history of architecture

1. SAN CARLO ALLE
QUATTRO
FONTANE
Presented By: VAIBHAV CHANDRA
Presented To : Prof Priyanka Rastogi

2. SITE PLAN
The church is situated at the
crossroads between formerly
Strada Felice and Strada Pia,
in Rome, Italy.

3. Concept
Boromini develops in this building the
mathematical aspect of the Baroque with
remarkable analytical brilliance. Curved
lines and geometry define all aspects of the
project where the spatial quality overcomes
its limited dimension.

4. The architect had to design its proposal based on two main criteria:
• a low budget
• Efficient use
of the limited space of the site. Borromini had to design its
proposal integrating the source of the corner of the site.
Borromini faced a shortage of economic resources with
Emphasis on materials rather than form. The budget made
interior decoration may not have the wealth that was common
in the churches of the time. Therefore, the Shape of the
interior space became a key point of the
design. Borromini also preferred the low quality materials
rather than the expensive, since it could enhance its qualities
through art and work

5. PLAN

6. SECTIONAL ELEVATION

7. Spaces
The church stands in the corner, while the
cloister of the convent is situated next to it,
on the Via del Quirinale. After the
convent Borromini proposes the creation of a
garden.

8. The oval floor of the dome is inscribed within a
rectangular structure in combination with the
shape of a rhombus whose vertices correspond
rounded to the entrance, the side chapels and the
main altar. The plant of the dome is formed by
two tangent circles, arcs unit tangent
circumference to both turn. The resulting figure,
therefore, is not an ellipse but an oval shape.

9. Facade
The undulating baroque facade is defined by concave and
convex shapes and large Corinthian columns.
They divide the facade into two parts, of two floors each, in
three sections, the entrance and the sides of it. A large
entablature, these being located Corinthian columns, helps to
further separate the lower and upper part of the facade.
A second group of Corinthian columns frame smaller niches,
sculptures and windows, and the entrance to the church and
the large oval supported by angels in the upper part of the
facade.

10. Above the entrance, two Cherubs flanking the
figure of San Carlos Borromeo, sculpture by
Antonio Raggi in 1675.
On both sides of this set sculptures of San Juan
de Mata (1160-1213) and St. Felix de Valois are
(1127- 1212), founders of the Trinitarian order,
made by Sillano Sillani in 1682.
Above the door is the Emblem of the Vatican,
keys, and the Trinitarian order, a Greek cross
formed by a horizontal blue bar and a vertical
red. The latter emblem appears in various parts
of the decoration of the church.

11. Each of the Three parties to the father, the son and the
holy spirit. The child, in the central area, is the only
part that takes a convex shape at ground level, as it is
the only one who took human form and is accessible.
At the top of the facade, the three components of the
Trinity take concave shapes.
The facade summarizes the ideas of Borromini.
Unfortunately, the small size of the street makes it
very difficult to observe the high facade as a whole.

12. INTERIOR
The interior of the church complex consists of three
parts: the base, the dome and the transition zone
between these two. The altar is located on the main
axis of the plant, on the opposite side to the
entrance.
Around the church there are a total of sixteen
Corinthian columns supporting a large entablature.
The groups of four columns frame niches, moldings
and doors, providing variety to the undulating
interior space limiting wall. These elements are
placed with respect to a particular geometry
creating a rhythm.

13. Light hierarchizes spaces of the church,
being the most illuminated the top of the
dome, where it represents the Holy Spirit,
having somewhat less light the base of the
dome, and being the darkest part of the
bottom of the church.
On both sides of the main altar are two
entrances. The left leads to an adjoining
chapel
The right gives way to the convent and
crypt.
CRYPT
The crypt contains small chapels around the
central space, the plant is identical to that of
the church, of which Borromini wanted to
be buried.

14. CLOISTER
Next to the church stands a small monastery
whose cloister hides some details worth
seeing.
The entrance to the faculty is located on the
longitudinal axis of the space.
STRUCTUREAND
MATERIAL
The structure is made of brick, while the
interior is made of stucco and limestone
facade.

16. THANK
YOU