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If there is any space that may offer a volume for immersion, it is the one afforded by architecture, an art that enables the person who enters it to experience and test the volume surrounding them. But, from the panoramas of the 19th century to our virtual reality goggles today, what have been the consequences of the new modes of vision provided by modernity, of these “artificial” immersions, on the philosophy of architecture? And how have the philosophers of architecture, from Plato to Valéry, framed this issue? That is the question asked by this article, following up on the Spheres trilogy, which retraces the process that lead man from bubble to foam. In particular, it considers the phenomenon of man’s dwelling in the “palace of crystal.” Where does immersion lead us? To what immersion does it lead us? To what degree is architectural immersion also an immersion in the empire? Is architecture, simply by virtue of the fact that it is concerned with immersion, already a form of totalitarianism? It is by referring to Valéry and his Eupalinos that we can entertain a conception of the house as a “diving installation”: a space given form and replacing the original environment, a space, in the end, of voluntary servitude.