Boullee was born in 1728 in Paris, France. He spent his entire life in Paris working first as a painter and later as an architectural theorist. He buildings demarcated his philosophy of the combining elements like Lights, the love of the geometry (simple geometrical forms) and a gigantic scale (accumulation of masses). He developed a clean geometrical style, inspired by the traditional forms and characterized by the removal of any surplus ornamentation, the enlarging of the geometrical forms on a gigantic scale and the repetition in very great number of elements such as the columns. The required objective was to produce an impression of magnificence and seriousness suitable to inspire the respect with the citizens, while suggesting the dignity of the universe and the subjacent rational intention. He promoted the concept of an architecture expressing its function. Reacting against the prevalent rococo style, characterized by elaborate ornamentation, he employed many Greek and Roman architectural elements that recalled the classical taste of the 1600s. He believed that beauty was rooted in symmetry, regularity, and variety—qualities that he observed in nature. He contrasted the positive emotional effects of regular shapes, such as spheres, with those of irregular forms.
He was a born in 1905 and became a German architect and Nazi minister of armaments and war production. His earlier work was less influenced by Hitler and Troost, especially the work done for the Ministry of Propaganda, can be viewed as displaying Speer’s considerable skill at balancing Neo-Classical elements in a manner so delineate as to be almost Modern. The rallies, so successful in affecting the senses, has more to do with the aesthetics of Modernism than Classicism, more precisely the theatrical productions which Speer was so influenced by in the twenties. The designs for the Haupttribune and the Nazi Eagle are very flat, almost planar, and appear to be more like backdrop than a Classical Roman architecture. He combined Classicism with definitely Modern rectilinear forms. Both these projects, as well as the Reichsparteitag, call into question the fine line between the severe geometry of Classicism as manifested in the work of Ledoux and Boullee, and the Classical proportions of Modernism in the later work of Mies van der Rohe.
A strong impression of boullee can be seen in albert speer,s works. Albert speer converted his thoughts and inspiration into reality by the receiving patronization from adolf Hitler whereas Boullee could just imagine and make visionary drawings. In his designs Boullee restricted himself to the use of simple, geometrical shapes, such as pyramids, sphere and cylinders. His work was characterized by the removal of all unnecessary ornamentation. He made pure geometric forms. In his design Albert speer used other decorative features like eagles in his buildings in repeating way. Albert invented a new architectural Order. He is a war time architect so his works had a resourceful plan and scale and on the other hand had the architecture reflecting the stability and the power of the Nazis.