GUARINO GUARINI

In the Italian architecture Gvarini took particular situation. He managed to make to the overall tone of sober rationality Turin architecture contrasting note. It was during the stay in the capital of the Duchy of Savoy Gvarini has established its main product.

Gvarino Gvarini was born in Modena on Jan. 7, 1624. He first came to Rome at a time when Borromini worked on the interior of his church of San Carlo Alle Cuatro Fontane.

Gvarini became professor of philosophy in Messina (Sicily). Here, he designed several churches, all of which were destroyed by the earthquake. From 1662 he taught theology in Paris. Here Gvarini began to build a new church. The efforts of his, but failed just as it was in Sicily, the church suffered a fire during construction and the building was never completed. While traveling, Gvarini saw the Gothic churches of France and the Mauritanian Mosque of Cordoba in Spain. He was a complete cosmopolitan. Although never lost his connection with his country and his era, he perceived the past in all its aesthetic aspects.

Nothing is more characteristic of this period, the Late Baroque than the widespread combination in one person an artist and scientist, architect, experimenter, and a specialist in the field of mathematics. Here the surprising unity that exists between a method of thinking and the nature of perception, moreover, there is a direct link between the artistic knowledge of the world, and mathematics knowledge. As soon as a new mathematical concept, it is immediately reflected in the arts.

Biography Gvarini serves as an excellent illustration of the close connection between art and mathematics in the era of the late Baroque.

Photo — «Guarino Guarini»

He was not just an architect and a scientist, but equally a very gifted mathematician. Published his work say that he greatly anticipate the opening of descriptive geometry, which was done a century later, and belongs to Gaspar Monge.

The most important work was done Gvarini them in Turin, where he lived from 1666 until his death. He served as abbot of a monastic order and at the same time engineer in the service of the Duke of Savoy. The most beautiful of palaces and churches built them in Turin.

One of his later works, palazzo Karinyano (1680), is an example of how Gvarini sought in Modeling is almost the same plastic as Borromini. Influence of the palazzo with the curved facade outlines and plastic forms of stairs, at the palace architecture extended to southern Germany late, no doubt. Large, elliptical in the lobby serves as the center, which tied all the other elements of the draft palazzo Karinyano. The internal movement of the walls of the vestibule, describing an ellipse, is moving towards the wall stairs adjacent to the lobby of the two wings left and right, and transferred them to all the elements of undulating exterior wall. However, despite the power of architecture, which has Gvarini in this work, for in its interior layout is not even close to solving the specific problems of civil architecture, which faced the architects of the time. The main creative forces of Italian architecture of that period were focused on solving the interior of the church. In terms of technology, all of their unbridled imagination rush to design the huge interior spaces.

Photo — «Guarino Guarini»

This overall assessment is fair and Gvarini.

Gvarini demonstrated his skill in creating the Church of San Lorenzo in Turin (1668-1687). The church of San Lorenzo was built to order, to which belonged Gvarini. The plan form of the church is a rectangle formed by strong walls. Kupol round. Between the floor and the dome of the internal walls form octahedron, which is alternately the verge of a convex, then concave, and form a complex picture, which they relate to the architectural elements above.

Gvarini The aim was to express the architecture of typical of the Baroque period of the mysterious and infinite. Period Baroque fascination inherent structures, which seemed to overcome the force of gravity. All art, including the effects caused by colored light sources, which was used to create this exciting experience. In Rome, was built chapel, where skylights dome rests on the shoulders of images, a representation of a angel.

In San Lorenzo Gvarini used purely architectural means to express the full force of gravity defiance. Within the square base, it continues the existing tradition in architecture, but, to the ring at the base of the dome, will Gvarini gives fantasy. Interlocking intersecting arches like a web closes the hole. Arch crossing one another, forming an octagon stars. Thus, it appears that is located under the arches skylights mysteriously hangs in the air. In fact, he relies on an octagon formed by their intersection.

The impression of infinite space passing up did not use effects that create the illusion of boundless prospects, or the picturesque image of the sky in a dome, but only by architectural means.

Photo — «Guarino Guarini»

The light, which penetrates filigree verge octagonal stars, an effect, through which all the surrounding seems intangible. We can say with confidence that the church of San Lorenzo would never have been created if Gvarini was not familiar with the domes of the prayer niches in the Al Hakim Moshe in Cordoba. These domes were built by the end of the millennium, more precisely, in the year 965. The same methods were used in constructing the dome of San Lorenzo. He also has been erected over a rectangular base with the use of overlapping arches that form when crossing the octagonal star, which is based skylights, as if hovering in the air.

But the size of Moorish domes are very modest by comparison with a masterpiece of bold art Gvarini. Interlacing arches of San Lorenzo are mounted from the long beams of solid stone - a way to dangerous and laborious. The creator of San Lorenzo for the construction of such requirements, which are superior to almost all the achievements in this area at that time. None of the architects of later times did not venture to repeat the admission used Gvarini in establishing this church.

Construction of San Lorenzo technical possibilities have been exhausted era that coincided with the time when the progress of architecture began to decline replaced.

Gvarini died March 6, 1683 in Milan, a few did not live up to sixty years.