Abstract This paper focuses on exploring a monumental effect of a single small object inside the vast space. The concept of monumentalism refers to huge structures made of stone and created in public places. Pyramids, platform mounds, and cenotaphs are the core representatives of the monumental architecture. As a rule, such object serves for religious or immortalisation purposes, thus embodying greatness and rationality. This essay studies the effect of Boulléee’s cenotaphs in the framework of modern urban mass, primarily exterior, but also interior. The essay starts with the presentation of the background of monumentalism and its role in architecture. The body of the paper discovers Boullée’s approach to the design of cenotaphs, the monuments in a place that does not contain the remains of the deceased one that serves as a symbolic grave. For instance, one of the most prominent works of Boullée is cenotaph for Newton towering as a symbol of Enlightenment ideals. As noted by Kaufmann, the purpose of such a great piece of art is to inspire and envision through special forms in order to create a totalising architecture: “the curvature alone, without beginning, without end, is to dominate”. Boullée was utilising geometrical forms not only as a heritage of Ancient times, but more as a way to re-consider the role of the monumental architecture. Another work of the mentioned architect, the Opera House designed as cylindrical construction with a domical crypt, is a vivid example of his interest in geometrical forms. Furthermore, the essay discusses other works of Boullée that represent the authors’ integration of classical elements and drama closely intertwined and balanced. The conclusion section completes the essay and enumerates the key insights. Introduction Space is the paramount tool of monumentalism and avant-garde art that have always been different in scale and dimension. The former significantly exceeded the reality, and the latter seemed to raise and flow in parallel 1 . At a time when classicism reigns in Europe, and urban architectural ensembles obey strict canons and clear rules, Etienne-Louis Boullée, the French visionary draftsman, acts as one of the first architects to challenge nature. With his incredible projects, he changes the very essence and purpose of architecture. The pivotal objective of this paper is to reveal Boullée’s perception of monumentalism and the effects his architecture makes, focusing on the role of a single object in the vast space. The struggle for new forms along with the inability to fit the reorganization and reorientation of the 19th century predetermined Boullée’s architectural works. Background In theoretical projects of public constructions, Boullée aspires to evoke the exalted feelings in the audience through architectural forms that reflect immensity capable of inspiring fear, the greatness of the world, and divine wisdom relating to the very beginning of time 2 . Simultaneously, there is a strong influence of antiquity, especially those of Egyptian architectural structures 3 . A distinctive feature of the works by Boullée is the abstraction of geometric forms of antique works and their transformation