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How did Francesco Borromini use concave and convex forms in his buildings?
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Baroque art and architecture
Judith with Her Maidservant, oil painting by Artemisia Gentileschi, 1618–19; at the Pitti Palace, Florence.
Francesco Borromini, a central figure in Baroque architecture, utilized concave and convex forms to transform static surfaces into fluid, active masses. By rejecting traditional, rigid wall structures, he created buildings characterized by undulating surfaces that emphasize movement and spatial dynamism.1
His application of these forms is most notably demonstrated in the following ways:
- Integrated Facades and Interiors: At San Carlo alle Quattro Fontane, Borromini designed both the floor plan and the facade with undulating, convex, and concave curves. These fluid masses allow the architecture to appear as if it is expanding and contracting, a technique he observed in the work of Michelangelo.213
- Symbolic and Structural Expression: Borromini viewed these forms as more than decorative; for instance, he interpreted the concave facade of the Oratory of St. Philip Neri as a welcoming gesture, with the central unit representing a chest and the wings representing outstretched arms.3
- Technical Execution: Achieving these complex three-dimensional curves required Borromini to provide personal, on-site guidance to stonecutters, ensuring that the structural execution matched his innovative geometric designs.3