Section through Borromini’s San Carlo alle Quatro Fontane’s facade, revealing the relatively shallow depth of the facade in comparison to the competitor, Bernini’s Sant’Andrea al Quirnale. That’s not to say Borromini is lacking in any way. The facade was ahead of it time, as he experimented with the more dynamic language of the Baroque period. Bernini was able to exaggerated the curve by setting the facade further from the street edge.
Interior perspective sketch, drawn in Piranesi-esque style. The intension was to capture the dark foreground and the light penetrating the alter space, forming the background.