In my photographic study of the work of Francesco Borromini (1599-1667) I aimed to highlight what Giulio Carlo Argan called the great architect’s “extraordinarily dynamic constructions, set in a close relationship with urban space and embellished with ornamentation that is imaginative and full of symbolic meanings”. For this reason, it was essential to use the tools of photography to analyse Borromini’s “anti-dogmatic and experimental method of design (which) led (Borromini), through complex plans generated by the combination of geometric figures, to accomplish works that constitute the most radical and modern experiences of his era” (cit. Argan).
