Journal of the Korean Institute of Interior Design http://dx.doi.org/10.14774/JKIID.2016.25.5.082 Vol.25 No.5 Serial No.118 _ 2016. 10
A Comparison between Francesco Borromini’s Architectural and Structural Design - Focusing on the Churches of San Carlo alle Quattro Fontane and Sant’Ivo alla Sapienza -
Author Fabio Dacarro / Korea University, Department of Architecture, Assistant Professor
Abstract This study aims to contribute to better understanding of the Baroque architect Francesco Borromini, and, as a consequence, of the Baroque period itself. Recognizing that historical studies have focused mainly on the architectural (i.e., formal) aspects of Borromini’s work and largely neglected the technical (i.e., structural) issues, and that the relationship between the architectural and structural worlds in Borromini’s activity has consequently never been studied in depth, this research set as its objective the study of this relationship, and has developed a comparative analysis of Borromini’s attitude toward architectural problems and questions of tectonics. The investigation has been conducted on two meaningful case-studies in Rome: San Carlo alle Quattro Fontane and Sant’Ivo alla Sapienza. The analysis has highlighted a strong dichotomy between Borromini as an architectural designer and Borromini as a structural designer. While Borromini’s design is experimental, innovative, and nonconformist, his structures are cautious, tested, and validated by trustworthy tradition. His unprejudiced use of constructive solutions from different historical periods, regions, and cultural areas allows the definition of his approach to tectonics as “constructive eclecticism.” The analysis has also highlighted the independence between the architectural and structural aspects of his work, as the two do not interfere with or limit each other. The dichotomy between form and structure in Borromini’s work may reflect the “theatrical” tendency of Baroque culture, where what is shown on the face is often different from what is hidden behind.
Keywords Borromini, Baroque, structure, San Carlo alle Quattro Fontane, Sant’Ivo alla Sapienza
1. Introduction extreme some spatial research started by Mannerism.2) His example was followed by such figures as Guarino Guarini and Bernardo Vittone 1.1. Study context and background in Italy, and by Balthasar Neumann and the Francesco Borromini (Bissone, 1599–Rome, Dientzenhofers in Germany, whose work would 1667) is widely recognized as one of the be crucial for development of the last sumptuous initiators and main protagonists of the early Baroque era. A nonconformist both in life and profession, an admirer of Michelangelo—the first 1) “Please remember, when sometimes it seems that I walk away from the common designs, of what Michelangelo, Prince of architectural heretic—fascinated by the endless Architects, said: those who follow others never go forward, and I, variety of natural forms and by the less dogmatic of course, would not dedicate myself to that profession with the purpose of being only a copyist, although I know that in buildings of Antiquity, he programmatically put inventing new things you only receive the fruit of your hard every effort into radical innovation in the work later...” (trans. by the author): Francesco Borromini, Opus 1) Architectonicum, Rome, 1725, cited in: Patetta, Luciano (ed.), architecture of his times. His revolutionary Storia dell’architettura; antologia critica, Etaslibri, Milan, 1989, p. approach extended from architectural language, 172. See also Downes, Kerry, Borromini’s Book. The ‘Full Relation of the Building’ of the Roman Oratory by Francesco Borromini where1)he drastically overcame the Vitruvian and Virgilio Spada of the Oratory, Oblong Creative, 2010 orthodoxy, to typology, where he brought to the 2) The latter features will be outlined in Sections 2.1 and 3.1
82 한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 Baroque season between the seventeenth and To these purposes, two of Borromini’s eighteenth centuries. buildings that provide meaningful architectural Historiography has focused most research and structural issues have been selected as case attention on the language, plastic, and typological studies and analyzed: the churches of San Carlo aspects of Borromini’s work.3) The structural alle Quattro Fontane (from 1634, in Rome) and features of his buildings have been rarely Sant’Ivo alla Sapienza (from 1642, in Rome). investigated, and although some recent studies Written and iconographic materials produced on (Bellini, 2000, 2004; Degni, 2007) have analyzed these buildings over more than three hundred the most eye-catching elements of his years of study have been carefully examined; architecture—the domes—and touched on several close attention was paid in particular to the technical issues, they were not meant to provide most recent and updated surveys (Sartor, 2000; overall conclusions on the relationship and De Carlo, Chiavoni, 2004). Through the mutual influence between architectural and elaboration of this material, the most relevant structural design in Borromini’s activity. structural choices have been identified, analyzed, and compared to those of contemporary or 1.2. Research objectives, scope, and method preceding architecture of similar building types. This study considers the latter topic not only An outline of the main architectural characteristics an indispensable argument for an adequate of the two churches has accompanied and understanding of the work of an architect— completed the analysis. The contrast between whose role is different from that of a pure artist structural and architectural analysis has allowed —but also a crucial question in dealing with some conclusions.6) periods like the Baroque, which are characterized The analysis of the two buildings will be by such daring architectural forms. developed separately (Sections 2 and 3) and Recognizing therefore a gap of knowledge in divided into architectural design issues (Section this field of study, the present research aims to 2.1 and 3.1) and structural design issues investigate the relationship (i.e., similarities, (Sections 2.2 and 3.2); the findings of the differences, and mutual influence) between the comparison between the two analyses will be architectural and structural dimensions in the synthesized in Section 4 which will precede work of Francesco Borromini through a Conclusions. comparative analysis of his (well-known) attitude toward architectural problems and his 2. San Carlo alle Quattro Fontane (1634–1667) (still to be explored) attitude toward questions of tectonics.4) The ultimate objective of the 2.1. Architectural design investigation is to reconstruct a more complete The church and monastery of San Carlo alle picture of one of the main protagonists of the Quattro Fontane, in Rome (Fig.1), was designed Baroque era, and consequently to provide some and built for the Spanish order of the material for expanding the understanding of important aspects of this historical period.5) 5) The philosophy of this research is inspired by the methodological approach of the studies on history of construction. History of 3) For an updated review of Borromini’s figure and a synthesis of Construction is a very recent discipline, the purpose of which is the studies on his work, see: Blunt, Anthony, Borromini, to expand the knowledge of historical structural questions beyond Harvard University Press, Belknap, 1979; see also Portoghesi, the usual well-investigated periods, such as Ancient Rome or Paolo, Borromini, Electa, Milan, 1967 Gothic. A review of the developments of these studies is shown 4) The term attitude deserves explanation in relation to the purposes by the website of the Construction History Society and by the of this study. Although the main technical features of his works proceedings of the conferences promoted by the Society itself: will be highlighted, this study will not develop a specific http://www.constructionhistory.co.uk/ structural analysis of them (for which a specialized approach is 6) The main architectural characteristics of the churches have only necessary), focusing instead on Borromini’s philosophy toward the been outlined through the review and synthesis of several past structural matter, and will try to understand how this philosophy and recent studies. It is not within the scope of this study to (i.e., attitude) affected his design choices. provide new architectural interpretations.
한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 8 3 Trinitarians between 1634 and 1644 (the church’s façade was completed between 1667 and 1680).7) In this small complex, Borromini’s typological research is focused on the church. The reference point for the floor-plan is the traditional Greek cross type, characterized by four arms of the same length. Nevertheless, this reference is re-elaborated through a dramatic geometrical manipulation: the arms of the cross are melted into a continuous undulating wall whose crucial points are marked by columns; the San Carlo alle San Carlo alle Quattro Quattro Fontane, interior Fontane, Borromini’s sketch with transversal arms are contracted to provide the (Welleschik composition diagram building with a longitudinal orientation. The (https://commons.wikimedia.org/w (Source: Bellini, 2004) interior is thus characterized by an organic iki/File:SCarloQuattroFontaneRo me1.jpg), continuity emphasized by the fluidity of the „SCarloQuattroFontaneRome1“, cornice (Fig. 2); the original reference type is no br by a, https://creativecommons.org/licen longer perceivable. However, a drawing by ses/by-sa/3.0/legalcode) Borromini (Fig. 3) shows how this apparently arbitrary plastic creation is actually the result of The dome, whose oval plan is a novelty itself,9) a rigorous geometric composition where an oval is shows an unconventional section. Its profile is, the generator figure, and triangles based on the in fact, semicircular along the major axis and circles of the oval’s construction identify the ogival on its minor axis; the vault, therefore, is limits of the dome, concluded by an equally oval not generated, as was customary, by a simple oculus (Fig. 4). Although at this level the c o m p o s i t i o n appears clearer than below, recent surveys have shown how the tridi mensi onal San Carlo alle Quattro Fontane, Pendentive, detail geometry of the view toward the dome (Chris Nas upper part of (https://commons.wikimedia. the church is org/wiki/File:TondoSanCarlo San Carlo alle Quattro Fontane, 4Fontane2.JPG), plan, engraving by S. Giannini, 1730. characterized by „TondoSanCarlo4Fontane2“, (Source: Bellini, 2004) an extreme https://creativecommons. org/licenses/by-sa/3.0/leg 8) complexity. alcode
rotation of the plan around its axis, but by 7) For a deeper description of this building see Blunt, Antony, Op. cit., passim. overlapping ovals, with different centers and 8) See the survey of the building presented at the International dimensions, along the two profiles. Conference on Francesco Borromini held in Rome in January The pendentives, on the other hand (Fig. 5), 2000 and published by: Sartor, Alessandro, “Il rilievo della fabbrica di San Carlo alle Quattro Fontane. Un contributo alla conoscenza delle idee progettuali dello spazio interno”, in building. These coordinates were later integrated with detailed Frommel, Christoph Luitpold and Sladek, Elisabeth (eds.), measurements. The results were rendered with 3D modeling Francesco Borromini, Atti del Convegno Internazionale, Electa, software. Rome, 2000, pp. 381 fol. The survey used a 3D scanner to 9) Anticipated only by the Mannerist church of Sant’Andrea in Via establish the coordinates of 6000 points inside and outside the Flaminia, in Rome (1553), by Vignola.
84 한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 are characterized by a shape that mathematicians marked by paired today call a “ruled surface.”10) In this part of columns—are diagonal this building, this kind of surface is the only to the main axis of possible solution to connect such varied the church; the geometrical entities as the linear basis of the supports-pendentives-arches cornice, the two (different) curves of the vertical system thus forms an arches supporting the dome, and the horizontal irregular o c ta g o n curve (different yet again) of the vault springer. (F ig . 6 ).12) T h is The inevitable discontinuity of such a surface is s y s te m is n o t a hidden by tondos and stucco angels. novelty: its origin is Bramante’s design for St. Peter’s Basilica, scheme of the In his tendency toward innovation, therefore, in Bramante’s project irregular octagon (drawing by the Borromini rethinks all the conventions and for the crossing of author) a=a ; b=b consolidated typological and linguistic traditions St. Peter’s Basilica, in of his times; the result is an unedited space the early sixteenth delimited by highly complex tridimensional century (Figs 7, 8). geometries.11) Generated by the triangular piers that 2.2. Structural design support the dome (Fig. The architectural and 7: W, X, Y, Z), this geometrical articulation arrangement was intended to St. Peter’s Basilica, view of the church makes it enhance the contrast of the of the crossing difficult to read its diagonal thrusts structural system at of the vault. first glance. More than The irregular by the plan, this is octagon with shown by a glimpse t r i a n g u l a r toward the dome (Fig. 4). piers and San Carlo alle Quattro At this level, it is trapezoidal Fontane, scheme of the irregular clear how the main pendentives octagon (drawing by the author) w o u l d Sant’Andrea in Mantua (1470), by Leon a=a ; b=b; c=c structure consists of become a Battista Alberti, plan four arches supporting (Source: Gargiani, 2003) the vault. The oval shape of the dome forces the c o m m o n arches to have different spans: longer in solution in all churches longitudinal arches, shorter in transversal ones. from the sixteenth The pendentives support the remaining diagonal century, replacing the sections of the vault. The pendentives are fifteenth-century standard of trapezoidal due to the shape and arrangement of a square crossing with the vertical structures that bear them and the square piers and triangular pendentives (Figs 9, 10).13) arches. If we go back to the plan (Fig. 1), in Sant’Andrea in fact, we can see that the vertical supports— Borromini adapted the Mantua, view of the crossing
10) A ruled surface is obtained by using straight lines to connect 12) The latter scheme was highlighted by Paolo Portoghesi in different geometric bodies; one of the simplest and most Portoghesi, Paolo, Borromini nella cultura europea, Rome, 1964, well-known ruled surfaces is the curved surface of a cone, plate A. which connects a point with the infinite points of a curve. 13) This solution was less effective in contrasting the diagonal 11) The aforementioned survey (See Sartor, Alessandro, Op. cit.) thrusts. For an analysis of the architectural meanings of the has highlighted how the complexity of Borromini’s shapes can system in Bramante’s architecture, see Bruschi, Arnaldo, be graphically rendered only through gross approximation (even Bramante, Thames and Hudson, London, 1973, ed. 1985, p.222 with the most current software). fol.
한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 8 5 system to an oval dome, necessarily facing an windows for increment of irregularity in the size of the octagon’s structural reasons sides (cf. Fig. 6 to Fig. 7). was developed Nevertheless, the lack of proper piers in San during the sixteenth Carlo must be noted. The function of St. Peter’s century, and at triangular supports is here entrusted to the four Borromini’s time small rooms that host chapels, entrances, stairs, was commonly and service rooms at the upper level (Fig. 6: W, applied to various X, Y, Z). All the walls of these rooms contribute buildings and in to supporting the dome, sharing its load, and varying forms.15) behaving together like a “hollow” pier; the The dome is aforementioned diagonal walls with paired e x t e r n a l l y San Carlo alle Quattro Fontane, columns (Fig. 6: b) are therefore just one side of covered by a section (engraving by S. Giannini, 1730) these four “piers.” The solution can also be lantern, a (Source: Bellini, 2004) referred to a past building, namely, Sant’Andrea structure traditionally meant to protect the vault. in Mantua (1470) designed by Leon Battista The solution is unusually prudent for a period Alberti (Figs 9, 10). In this church, all “piers” when most domes where emphatically exposed are hollow: those that support the barrel vault of (see for example Sant’Andrea della Valle, 1608). the nave, those that host chapels, and the four The reference point for this choice must under the dome, which accommodate spiral stairs probably be found in the Romanesque tradition, leading to the roof.14) and in particular in the Northern Italian-Lombard Examination of the section of San Carlo (Fig. context, where Borromini’s formation most likely 11) allows us to identify several other references took place (Fig. 12). 16) Unlike Romanesque to traditional structural solutions with different examples, however, in which the structure of the origins. The octagonal windows in the dome, for example, obey the same principle mentioned for the “piers” (see note 14): they interrupt the vault and convey its load toward the “piers” themselves, the strongest parts of the building. The idea of interrupting the continuity of a vault with
14) Sant’Andrea’s “hollow” piers come from Alberti’s observation of “hollow” structures in Roman buildings such as the Pantheon (Leon Battista Alberti, L’architettura (De re aedificatoria, 1450c.), Il Polifilo, Milan, 1989, Book VII, Ch. X, p. 329). Alberti Sant’Ambrogio, Milan Pantheon, recognized that not all the masonry of a building is structurally (11th c.), section of the lantern Rome (126 AD), indispensable; on the contrary, it is possible to remove parts of (Source: Dionigi, Storchi, 2007) section it according to the direction of the loads, provided that the (Source: Palladio, 1470, thrusts are conveyed toward some specific resistant points of ed. 1980) the structure. In the hollows created by removal of masonry, lantern is independent from the dome and simply niches, openings, or other spaces can be placed, saving work and materials and increasing space. See also Gargiani, Roberto, covers it, San Carlo’s lantern is merged with the Principi e costruzione nell’architettura italiana del Quattrocento, masonry of the vault to provide stability and Laterza, Bari, 2003, pp. 370 fol. Although it is questionable whether Borromini referred to this strengthen its haunches. The origin of this specific building, it is clear that he was familiar with its structural principle, which, moreover, was quite an established tradition at his time, as it was adopted by several architects 15) For a synthetic review of the development of the vaults after Alberti (see for example Church of the Gesu’ in Rome and between the fifteenth and sixteenth centuries, see Bellini, San Fedele in Milan, 16th c.). The opinion of Federico Bellini, Federico, op. cit., 2004, p.88, n.20 who highlights the structural characteristics of San Carlo when 16) Several scholars, after his first biographer Filippo Baldinucci praising Borromini’s solutions as “unconventional“, cannot be (1681), hypothesized Borromini’s apprenticeship in Milan, and in shared (Bellini, Federico, “Le cupole di Borromini. La “scienza” particular at the building site of Milan’s gothic cathedral. See costruttiva in eta’ barocca”, Electa, Milan, 2004, pp. 128 fol.). Blunt, Anthony, op. cit., 1979, p.79. Cf. note 22
86 한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 “contamination” of the Lombard type is completely new type presumably the Pantheon (Fig. 13), as the characterized by stepped profile of the external upper part also centrality, but with a suggests. Finally, the oversized roof lantern may layout that cannot be be a reminiscence of the Gothic spires, which found in either ancient were also meant to strengthen the solidity of the or contemporary architecture. system through their weight (cf. note 16). The dome of the Therefore, behind its experimental and church (Fig. 15) is innovative forms, San Carlo alle Quattro Fontane the apex of Borromini’s hides a compilation of structural traditions, reinvention of established Sant’Ivo alla Sapienza, view toward the dome reliable construction knowledge drawn from types. Its pattern of (Source: Bosel, Frommel, 2000) different ages and places. Borromini wisely six concave and combines these solutions to provide his building convex segments has loose precedents only in with the highest possible structural efficiency. some unconventional buildings of antiquity (e.g., the pavilions of Hadrian’s villa in Tivoli, 2nd c. 3. Sant’Ivo alla Sapienza (1642–1660) AD). If its shape seems complex at a first glance, closer investigation reveals an even higher degree of elaboration.18) From the bottom 3.1. Architectural design upwards, for two-thirds of its height, the vault’s Sant’Ivo alla Sapienza was designed and built sections repeat the alternating concave-convex between 1642 and 1660 as a chapel of the palace layout of the walls; in the last third, the three that hosted La Sapienza, the University of convex segments become concave, like the three Rome. adjacent segments. Thus, the upper part of the Borromini’s architectural experimentation starts dome has six concave segments of the same once again from the plan (Fig. 14). Its size. As in San Carlo’s pendentives, the compositional logic, as in San Carlo, is purely discontinuity of the surfaces is hidden by the geometrical and has been interpreted by scholars stucco decorations above the windows. in different ways: a Therefore, in this church too, Borromini’s combination of two purpose is to subvert any typological, lexical, intersecting equilateral and geometric convention of his time; Sant’Ivo triangles (Giannini, 1720); presents itself as the starting point for a new a pattern generated by tradition. a hexagon (Steinberg, 1977); “triangle plus apses 3.2. Structural design minus corners” (Connors, The structural features of Sant’Ivo must be 1996); a hexagon inscribed analyzed starting from the dome. in a circle (Smyth-Pinney, As in San Carlo, the vault is protected by a 2000). Each of these lantern (Fig. 16). Unlike San Carlo, the lantern hypotheses led to a covers only part of the dome, namely two-thirds Sant’Ivo alla Sapienza, different interpretation of plan (engraving by S. Giannini, of its height from the springing upwards; in this the underlying symbolic 1720) section, its masonry is merged with the vertical (Source: Bellini, 2004) meaning.17) Although Borromini’s original intention is still disputable, the result was a 18) The results of the most recent survey on the building have been reported in De Carlo, Laura, Chiavoni, Emanuela, Geometry and Symbols in Sant’Ivo alla Sapienza in Rome, in Tampone, 17) Because an in-depth analysis of this topic is not within the Gennaro et al. (eds.), Domes in the World, Nardini Editore, scope of this study, for detailed references to these and other Florence, 2012. See also Bellini, Federico, Op. cit., 2004, pp. hypotheses, refer to Bellini, Federico, Op. cit., 2004, pp. 158-65. 178-180.
한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 8 7 walls of the lantern. concave, creating a pattern of six identical The rest of the vault— concave segments.20) This solution, only the upper third— apparently aesthetic (increasing the bulge of the emerges from the dome), realizes a construction in which lantern and shows its transversal concave vaults convey their loads to convex extrados (Figs radial ribs. This structure is an Early 16, 17). The reference Renaissance system elaborated by Filippo for this partially Brunelleschi in the fifteenth century, applied for exposed dome comes the first time in the Old Sacristy of San Lorenzo again from Lombardy, in Florence (1420), and repeatedly adopted where the solution was thereafter by him and his followers. Typically developed in the late called a “crest and sails” dome (but also an sixteenth century and “umbrella” vault) by historians (Fig.18),21) it was
Sant’Ivo alla Sapienza, remained currently in one of the most sound and reliable structures of axonometric section use at the time of the recent tradition, perfectly appropriate to (Source: Bosel, Frommel, 2000) Borromini (e.g., San guarantee firmness to any critical structural Lorenzo’s dome and portion of a building, like this portion of lantern, in Milan, Sant’Ivo. reconstructed from Borromini, however, slightly adapts the “crest 1574).19) The Pantheon and sails” design to the needs of his itself could be a construction. The “sails,” usually protected by a co-reference for the roof, are exposed, and the “crests,” the true merging of lantern and bones of the system, are emphasized and made dome walls (cf. Section similar in shape and function to flying buttresses 2.2), especially because (Figs 16, 17). This, together with the pinnacles here too, as in San placed at the extremities, lends the upper part of Carlo, its stepped the dome a Gothic feeling. Also Gothic, despite section is cited. its classic language, is the spiral roof lantern, Sant’Ivo alla Sapienza, The most remarkable vertical and oversized, meant to provide the view of the lantern structural aspect of the construction with stability through its weight as dome concerns a medieval spire.22) precisely the upper third. This part is the weakest, as it notoriously corresponds to the breaking point 20) For a more detailed description of the geometric characteristics of the vault and it is Reconstruction of the of this structure, see references in note 18 “crest and sails” vault of Cappella not protected by the 21) For a detailed treatment, see: Ippolito, Lamberto, “Cupole toscane Pazzi in Florence (1429), by F. lantern. To mitigate dei secoli XV e XVI”, in Conforti, Claudia (ed.), Lo specchio del Brunelleschi cielo. Forme, significati, tecniche e funzioni della cupola dal (Source: Conforti, 1997) this fragility, Borromini Pantheon al Novecento, Electa, Milan, 1997. p. 87, and Gargiani, relied once again on Roberto, Op. cit., 2003, p.8. See also Bellini, Federico, Op. cit., 2004, p.180 the experience of the past. As mentioned in 22) Cf. Section 2.2, note 16. A certain tendency of Borromini toward Section 3.1, in this section the curves of three of the Gothic was also noticed by his contemporaries: “The style of Mr. Borromini was Gothic; this is not surprising since he the six vault segments change from convex to was born in Milan (sic) where there was the Cathedral, a Gothic architecture” (trans. by the author); from the diary of 19) For the architecture of this period in Milan and this specific Carlo Cartari, 17th c., cit. in Simoncini, Giorgio et al., Tradizione issue, see Denti, Giovanni, Architettura a Milano tra medievale nell’architettura italiana dal XV al XVIII secolo, Leo controriforma e barocco, Firenze, Alinea, 1988. S. Olschki, Florence, 1992, p.34
88 한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 accurate control of the loads’ direction (see Section 2.2, note 14). In Sant’Ivo, Borromini applies this principle in a more consistent and extended way than in San Carlo, and by doing this he naturally cites those structural cultures that brought the principle to the extreme, like the Gothic. These can therefore be considered only an indirect reference here.23) Finally, a structure lightened in this way must necessarily be stiffened. The three double-level
Sant’Ivo alla Sant’Ivo alla Sapienza, exedras of the convex sides (Figs 19, 20) respond Sapienza, interior detail of the exedra precisely to this structural need, flanking the six (Source: Roberto Boni phot.) I, Sailko loadbearing corners. For some critics,24) this is a (https://commons.wikimedia.org/wiki/Fil e:Sant'ivo_alla_sapienza,_interno_02.J further citation from another constructive culture: PG), „Sant'ivo alla sapienza, interno the Byzantine world (see the “pierced” exedras of 02“, https://creativecommons.org/licenses/b Hagia Sophia in Constantinople, 6th c. AD). y-sa/3.0/legalcode Ancient Rome, Byzantium, Lombardy, Romanesque, Gothic, Early and High Renaissance; The crests (or ribs) of the dome convey the the observations in San Carlo (see Section 2.2) load of the vault towards the six corners marked can be repeated for Sant’Ivo: the church is a true by pilasters (Figs 16, 19, 20), which are the anthology of structural examples from the past ultimate supports of the building. Sant’Ivo’s and recent history of tectonics. Borromini structure consists essentially of this diligently adopts and combines his references to ribs-and-corners skeleton; the rest of the realize a perfectly stable and balanced organism. masonry is structurally “superfluous” and can be dug into or removed. Borromini’s choices are consistent with this principle. Wide windows are 4. Borromini as an architectural and structural opened between the ribs of the dome (meant to designer divert its load to the strongest parts of the structure, as in San Carlo and the vaults of the Comparison between the findings of the sixteenth century, cf. Section 2.2). The concave architectural and structural analyses of San and convex walls below the dome are carved by Carlo alle Quattro Fontane and Sant’Ivo alla several niches, apses, and doors. Their light Sapienza allows us to consider the relationship thickness shows their non-structural role. between the architectural and the structural Sant’Ivo can therefore be interpreted as an dimensions in the work and in the figure of organism comprised of supporting “bones” (the Francesco Borromini. The findings of the structural canopy composed of ribs and corners) analyses have been synthesized in Table 1, at and thin, non-structural material that fills the the end of this section. gaps between bones (the concave-convex walls A clear dichotomy between Borromini as an and the sectors of the dome). The first reference that comes to mind is the Gothic world; but 23) The fact that the Roman principle of the carved (or “hollow”) further consideration reveals that Borromini masonry—with the consequential reinforcement of the points of the structure where the loads convey—was a leading reference bases his structural choices for Sant’Ivo on the in Borromini’s structural work is witnessed by his own words: same principle he outlined in San Carlo, and that “I decided to follow the steps of the ancients, who never dared to put vaults on walls … but on columns and pillars, like in Alberti had observed in Roman architecture— Santa Maria degli Angeli, in Hadrian’s Villa in Tivoli and in namely, the possibility of removing “unnecessary” Diocletian baths” (trans. by the author): Francesco Borromini, masonry from an architectural organism thanks to Opus Architectonicum, Rome, 1725. 24) Cf. Bellini, Federico, Op. cit., 2004, p.178
한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 8 9 architectural designer and Borromini as a interfere with each other. The experimentalism of structural designer emerge from the analysis. As Borromini’s forms does not lead—as would happen in an architectural designer, as seen in Sections 2.1 other historical periods—to a real structural innovation; and 3.1, Borromini aims for absolute novelty and vice versa, the traditionalism of the structural systems makes every effort not to be considered “only a adopted does not limit formal innovation, although the copyist.” His linguistic and particularly his latter is achieved through no small geometric—and typological and geometric solutions do not have probably constructive—struggle.26) any real precedent in distant or recent history, If, finally, we consider on a more general level except for some isolated examples from the cultural world in which Borromini acts, we antiquity. Even when some references seem could attempt a further consideration. The recognizable (the Gothic style is most often aforementioned dichotomy between the uniqueness linked to his work), the citation is always loose, of the form (which can be clearly seen and not literal, and more conceptual (vertical, appreciated) and the traditionalism of the structure diaphanous, mixtilinear) than physical. Although (which is not immediately visible) can be defined he is strictly speaking still a “classicist,” he as “theatrical”, since it is characterized by a drastically manipulates the classical language and “scene” that hides a completely different rules to transcend any architectural experience of “backstage.” This matches well with the spirit of his times (see Table 1, Architectural design). the Baroque era. In the Baroque world, in fact, His attitude as a structural designer, on the other everything (from economy to art to religion) is hand, seems to run completely opposite. As theatrical, namely characterized by a strong highlighted in Sections 2.2 and 3.2, Borromini is not contrast between what is represented and what is an experimenter in designing his structures. His hidden behind the representation.27) Borromini’s choices are, on the contrary, cautious and, above all, theatrical/ dichotomous approach to architecture, validated by decades or centuries of tradition. therefore, is closely linked to the general spirit of Without any prejudice, he capitalizes upon the most his time and to the expression of the latter in successful and trustworthy solutions from the past other fields. His example likely served as a —the efficiency of which is guaranteed, since it has stimulus for the development of this mentality in been tested in several prestigious buildings—and the continuation of the Baroque experience.28) combines them wisely to realize a steady The following Table 1 synthesizes the findings construction. His sources come indifferently from of the analyses conducted in Sections 2.1, 2.2, Antiquity, Late Antiquity, Romanesque, Gothic, 3.1, and 3.2. The table highlights the main Early or High Renaissance periods; they stem from different regions and cultures geographically distant 26) Some studies have tried to reconstruct how Borromini could from each other. If, on the one hand, the ancient communicate his ideas to the building site and direct the realization of such complex and unconventional shapes; among 25) principle of “carved masonry” is the main basis the hypotheses we can highlight the possible use of easily of his cultural background, on the other hand he is moldable wax models and physical demonstrations to the workers of the building procedures; see for example Bellini, able to understand, learn about, and apply all that Federico, Op. cit., 2004, pp. 102-104. can be taught by the cultures that developed and 27) The luxury flaunted in public or private events, for example, hides brought that principle to the extreme. Thus, we can a deep economic crisis started in the previous century (the Baroque economy is actually on the verge of bankruptcy). Art, define Borromini’s approach to the technical with its vivid colors, special effects and surprising sceneries, is dimension of architecture as “structural eclecticism” meant to stimulate the senses, not the mind (and what the mind could discover). The religious thought, visualized and popularized (See Table 1, Structural design). through modern and dynamic means of propaganda (art, literature, Another issue that appears to emerge from the theatre itself) is actually receding toward very conservative positions, after the battle of the Counter Reformation. analysis is that these two dichotomous dimensions For this aspect of the Baroque culture see Norman, Larry (ed.), The (form and structure) are independent and do not Theatrical Baroque, University of Chicago Press, Chicago, 2001. 28) This study believes that this topic deserves attention and needs to be thoroughly discussed in a separate context. Therefore, the issues that have been outlined in 25) See Section 2.2., note 14 and Section 3.2, note 23. the last part of this section will be the object of a further research.
90 한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 architectural and structural design features of understanding of the figure of Baroque architect San Carlo and Sant’Ivo and their affinity with or Francesco Borromini, and consequently the difference from tradition and historical Baroque period itself. Recognizing that the precedents. As we saw in this and in the architectural (i.e., formal) aspects of Borromini’s previous sections, this study has considered the work have overshadowed the technical (i.e., relationship with tradition a fundamental structural) in historical studies, and that the parameter to assess Borromini’s attitude toward relationship between these two dimensions of his architectural and structural problems. activity has thus never been studied in depth, this study set this as its objective and developed
San Carlo and Sant’Ivo’s architectural and structural design features and their relationship with historical precedents. a comparative analysis of Borromini’s attitude toward architectural problems and questions of ARCHITECTURAL DESIGN SAN CARLO SANT’IVO tectonics. The investigation was conducted on Relationship with Relationship with Features Features two meaningful case-studies in Rome: San Carlo precedents precedents Plan: Greek cross Plan: generated by alle Quattro Fontane and Sant’Ivo alla Sapienza. “manipulated” the combination of ≠ traditional central ≠ original type The analysis highlighted a strong dichotomy basic geometric plans figures between Borromini as an architectural designer Section: dome Section: and Borromini as a structural designer. Whereas composed by concave-convex ≠ traditional overlapping ovals ≠ traditional dome becoming all single-section Borromini’s design is experimental, innovative, and characterized rotational dome convex in its upper domes by a double and nonconformist, his structures are prudent, third section tested, and validated by trustworthy tradition. Section: ≠ traditional pendentives His unprejudiced use of reliable constructive spherical characterized by a pendentives solutions from various different historical periods, ruled surface STRUCTURAL DESIGN regions, and cultural areas allows for a definition Plan: loads of his approach to tectonics as “constructive concentrated on six corners by the eclecticism.” The analysis also highlighted the Plan: conceptually ＝ examples after vault’s ribs; non ＝ Gothic based on an St. Peter in Rome independence between the architectural and structural walls construction* irregular octagon (16th c.) between corners structural dimensions in Borromini’s work, which and ribs dug or do not interfere with or limit each other. The removed Section: upper third dichotomy between form and structure ＝ crests and sails ＝ examples after of the dome Plan: “hollow” dome by Filippo identifiable in Borromini’s work may reflect the Sant’Andrea in characterized by structure Brunelleschi (15th Mantua (15th c.) concave segments “theatrical” tendency of the Baroque culture, c.) and radial ribs where what is shown on the surface is often Section: windows in the vault Section: dome ＝ Lombard different from what is hidden behind. ＝ examples from conveying the partially covered by examples from the the 16th c. The findings of the research have provided loads toward lantern 16th c. structural supports hints for a deeper knowledge of the figure of ＝ Lombard Section: prominent Section: dome examples from vertical roof lantern, ＝ Gothic Borromini and his era, from perspectives slightly entirely covered by Middle Ages to pinnacles, and construction lantern different from the usual. Renaissance emphasized ribs Section: prominent ＝ Gothic However, the fact that the analysis was vertical roof lantern construction conducted on only two—however exemplary—
LEGEND buildings may present a limitation to the range ＝ : similar to, coming from of data collected. Expanding the investigation to ≠ : different to, far from Notes other works of Borromini is therefore necessary * via Roman construction, see notes 14 and 23 to corroborate these findings with more conspicuous material. Analysis supported by 5. Conclusions more specialized instruments (accurate surveys, structural analysis and calculation, etc.; cf. note This research aimed to contribute to better 4) is also desirable, which would provide not
한국실내디자인학회논문집 제25권 5호 통권118호 _ 2016.10 9 1 only a deeper knowledge of the relationship 13. Patetta, Luciano (ed.), Storia dell’architettura; antologia critica, between form and structure, but also a more Etaslibri, Milan, 1989 14. Portoghesi, Paolo, Borromini nella cultura europea, Rome, 1964 circumstantial idea of the skills and sharpness or 15. Portoghesi, Paolo, Borromini, Electa, Milan, 1967 the naivety and mistakes of the designer. 16. Sartor, Alessandro, “Il rilievo della fabbrica di San Carlo alle Quattro Fontane. Un contributo alla conoscenza delle idee Once the figure of Borromini has been progettuali dello spazio interno”, in Frommel, Christoph thoroughly investigated, it would be opportune to Luitpold and Sladek, Elisabeth (eds.), Francesco Borromini, extend the analysis to other protagonists of the Atti del Convegno Internazionale, Electa, Rome, 2000 17. http://www.constructionhistory.co.uk/ Baroque era (e.g., Bernini, Guarini, Vittone), with the aim of finding differences and similarities in [논문접수 : 2016. 08. 24] their approach to architectural and structural [1차 심사 : 2016. 09. 17] [게재확정 : 2016. 10. 07] design. This may provide precious material to understand whether Borromini’s attitude is just an isolated case, or a reflection of the entire era’s culture (cf. Section 4, note 28). Expanding the knowledge of historical facts to the technological dimension, a relatively new historiographical approach, is a desirable development of historical studies and can provide enlightening clues for a better understanding of the present, in which technology has become a central question of architectural phenomena.
References 1. Leon Battista Alberti, L’architettura (De re aedificatoria, 1450c.), Il Polifilo, Milan, 1989 2. Bellini, Federico, “La statica delle cupole borrominiane. Suggestioni dall’antichità e tecniche moderne”, in Frommel, Christoph Luitpold and Sladek, Elisabeth (eds.), Francesco Borromini, Atti del Convegno Internazionale, Electa, Rome, 2000 3. Bellini, Federico, Le cupole di Borromini, la “scienza” costruttiva in eta’ barocca, Electa, Milan, 2004 4. Blunt, Anthony, Borromini, Harvard University Press, Belknap, 1979 5. Bruschi, Arnaldo, Bramante, Thames and Hudson, London, 1973, ed. 1985 6. De Carlo, Laura, Chiavoni, Emanuela, “Geometry and Symbols in Sant’Ivo alla Sapienza in Rome”, in Tampone, Gennaro et al. (eds.), Domes in the World, Nardini Editore, Florence, 2012 7. Degni, Paola et al.., “La ‘Fabrica’ di San Carlino alle Quattro Fontane: gli anni del restauro”, Bollettino d’arte, (special issue), 2007 8. Denti, Giovanni, Architettura a Milano tra controriforma e barocco, Firenze, Alinea, 1988 9. Downes, Kerry, Borromini’s Book. The ‘Full Relation of the Building’ of the Roman Oratory by Francesco Borromini and Virgilio Spada of the Oratory, Oblong Creative, 2010 10. Gargiani, Roberto, Principi e costruzione nell’architettura italiana del Quattrocento, Laterza, Bari, 2003 11. Ippolito, Lamberto, “Cupole toscane dei secoli XV e XVI”, in Conforti, Claudia (ed.), Lo specchio del cielo. Forme, significati, tecniche e funzioni della cupola dal Pantheon al Novecento, Electa, Milan, 1997 12. Norman, Larry (ed.), The Theatrical Baroque, University of Chicago Press, Chicago, 2001