approach allows for
flexible, column-free, and adaptable interior
spaces, with the ability to reconfigure over
time. The building’s colorful pipes and ducts
are not merely decorative but serve a
functional purpose distributing air, water, and
electricity throughout the structure.
Figure 7. Claude-Nicolas Ledoux, House of Surveyors of the Loue River (1804), is the
visionary work of an architect, with no intention to build. Source: Ricci, n.d.