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Journal articles on the topic 'Borromini, Francesco'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Shrimplin, Valerie. "Francesco Borromini and the Cultural Context of Kepler’s Harmonice Mundi." Culture and Cosmos 25, no. 0102 (2021): 107–23. http://dx.doi.org/10.46472/cc.01225.0211.

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The idea of circular domed architecture as imitative of the flat earth covered by the 'Dome of Heaven' was established from Byzantine times up to its revival during the Renaissance. Yet the cosmological symbolism of the circular dome was replaced in the early seventeenth century when elliptical, oval or other geometrically-inspired domes became a key feature of the Baroque. The move away from circular to oval or elliptical forms by architects such as Borromini coincides with the new cosmology and Kepler's view of elliptical orbits as the basis for the structure of the universe. Building on his

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2

Echols, Robert. "A Classical Barrel Vault for San Giovanni in Laterano in a Borromini Drawing." Journal of the Society of Architectural Historians 51, no. 2 (1992): 146–60. http://dx.doi.org/10.2307/990711.

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Francesco Borromini's renovation of the basilica of San Giovanni in Laterano in Rome is one of his grandest conceptions. It remains frustratingly incomplete, however, because Borromini was not able to vault the nave as he had hoped. The nature of his design for a vault has been much discussed. The only surviving visual evidence consists of a drawing in a private collection, not heretofore studied in depth. It shows a section through the basilica with two superimposed roofing structures, a flat ceiling and a coffered barrel vault. Comparison to other Borromini drawings for the renovation of the

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3

Cipriani, Gabriele, Luca Cipriani, and Mario Di Fiorino. "Personality and destiny. Francesco Borromini: portrait of a tormented soul." History of Psychiatry 28, no. 3 (2017): 352–57. http://dx.doi.org/10.1177/0957154x17691448.

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Francesco Borromini, one of the great geniuses of Baroque architecture, was tormented and solitary, and was increasingly frustrated by the fame and success of his rival, Gian Lorenzo Bernini. Borromini was an unhappy man, constantly dogged by disaster, quarrelling even with his best patrons and closest friends. In the culmination of one of the fits of depression that overcame the architect more and more frequently as his life progressed, Borromini literally fell on his own sword; he lingered in excruciating pain for 24 hours before dying. Largely forgotten, his architecture has again been reco

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4

MINAMI, Tomoko, and Masatsugu NISHIDA. "CAPRICCIO IN THE WORKS OF FRANCESCO BORROMINI." Journal of Architecture and Planning (Transactions of AIJ) 87, no. 802 (2022): 2614–21. http://dx.doi.org/10.3130/aija.87.2614.

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5

Cole, William. "Peter Maxwell Davies's Symphony No. 10, LSO and chorus, Barbican Centre, London." Tempo 68, no. 269 (2014): 69–70. http://dx.doi.org/10.1017/s0040298214000096.

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Sir Peter Maxwell Davies' Tenth Symphony was given its premiere by the London Symphony Orchestra and Chorus at the Barbican on 2 February 2014. The work concerns itself with both the architecture and the death of Francesco Borromini; while perhaps an unusual subject for a symphony, there is precedence in Maxwell Davies's work, as the same man is the subject of his Third Naxos Quartet, and the Third Symphony takes Brunelleschi as its subject. Maxwell Davies has suggested direct links between Borromini's creations and his own – in the programme note we discover that ‘the precise parameters and p

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6

Grau Fernández, Marta. "La construcción del convento de san Carlino alle Quattro Fontane: algunas notas sobre la historia y la génesis de la fábrica borrominiana." EGA Revista de expresión gráfica arquitectónica 22, no. 30 (2017): 130. http://dx.doi.org/10.4995/ega.2017.7844.

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<p>El presente artículo se centra en los orígenes y la geometría del convento de San Carlino alle Quattro Fontane, sede en Roma de la Orden de Trinitarios Descalzos españoles y obra maestra del gran arquitecto barroco Francesco Borromini, que le ocupó casi toda su carrera hasta su muerte en 1667. A pesar de que el complejo se construyó en distintas fases funcionalmente independientes en base a los recursos económicos disponibles, el conjunto diseñado por Borromini fue afrontado desde el principio como un proyecto unitario de acuerdo con una geometría base que gobierna todo el conjunto.&l

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7

Connors, Joseph. "S. Ivo Alla Sapienza: The First Three Minutes." Journal of the Society of Architectural Historians 55, no. 1 (1996): 38–57. http://dx.doi.org/10.2307/991054.

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Francesco Borromini's masterpiece, the university chapel of S. Ivo alla Sapienza in Rome, was built over three pontificates, with many radical changes after each conclave. This is a study of the first building period under Urban VIII Barberini, and in particular of the earliest known plan for the church, datable to 1642, now kept in the Archivio di Stato in Rome. The drawing shows the basic plan of the church-a triangle-plus-apses-minus-angles-being moved, manipulated, and stretched as Borromini fine-tuned his design. The plan contains echoes of centralized buildings by Baldassarre Peruzzi and

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8

Cuevas del Barrio, Javier. "El Palacio Carpegna de Roma: de la intervención de Francesco Borromini a sede de la Academia de San Lucas." Boletín de Arte, no. 30-31 (March 15, 2018): 47–72. http://dx.doi.org/10.24310/bolarte.2010.v0i30-31.4364.

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Este artículo repasa la historia de la construcción del palacio Carpegna de Roma desde sus orígenes en el siglo XVI y la intervención de Francesco Borromini en el siglo XVII para ampliar el palacio adquirido por la familia Carpegna, hasta la restauración de Gustavo Giovannoni en los años 30 del siglo XX para adaptarlo como nueva sede de la Academia de San Lucas de Roma.

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9

Cuevas del Barrio, Javier. "La evolución de las iglesias de planta ovalada. Hipótesis para la planta de San Carlo alle Quattro Fontane." Boletín de Arte, no. 28 (March 25, 2018): 105–26. http://dx.doi.org/10.24310/bolarte.2007.v0i28.4476.

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La planta ovalada es una de las tipologías más características del lenguaje manierista en arquitectura. Las causas de su aparición son de diversa índole, desde las ideológicas a las formales. Los ensayos teóricos de Peruzzi y, sobre todo, de Serlio fueron llevados a la práctica en Roma por Vignola y Francesco Capriani da Volterra. Esta experiencia manierista será clave para entender la génesis geométrica de la planta de San Carlo alle Quattro Fontane de Borromini.

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10

Kim, Jungrak. "Sant'Ivo alla Sapienza of Francesco Borromini: Symbol and System of Meaning." Journal of Art Theory and Practice 21 (June 30, 2016): 104–31. http://dx.doi.org/10.15597/17381789201621104.

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11

Varela Gomes, Paulo, and Pierre Léglise-Costa. "Les projets de Francesco Borromini et Guarino Guarini pour le Portugal." Revue de l'art N° 133, no. 3 (2001): 81–92. http://dx.doi.org/10.3917/rda.133.0081.

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12

Hill, Michael. "Practical and Symbolic Geometry in Borromini’s San Carlo alle Quattro Fontane." Journal of the Society of Architectural Historians 72, no. 4 (2013): 555–83. http://dx.doi.org/10.1525/jsah.2013.72.4.555.

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Leo Steinberg’s doctoral dissertation of 1960 contained an exposé of the complex geometry of Francesco Borromini’s San Carlo alle Quattro Fontane, and while his scheme has been the starting point for subsequent interpretations, Joseph Connors points out that the majority of drawings relied upon by Steinberg were in fact reworked by Borromini in the 1660s, after the church was built. The geometrical armature of the 1660s plans must therefore be read with caution, measured against the dimensions of the actual building and the geometry discernible in the drawings of the design stage. Whatever the

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13

Carvalho Nunes, Mateus. "DOBRA BARROCA, DOBRA PÓS-MODERNA: DESLOCAMENTO, REPETIÇÃO E TRANS-HISTORICIDADE NA ARQUITETURA." ASAS DA PALAVRA 15, no. 2 (2018): 07. http://dx.doi.org/10.17648/1415-7950-v15n2-1251.

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Este trabalho pretende analisar as manifestações do conceito de “dobra”, proposto por Gilles Deleuze (1925-1995) em “Le pli: Leibniz et le Baroque” (1988), no pensamento barroco e pós-moderno e em suas aplicações no campo da arte e da arquitetura. Objetiva explicitar características convergentes nestes dois momentos, abordados tanto como períodos históricos e estilísticos, quanto pensamentos com essências sobreviventes. Discute sobre a complexidade, deslocamento, repetição, subjetividade e movimento em Francesco Borromini (1599-1667) e em Peter Eisenman (n. 1932) a partir da perspectiva trans-

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14

CAMEROTA, FILIPPO. "ARCHITECTURE AND SCIENCE IN BAROQUE ROME. THE MATHEMATICAL ORNAMENTS OF VILLA PAMPHILJ." Nuncius 15, no. 2 (2000): 611–38. http://dx.doi.org/10.1163/182539100x00065.

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Abstracttitle RIASSUNTO /title Nell'opera di Francesco Borromini il progetto per Villa Pamphilj rappresenta uno dei lavori pi controversi dal punto di vista attributivo. Mentre i disegni sembrano manifestare con sufficiente chiarezza i tratti inconfondibili della mano del maestro, il singolare programma scientifico concepito per fare dell'edificio uno studio di matematica pratica rivela un aspetto della personalit dell'architetto ancora irrisolto nei giudizi della critica. Il programma, che propone raffinate applicazioni ottiche, catottriche, diottriche, gnomoniche, astronomiche, acustiche e m

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15

Chavardes, Benjamin. "De Francesco Borromini à Paolo Portoghesi. L’église de la Sacra Famiglia à Salerne." Livraisons d'histoire de l'architecture, no. 27 (June 10, 2014): 21–31. http://dx.doi.org/10.4000/lha.352.

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16

Colonnese, Fabio, and Marco Carpiceci. "Borromini, the Casa dei Filippini and the Two-Way Relationship between Representation and Architectural Form." Architecture 3, no. 3 (2023): 528–47. http://dx.doi.org/10.3390/architecture3030029.

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The stratified relationship and mutual influence between the representation of the project and the form of built architecture manifest above all in the facade design by virtue of its natural rhetorical vocation. This is the case of the Casa dei Filippini, designed by Francesco Borromini in the second quarter of the 17th century in Rome. The perspective niche in its façade appears to be a literal three-dimensional transcription of a graphic convention adopted in the presentation drawings. To understand the context and the reasons for this “translation”, this article historically frames the them

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17

Leone, Stephanie C. "Cardinal Pamphilj Builds a Palace: Self-Representation and Familial Ambition in Seventeenth-Century Rome." Journal of the Society of Architectural Historians 63, no. 4 (2004): 440–71. http://dx.doi.org/10.2307/4128014.

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In reconstructing the palace commissioned by Cardinal Giovanni Battista Pamphilj between 1636 and 1638, this article brings to light a previously unstudied earlier building phase of the Palazzo Pamphilj in the Piazza Navona, Rome. The revised history alters our understanding of the palace, which was formerly thought to have been designed in its entirety after 1645, by Girolamo Rainaldi and Francesco Borromini, as half its design can now be attributed to Francesco Peperelli, who was an active palace builder though little known today. This new information also changes our perception of Cardinal

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18

Tornel, Pablo González. "Francesco Borromini and the Spanish Church of Santi Ildefonso e Tommaso da Villanova in Rome." I Tatti Studies in the Italian Renaissance 22, no. 1 (2019): 121–42. http://dx.doi.org/10.1086/702647.

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19

Raspe, Martin. "Review: Borromini’s Book: The “Full Relation of the Building” of the Roman Oratory by Francesco Borromini and Virgilio Spada of the Oratory by Kerry Downes." Journal of the Society of Architectural Historians 71, no. 2 (2012): 238–40. http://dx.doi.org/10.1525/jsah.2012.71.2.238.

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20

García García, Tomas, and Francisco J. Montero Fernández. "La sección, como instrumental de exploración arquitectónica." EGA Revista de expresión gráfica arquitectónica 23, no. 33 (2018): 154. http://dx.doi.org/10.4995/ega.2018.7591.

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<p>Los lugares que nos llevan a comprender el concepto de espacio arquitectónico, los que nos muestran el alma del espacio y el verdadero lujo de la arquitectura, son aquellos que no se describen en su exterior, aquellos que no se muestran de forma evidente, que requieren de una cierta exploración, aquellos que permanecen en silencio y a oscuras, porque la luz les llega tímida, densa y filtrada.</p><p>Plantear la sección como instrumento de exploración arquitectónica es insistir en la idea de hurgar con las manos en el interior de la realidad, en lo excitante de rasgar la apa

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21

Solano Barona, Karina Alexandra. "Correlación de las Artes en los Siglos XVII Y XVIII." Ciencia Latina Revista Científica Multidisciplinar 9, no. 3 (2025): 7302–25. https://doi.org/10.37811/cl_rcm.v9i3.18359.

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En el ámbito del arte, las discusiones han llevado a la identificación de características intrínsecas propias de cada una de estas disciplinas. Además, se han analizado las problemáticas sociopolíticas y socioeconómicas que influyen en su desarrollo, lo que ha permitido establecer periodizaciones estéticas para comprender mejor las transformaciones de cada periodo. En el presente texto se aborda un análisis de las características preestablecidas de la pintura, la escultura, la arquitectura, la literatura y la música en los Siglos XVII y XVIII y se las correlaciona. Esta correlación se realiza

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22

Mansure, Adil, and Skender Luarasi. "Instrumentalities of an Eternal Baroque: proyectar, (ex)tender, transformar, (en) rollar y oscilar." Bitácora Arquitectura, no. 46 (April 21, 2021): 78. http://dx.doi.org/10.22201/fa.14058901p.2020.46.79045.

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<p>Este artículo explora la exposición <em>Instrumentalities of an Eternal Baroque</em>. El enfoque es la exposición como medio para investigar la historia del arte en nuestra era digital, a través de la curaduría, la creación y el dibujo. No sólo varios de los artefactos exhibidos se produjeron digitalmente, sino que muchos (tanto analógicos como digitales) también sirvieron para ubicar la prehistoria del diseño digital. A través de cinco instrumentalidades: proyectar, (ex)tender, transformar, (en)rollar y oscilar, seleccionamos dos categorías de artefactos, los dibujos orig

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23

Leach, Andrew. "Francesco Borromini and the Crisis of the Humanist Universe, or Manfredo Tafuri on the baroque origins of modern architecture." Journal of Architecture 15, no. 3 (2010): 301–35. http://dx.doi.org/10.1080/13602365.2010.486569.

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24

Connors, Joseph. "Kerry Downes. Borromini's Book: The “Full Relation of the Building” of the Roman Oratory by Francesco Borromini and Virgilio Spada of the Oratory. Wetherby: Oblong Creative, 2009. 536 pp. index. illus. tbls. map. bibl. $99. ISBN: 9780955657641." Renaissance Quarterly 64, no. 1 (2011): 207–9. http://dx.doi.org/10.1086/660403.

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25

Pinto, John. "Review: Specchio di Roma Barocca: Una guida inedita del XVIII secolo by Joseph Connors, Louise Rice; Francesco Borromini, Opus Architectonicum, Trattati di Architettura, Volume VII, Part 2 by Joseph Connors." Journal of the Society of Architectural Historians 59, no. 1 (2000): 114–16. http://dx.doi.org/10.2307/991571.

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26

Ratner, Megan. "Maximum Emotions, Minimum Words." Film Quarterly 68, no. 4 (2015): 52–58. http://dx.doi.org/10.1525/fq.2015.68.4.52.

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An interview with Eugène Green about La Sapienza, in which the director discusses his drama concerning an architect’s renewal through an excursion to Francesco Borromini’s masterworks in terms of natural light, Baroque culture, using absence to suggest presence, and the importance of a sense of belonging.

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27

IWAYA, Yoko. "A STUDY OF PERSPECTIVE OF FRANCESCO BORROMINI'S COURTYARDS IN OPUS ARCHITECTONICUM." Journal of Architecture and Planning (Transactions of AIJ) 80, no. 712 (2015): 1437–44. http://dx.doi.org/10.3130/aija.80.1437.

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28

Caferro, William. "The Ledger of Filippo Borromei and Co. of Bruges, 1438. J. L. Bolton , Francesco Guidi Bruscoli." Speculum 84, no. 2 (2009): 399–401. http://dx.doi.org/10.1017/s0038713400018121.

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29

Gilabert Sanz, Salvador, and Ignacio Cabodevilla-Artieda. "Conversando con... Jean Nouvel." EGA. Revista de expresión gráfica arquitectónica 21, no. 28 (2016): 16. http://dx.doi.org/10.4995/ega.2016.6306.

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<p>Jean Nouvel obtuvo el Premio Pritzker de arquitectura en 2008, un reconocimiento a su trayectoria como arquitecto, dentro del grupo de los que podríamos denominar Star Arquitects. En el año 1966 consiguió la primera plaza en el examen de acceso para asistir a la escuela de Bellas Artes, École de Beaux-Arts, en Paris donde se licenció en arquitectura en 1972. Ya antes de acabar sus estudios colaboraba con Claude Parent, y alentado por las inclinaciones antisistema de su mentor y las lecturas de los textos y ensayos del urbanista Paul Virilio, fue forjando su propio pensamiento crítico.

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30

IWAYA, Yoko. "A STUDY OF FRANCESCO BORROMINI'S SECOND COURTYARD OF THE ROMAN ORATORY BY ANALZING THE ENGRAVING OF DOMENICO BARRIÈRE." Journal of Architecture and Planning (Transactions of AIJ) 81, no. 726 (2016): 1783–90. http://dx.doi.org/10.3130/aija.81.1783.

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31

Dacarro, Fabio. "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 -." Korean Institute of Interior Design Journal 25, no. 5 (2016): 82–92. http://dx.doi.org/10.14774/jkiid.2016.25.5.082.

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32

Anabela Marcos. "Monteverdi and the architecture of emotions." Royal Conservatoire Research Portal, no. 1 (November 2, 2018). http://dx.doi.org/10.22501/koncon.301178.

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Name: Anabela Marcos Main Subject: Singing Research supervisors: Johannes Boer and Erwin Roebroeks Title of Research: Monteverdi and the architecture of emotions Research Question: In what way could the formal and the expressive elements in Monteverdi's music be related to painting and architecture of his contemporaries? Summary of results: In the preface of his Eighth Book of Madrigals, Madrigali Guerrieri et Amorosi, Claudio Monteverdi announced one of the fundaments of his musical construction: the power of the contrasting passions. The humanist theme, that inspired not only musicians but a

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