Guarino Guarini - architect | Italy On This Day

Baroque master who shaped the identity of Turin

Guarini's daring geometrics brought a
new dimension to the architecture of Turin

Guarino Guarini, an architect regarded as one of the most transformative figures in the architectural history of Turin, died on this day in 1683 at the age of 59.

Guarini enjoyed the patronage of the House of Savoy from 1666 until his death, during which time he is said to have built or submitted designs for as many as six churches and chapels and five palaces in the city. He reportedly designed a gate to replace the existing Porta di Pio, although it was never actually built.

Of those projects that progressed beyond the drawing board, his Church of San Lorenzo, with its structurally daring dome, the Chapel of the Holy Shroud and the Palazzo Carignano, notable for the rhythmic curves of its facade, are regarded as his most notable achievements.

The circumstances of Guarini’s death are not documented beyond his being in Milan at the time. His presence there may have been connected with his Architettura Civile, the treatise which became a reference point for many of his architectural successors, upon which he was still working at the time of his death.

He also remained active in the Theatine Order - he was ordained a priest in 1648 at the age of 24 - and may have been in Milan to teach or to pursue other Theatine business, the order having a tradition of architectural patronage.

Guarini was born in Modena in 1624. Coming from a religious family, Guarino and his four brothers all became novices in the Theatine Order, Guarino being despatched to serve his novitiate at the monastery of San Silvestro al Quirinale in Rome.

In the event, he stayed in Rome for nine years, learning from the most innovative Baroque architects of the period. Francesco Borromini, whose spatial complexity and elastic geometry left a lasting imprint on Guarini’s imagination, was a major influence, as to a lesser degree was Gian Lorenzo Bernini.

He returned to Modena in 1648. He combined his duties as a priest and a lecturer in philosophy at the Theatine College with architectural projects for the Order, beginning with the reconstruction of the Church of San Vincenzo in Modena.

The undulating facade of Guarini's Palazzo Carignano,
a Baroque masterpiece in Savoyard Turin

Guarini also worked in Messina in Sicily, where he built the façade of the Church of Santa Maria Annunziata for his Order, providing early evidence of his willingness to experiment with design. He constructed the façade diagonally to the nave, so that it could conform with the line of the street. The church was destroyed in an earthquake but drawings show plans for complex vaulting and spatial layering.

From Messina, Guarini moved to Paris, where a number of projects showed the influence of Borromini on his construction methods. Appointed a lecturer in theology at the Theatine School in Paris, he might have stayed much longer but for disagreements over the management of funding for the Church of Sainte-Anne-la-Royale, which he had been invited to design. Instead, he left for Turin.

It was in the capital of the Duchy of Savoy that Guarini produced his greatest work, his buildings there being defined by intricate geometries, interlaced ribs, and dramatic manipulation of light.

Among the most striking examples is the Real Chiesa di San Lorenzo, a Baroque-style church adjacent to the Royal Palace of Turin, which bears influences of Borromini and Bernini. In accordance with Guarini’s ambition ‘to erect buildings that were very strong, but looked so weak as to need a miracle to keep them standing,’ the dome of San Lorenzo was a masterpiece of spatial illusion, its structure appearing to be held up by slender columns, whereas the load-bearing was really down to massive brick arches hidden from view. Its star-like pattern of interlocking arches dissolves the boundary between structure and ornament.

Guarini's beautiful cupola in Turin's Church of
San Lorenzo seemed to defy the laws of physics

The light that floods the interior creates a luminous quality, something also characteristic of the Chapel of the Holy Shroud, a building attached to the Royal Palace, a project started after Charles Emmanuel II, Duke of Savoy, impressed with his work on the Church of San Lorenzo, named him Royal Engineer and Mathematician in May 1668.

The chapel uses stacked, progressively narrowing arches to create a soaring vertical ascent, culminating in a lantern that floods the space with symbolic light. It remains one of the most technically daring domes of the Baroque.

Yet some regard the Palazzo Carignano in Turin, which showcased Guarini’s command of undulating façades and dynamic massing, anticipating styles that would become characteristic of later Baroque and Rococo.

Built for Emmanuel Philibert, Prince of Carignano, heir to Victor Amadeus II, Duke of Savoy, it is regarded as one of the finest urban palaces of the second half of the 17th century in Italy. In addition to its distinctive terracotta façade, the palace stands out for its atrium with double staircases and a double dome in the main salon.

Guarini wrote prolifically throughout his career, producing treatises on mathematics and astronomy as well as architecture. He published books at the rate of one every other year and his major work, Architettura Civile, was published posthumously in 1737, bringing together previously unpublished manuscripts on architecture, surveying and drawing.

Filippo Juvarra built
on Guarini's legacy

This text circulated widely in 18th‑century Europe and became a key reference for architects seeking alternatives to classical orthodoxy. Guarini’s influence can be seen particularly in the Central European Baroque styles that became prevalent in Bohemia, Austria and southern Germany.

Nearer to home, Piedmontese architects such as Filippo Juvarra, responsible for the monumental Basilica of Superga and the Palazzo Madama among other great works, and later Bernardo Vittone, who built some of the finest churches not only in Turin but across the whole region, absorbed and expanded Guarino’s geometric daring.

Guarini sits in a remarkably elevated position among the architects who shaped Turin. The buildings he created can be said to have fundamentally altered the city’s architectural language.

Where Amedeo di Castellamonte planned many of the Savoy projects, giving Turin its ordered urban structure, Guarini reimagined them, introducing spatial complexity and daring geometry. Juvarra admired Guarini’s work and built on his legacy, while taking fewer risks, yet Vittone’s domes and lanterns would have been unthinkable without Guarini’s precedent.

The Palazzo Madama, designed by Filippo Juvara,
can be found on Turin's Piazza Castello

Travel tip:

Turin became the capital of the House of Savoy in 1562, when Duke Emmanuel‑Philibert transferred his ducal seat from Chambéry to Turin. This move marks the beginning of Turin’s transformation from a provincial stronghold into a consciously designed capital city. Much of the architecture of Turin illustrates its rich history as the home of the Savoy Kings. In the centre of the city, Piazza Castello, with the royal palace, royal library, and Filippo Juvarra’s Palazzo Madama, which used to be where the Italian senate met, showcases some of the finest buildings in ‘royal’ Turin, including the Palazzo Reale, to which Juvarra and Amedeo di Castellamonte both contributed, and the Teatro Regio, built to Juvarra’s plans after his death. Some members of the House of Savoy are buried in Turin’s Duomo in Piazza San Giovanni, built by Amedeo de Francisco di Settignano. Guarini’s adjoining chapel, of course, is famous for being the home of the Turin shroud, which many people believe was the actual burial shroud of Jesus Christ. At the centre of the historic city, Piazza Castello is a hub that connects Via Po, Via Roma and Via Garibaldi.

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Luigi Bartolomeo Avanzini's huge Ducal Palace,
built as a home for the Este Dukes of Modena

Travel tip:

Modena, where Guarino Guarini was born, is a city on the south side of the Po Valley in the Emilia-Romagna region. It is known for its car industry, because Ferrari, De Tomaso, Lamborghini, Pagani and Maserati have all been located there.. One of the main sights in Modena is the huge, Baroque Ducal Palace, begun by Francesco I on the site of a former castle in 1635. His architect, Luigi Bartolomeo Avanzini, created a home for him that few European princes could match at the time. In the Galleria Estense, on the upper floor of the Palazzo dei Musei in Modena, is a one-metre high bust of Francesco I d’Este, Duke of Modena, by Gian Lorenzo Bernini. The Cathedral of Modena and its bell tower, Torre della Ghirlandina, are both UNESCO World heritage sites. The tower stands more than 89 metres (292ft) tall and can be seen outside the city from all directions. Inside, there is the Sala della Secchia room, which has 15th century frescoes, and the tower also houses a copy of the oaken bucket, from the War of the Bucket referred to by Tassoni in his poem, which was fought between Modena and Bologna in 1325. The statue of Alessandro Tassoni, which stands at the foot of the tower, was sculpted by Antonio Cavazza and erected in 1860. Modena is also well known for its balsamic vinegar, while operatic tenor Luciano Pavarotti and soprano Mirella Freni were both born in the city.