The photography project for the volume on Palazzo Carignano in Turin was quite complex because of the variety of extremely diverse articulations that characterize the palace. My primary objective was to describe Guarini’s baroque architecture masterpiece, trying to highlight the rationality of his architectural choices. Palazzo Carignano’s then director, Laura Moro, was of vital support and made me understand not only the monument but also the building’s functional mechanisms. Another important objective was to document the historic hall of the Subalpine Parliament, transformed from a large ballroom into a semicircular assembly hall with tiered seating. Finally, the Museo del Risorgimento (Risorgimento Museum) where I endeavoured to render realistic the various reconstructions of historical sites, from Silvio Pellico’s prison to Cavour’s study – or, at any rate, to play on the subtle dividing line between make-believe and real life.
