ROLE OF SCULPTURES IN INTERIORS
• The art of sculpture is the branch of the visual arts that is especially concerned
with the creation of form in three dimensions.
variety of media
may be used,
wood , plaster,
The three main types of sculpture are assemblage, in the round,
• A sculpture in the round is a separate, detached object in its own right, leading the
same kind of independent existence in space as a human body or a chair. In other words
a free standing solid piece surrounded on all four sides by empty space.
• A relief does not have this kind of independence. It projects from and is attached to or
is an integral part of something else that serves either as a background against which it
is set or a matrix from which it emerges. A relief sculpture is a form or picture that
projects out from or is mounted on a vertical surface.
• Assemblage is a sculpture, free standing like in the round, but made of different
objects put together.
In the round Relief Assemblage
The actual three-dimensionality of
sculpture in the round limits its
scope in certain respects in
comparison with the scope
Sculpture cannot conjure the
illusion of space by purely optical
means or invest its forms with
atmosphere and light as painting
Sculptures has been used to
express a vast range of human
emotions and feelings from the
most tender and delicate to the
most violent and ecstatic.
The interior in Villa Foscori by Palladio in Venice is
elegantly simple while Zellitto’s elorborate frescoes
introduce rich detail in illusionistic perspective.
SCULPTURE IN INTERIOR DESIGN
• They fall into the category of accessories used to furnish a space.
• Accessories –refers to objects useful, decorative or both , that maybe added to the interior
over and above basic furniture and equipment which are usually portable.
• Accessories- practical accessories - candle sticks, tableware, pillow covers , clocks etc
decorative accessories - live plants, art works like paintings, sculptures etc
• They add to the interest and aesthetic quality of a space while reducing a sense of
Sculptures have a kind of reality, a vivid physical presence that is denied to the
pictorial arts like paintings and wall hangings.
The forms of sculpture are tangible as well as visible, and they can appeal strongly
and directly to both tactile and visual sensibilities.
forms are perceived as
having an expressive
character as well as
properties. They strike
the observer as delicate,
taut, relaxed, dynamic,
Any sculptor, intimately involved with the world of three-dimensional form, learn something of
its structural and expressive properties and develop emotional responses to them.
This combination of understanding and sensitive response, often called a sense of form, can be
cultivated and refined. It is to this sense of form that the art of sculpture primarily appeals.
Hence the work of
a designer solely
quality and its
the right space.
• By exploiting the expressive
qualities of form, a designer is able
to create images -- in which subject
matter i.e the theme or ambience of
the space and expressiveness of form
are mutually reinforcing.
• Such images go beyond the mere
presentation of fact and
communicate a wide range of subtle
and powerful feelings.
• The aesthetic raw material of
sculpture is, so to speak, the whole
realm of the expressive three-
SELDdOiRmFe AnRsCioHnITalE CfoTrSm m. erged two apartments with
this pair of black staircases. The pair of urn-like sculptures
echo its duality, as do the sets of chairs, lamps, and wall of
This home office with an Egyptian styled furniture
setting is enhanced by the sphinx sculpture on the
table. The classical urn and sculptures complement
In the home of a serious art
collector, pieces are often
displayed as they would be
in a gallery or a museum. In
this entrance area of a private
home in New York , art
objects are exhibited and
lighted with care.
Raised on a transparent stand
the calder moble at the left
showa its lines to the best
advantage, while the picasso
ceramic in the foreground
occupies a museum style
Positioning sculptures involves relating the space available, the objects to be displayed, and
the desired levels of viewer’s attention.
Arbitrarily introducing decorative
accessories for no reason other than to
fill space or add interest will well add
nothing more than clutter.in doubt full
situations it is better to omit display.
Errors of omission are far more common than
errors of excessive inclusions.
Inclusions should perhaps be reserved for times
when occupants demand certain objects for
display or the projection for a particular
atmosphere or spirit calls for visual support.
Parvathy Compiled by: Venkateswaran Revathy Royer Shirn Jageer