Francesco Borromini (1599-1667) was another figure who contemplated the fusion between architecture and the human form, albeit in a distinct manner. Born in the late Renaissance, Borromini emerged during the Baroque period, a time characterized by dramatic intensity and a break from the rigid symmetry that previously dominated architecture.
Unlike Leonardo da Vinci, who based his architectural design on the symmetry and proportionality found within the human form, Borromini was fascinated by the fluidity of our anatomy. The human body, he observed, was not merely a collection of symmetric parts but a seamless integration of these components into an organic, continuously transforming entity. To Borromini, our bodies didn't adhere to perfect geometry; they were dynamic and ever-changing.
Drawing inspiration from this perception, Borromini's architectural style was revolutionary. His buildings do not rigidly conform to geometric principles. Instead, they encapsulate the dynamism and vitality of life, mimicking the natural movements found in the human body.
One of Borromini's most celebrated works is the Church of San Carlo alle Quattro Fontane in Rome. With its undulating façade and fluid interior, the church exemplifies Borromini's unique approach. The concave-convex rhythm of the façade is reminiscent of the rhythm of our breathing: inhalation and exhalation. This rhythm is echoed within the interior, where the walls undulate like a heartbeat, creating an immersive and emotionally resonant experience.
Much like the human body, Borromini's architecture is not static; it pulses, breathes, and evolves. It captures the human experience of continual adaptation to the world around us, reflecting the strength and resilience inherent in our nature.
To be clear, historical records do not specifically state that Borromini was directly influenced by the human body's fluidity in his architectural designs. My statement regarding Borromini's fascination with the fluidity of human anatomy was a hypothetical construct intended to provide an interpretation of his architectural style, rather than a documented fact about his personal beliefs or inspirations.
Acknowledgements
A special note of appreciation to Francesca Grignaffini for granting permission to use her beautiful photographs in this blog post.