The document discusses the relationship between architecture and sculpture from the 1960s onward. A renewed interest emerged in locating fine arts like sculpture within architectural spaces to establish new concepts in both disciplines. Sculpture began occupying comparable volumes to buildings and took on architectural qualities. By the 1970s, sculpture's role had expanded to altering and transforming space through its interference in the field of architecture. Public art is discussed as art located in open, public spaces for all citizens to experience.

1. Nicholas Socrates
2008
Analysis; El Espacio Raptado, by Javier Maderuelo
Javier Maderuelo in El Espacio Raptado, analyzes the rich volumes
of “interferences” that have taken place between architecture and
sculpture from beginnings of the decade of the Sixties.
A renewed interest is initiated to locate the fine arts within the
framework of architecture, with a purpose of knowing and
establishing new concepts within both disciplines – interrelated.
Sleepy Sculpture since the glorious times of Ancient Greece, has
been waking up, during this century, revitalizing certain aspects
related to the architectural language.
The common rediscovery of the interrelationship of Architecture
and sculpture is generating a series of rich relationships and
interests between the two disciplines;
A revolution of the arts is activated.
Discovering affinities in the intentions and procedures that lead to
the convergence of new borders between architecture and
sculpture.
This no-man's land between the two borders of the movements of
architecture and sculpture, are constantly being transgressed
with an interchange of techniques and experiences.
Connecting the physical and conceptual space
The placed forms keep us awake to the changing nature of todays
art.
Architecture, other-than-consciously, is inspired and interested in
the world of fine art,
Sculptures overflowing in their scale occupying comparable
volumes to those buildings around it have a defendant architectural
character.

2. They use their own geometry to the architecture.
Their External forms and elements are taken from the construction
of buildings.
The strategies of simulation and reconstruction techniques used by
the architecture and the simultaneous sculpture are
interchangeable in such a way that, the works seem to belong to a
same formal family and ideological position.
Instead of the sculptures being a model of itself, they are
constructed, and made with architectural materials like bricks, steel
profiles & reinforced concrete.
The near space, geometry, the scale, the materials and even the
techniques and the procedures, of the sculpture; and its new space
proposals, developed in the sculpture, are conditionally formal and
conceptually - the same as architectural expositions and creations.
Extending to the area being developed on urban scales -
Definitively they talk the space of architecture;
Its forms, functionality and anthropomorphist frame.
The high technological development in glass and steel and other
material over the last ten years is an important factor for this surge
of modern architecture.
The architects, thanks to these new materials, like concrete, steel,
glass and plastic, have been able to free themselves of the heavy
walls of load and are able to control the three-dimensional space in
similar ways to the making of sculptures.
Only at this point in history modernism in its pure form and
dissolution of materiality can be fully realized.
These latest developments make it possible to design and build
buildings which the modernists had envisioned and dreamed about
in the early phase of modernism, but did not have the technology to
actually build buildings which could be so sleek and almost
translucent.
Hans Ibelings, labels these contemporary works of minimal form,
minimal material, and minimal character as “Supermodern.”
Mies van der Rohe’s building vision of glass tower high rise
buildings, conceived in the early part of the century, for the
Friedrichstrasse in Berlin, could only be realized 70 years later.

3. Also buildings as the ‘Bibliotheque Nationale’ in Paris by Dominique
Perrault, the ‘Fondation Cartier’ by Jean Nouvel or the Louvre
pyramid by the Amercian architect Pei – are a few examples.
What has the architecture and the sculpture of previous years have
in common?
The similarities, and distinguishes and their causes of both
disciplines continue to maintain their own character.
In the past, sculpture has always been imbued with the traditional
forms of the architecture.
A same style, was common to both works, complementing each
other, in the monumental mission
The functional union towards these works acquired a dominant
space effect.
Many of these sculptures lose their force when are uprooted from
their primitive location to be located in museums,
the sculptural work was thought and realised based on the
environmental urban space or of the specific place, which gives a
sense of unity, also taking its own essence as well.
A good part of the sculpture of this century is not figurative
Abstract art can be considered the most representative art of this
century
With the Intention to be pure art.
An expression of the artists feelings.
Or the aesthetical experience of the observer.
Sculpture is the expression of an identity,
expressing its beauty through the connection of life & form.
It’s the creation of a prototype in every new work.
The concentrated quintessence of the city
Opening up a perspective allowing us to understand the social
contruction of the art.
The public sculpture has to be open, usefull and common.
The public sculpture represents the search for a cultural history;
With certain social functions.

4. With a shared reference and an experience of collective values from
its own aesthetics.
Each work existing according to the different configurations and
materials related to the industrial processes with which these works
are elaborated.
Overlapping and mixing dissimilar fragments, form possibilities of
metaphorical suggestions.
Extracting an eternity of transitory, archetypal and futuristic forms;
offering new readings that serve the reality.
Maintaining humanities state of creative uncertainty against the
apparent security of the normative state of the art.
waking up the imagination of the viewer that hungers them to
follow their life until the end of this exciting adventure.
Art always offers us a story of how each city/ area sees its self in
relation to its era and its physical enviroment. Speaking of the
strength of the culture.
The qualities and virtues of a space, respond to and, are summed
up by the art work.
The art work becomes symbolic for the collective.
The quality of the space understood by the whole: A strong
important symbolic space.
Public art, now integrated in the collective experience, becomes a
value of social interaction and communication.
Creating a pleasure and commercial centre with extensive areas for
recreation and peace.
When seen from two different disciplines; they try to have a
discussion on the space of the same physical place that is formed
between both.
placed in a plane of equality with the architecture;
sculpture wants to compare its self with the architecture.
It does not compete with the architecture, nor tries to occupy its
dominos: simply they try to compare themselves,
The relationship between both arts cannot be specified in terms of
comparison - to understand the concept, it is necessary to perceive
the poetic placings of the physical manifestations.

5. Sculptures, with the qualities of “presence” have been able to
dominate on majors scales.
trying to obtain that the work manages to be centre of attention to
its spectators - the presence quality is not a new discovery.
resources are used to accentuate the centralising of a powerful
centre that, like a magnet, is able to attract the glances of the
spectator.
Specific geometry characterized to minimalist works acquires a
forceful and specific physical presence.
In some ancient cases/ periods the public sculpture is used as a
power demonstration;
In front of the enermy, and as a threat, also for a symbol of
strength in front of their own people. This is the case of the
Egyptian & Aztec temples and pyramids.
The predominance of the monument, in classical & neoclassical
sculptural & architectural, arise in the city like an imposition of
power; demonstrated with commemorative reinforcements of the
exhalation of saints and celebrities;
the raising of the human figure like the supreme subject.
It is the power of supposed political, military or cultural victories,
or based on a being, of ontological permanence, of an incarnated
objective beauty; establishes a dialogue union between monument
and city, so that history and the public, through art, does not forget
the figure and name of that personality of power.
The construction of museums at the end of the XVIII century allows
the access to people for the contemplation of these collections.
Within the continually maintained walls of the museum, there is a
certain private air.
The museum is like a support, a shop window, where by the artist
“installs” his plastic work
An “architectural installations” contents share similar ideas.
The painting of representational spaces took a radical turn in the
age of the cubist movement; the possibility of not having to
represent reality, emanated from the first experiments of abstract
painting.
Almost simultaneously, architecture too changed dramatically,

6. sculpture followed.
In the Sixties sculpture overflows the container of the museum or
the gallery of art to invade the public space.
The sculpture conquers great sizes,
It recovers the place, seizing a meaningful capacity.
Taking art out of the galleries into the public domain,
With the motivation to transform and to enrich.
Public art can live in natural parks, parks in the city, libraries,
hospitals, streets, squares, plazas, housing estates, public buildings,
shopping centres, airports,
A very wide context.
Anywhere where people work, live and take their leisure.
Public art can take on many different forms and shapes;
Small sculptures, big sculptures, murals, paintings, street furniture,
buildings, fountains, bridges and arches, communication towers,
signalling systems, sport infrastructures…
Also in the Sixties, sculpture and architecture begin to happen as
one continued series of interferences, covering an extensive fan of
possibilities.
The conquest of the functionality of the sculpture; its interference
in the field of the architecture is realised in the beginning of the
Seventies, whose mission is to alter the space and to transform it
into its perceptual content, emphasizing, its unsuspected
particularitities.
“The function of the sculpture consists of seizing and occupying
the space,” Carl Andre.
Is it justified for its function?
The function(s) of art in urban space exist regardless of the artistic
creational intention.
Public art has different functions;
1. to commemorate
2. to improve the visual landscape
3. to help economic regeneration – through tourism and
investment
4. to help artistic and cultural regeneration

7. 5. to identify a community
6. to help people manage a public space
7. to improve public quality of life
An ornamental boost; “All is valid”
Public art, working in relation with the rich surrounding
architecture and landscape, where space is created and the
measurement of time is curved and is transmuted.
the recreation of spaces, is similar to that inside an art museum.
Thinking about public art and its integration into urban spaces
What do we consider to be art?
And what do we/ can we not consider art?
Not all art located in a public space is public art.
Public art, generally speaking, in its traditional, generic sense is an
artwork placed in a public space, which is ordered, paid and
property of the state.
There it is conceived and achieved according to a set environment.
A specific type of art, placed in open public space, whose destiny is
the eternity of non specialized citizens in contemporary art.
It is not a style and it develops regardless of forms or the materials
and scales.
Public art, when used in its universal sense, includes many different
possibilities;
 Being public art existing against private art - carried out and
placed by private initiative, which is paid by all.
 Art in public spaces, private initiative art or semi-public art,
which includes corporate art.
 Art in space and public use, in spaces which have a public
function.
 The artwork is private or has a semi-public nature.
“Urban place is a place of objects…things made – and between the
objects & the work of art there is a hierarchy difference;

8. a difference in the quality, the value – but always within the same
category or the same series.” 1
Urban spaces can be defined as in a series of graduations between
public & private.
Art in urban spaces is making up an urban phenonomen.
Public art is made for the citizens & is located in his/ her
environment.
“Works of art” – being monuments or moving objects – make up the
environmental fabric of modern life.
There is always a close relationship between art and the city;
Man and his physical environment created by himself – being a
reflection of man (who created it), whilst simultaneously
influencing him and his behaviour.
The city has always been a setting where the cultural manifestations
of each historic period have met. An essential aspect for the
definition of the city.
Its image transforms itself due to different social, political and
economic situations.
The city being an ever-evolving work of art.
Urban art is an integrated art in urban space
Environmental art is an art closely linked to the environment.
Art in the landscape is found in gardens and rural environments
In each of these cases - the function and relationship is established
with/ by its environment; to the public will vary significantly.
In rural civilisations public art does happen and has a very complex
social strategy.
There are always differentiating controlling functions of art, which
are always present, but with predominant aspects in different
stages.
The concept of public art is closely linked with that of public space
“a common ground where people carry out the functional activities
and rituals that bind a community, whether it is in their normal
daily routines, or the periodic festivities.”
1
Argan G.C, historia de la ciudad como historia del arte,

9. WAA, Public Space. Cambridge University Press USA 1992
All public art becomes a part of the visual culture.
There are different types of urban spaces.
The re-use of abandoned or neglected or under used areas becomes
apparent.
As public life develops with the culture – new spaces are needed,
and older ones remain discarded or inactivated.
Cultural action, through cultural programs, can activate determined
spaces.
The positioning of the sculpture must be appropriate according to
the different placings on the urban geography
preserving the cultural and environmental heritage.
Ramonede Josep, “Comunicacion”. La Vanguardia 30. 12. 1994
“at present public space can be equally ‘Las Ramblas’, as some big
stores, a park and a football ground, the street, and a big disco.”
All spaces except for those strictly private can be considered public
spaces.
An ideal space is supportive, democratic and meaningful.
a sculpture healthily integrated with the urban environment.
is the art work which is part of the architectural fabric.
or has it been placed there in relation to internal or external
architectural spaces?
Public art, in the past, is sometimes critized for being: half-hearted,
or inappropriate.
It can be considered as a decorative after thought;
“from bad to worse”, or “the turd in the plaza”.
Kapoor, the artist of the tremendous Cloud Gate Sculpture situated
in Chicago’s Millennium Park, explained that what is often meant by
the label 'public art' is more closely related to 'a decoration in front
of a building' rather than a genuine consciousness of space. To
Kapoor, this misunderstanding has always been a challenge
because, in most cases, the art object made for a public place is
planned as an independent entity. The relation between artistic

10. creation, the architecture and environment is not taken into
account. According to Kapoor, the conception of a public artwork
must be connected to issues concerning the 'space outside' and
should not be confined to the object itself.
Interdisciplinary is necessary to therefore observe these works from
a multiple perspectives.
The efforts aim at the encountering a common space exposing a
shared sensitivity.
Milizzia set three basic principles for art in public spaces;
1. They have to be significiant and expressive.
2. With a simple structure.
3. With a clear and brief interpretation.
From the moment in which the architect plans the presence of
public art in the space – the aesthetic and the strategic value that it
requires has to be considered and its implications for the
enviroment.
Public art contributes to the collective visual quality and converts
spaces into places for people - distinguishing an urban space and
providing an identity - contributing to creating pleasant
environments.
The possibility of such a profound transformation of space depends
on the artist/ architect having taken physical and environmental
factors into context.
Integration of various disciplines: psychology, anthropology,
planning, architecture, fine art, contemporary art - and their
implicated areas of responsibility - political and bureaucratical;
All contribute to the attainment of sound and foreseeable results.
The process of artistic creation of public work should be similar to
that followed and performed in an architectural project, in the way
in which, it can be changed accordingly to others varying needs and
requirements.
There is a fine line between public art and architecture.
The artists projects are placed in the spaces created and modified
by the architect.

11. The space produced by the artist is inscribed and operates in the
architectural space.
Artists are to be included in the conception of architectural forms,
at an environmental level: Environmental configuration by Artistic
intervention at the creational stage.
The sculpture preferably is developed in the space. It takes part in
the construction & reconstruction of the territory, and too on the
urban planning.
Integral art in the environment becomes a generating focus inn the
urban space.
The integration of public art depends on the interaction that it
maintains with the environment & with the perception one has of it
The integration of public art, in a specific context, referred to by its
form, by the individual and the community - and their level of
acceptance and appreciation of it.
(Light and sound are the two fundamental aspects that exert
stimulus in human beings).
Integrating environmental stimulation and aesthetic experience.
And how does it affect the use of the space? What are the publics
needs?
It is important to define these questions as a part of its conception.
The publics needs and wishes are considered and worked integrally
with the aesthetic and stylistic aspects - Avoid form prevailing over
function.
Stylistically pleasant art, possessing such flavour, with
characteristics which are accessible and comprehensibly
understanding – in both scale and form, achieves remarkable
results for social integration developing human relationships.
Art has deep social dimensions, which makes it popular and
communicatable.
The art must be accepted and appreciated by the largest number of
people
There is a communication between art and observer
The conscious mind looks at the work and appreciates its merits as
an independent piece.

12. Whilst the other than conscious mind sees and responds
accordingly to the relationship with its placing.
The artwork always brings about a change in the environment
Does the intended art work imply a change on the usage and status
on the proposed site? which will affect the community?
“This requires some knowledge on social and intellectual history,
anthropology, psychology, philosophy, and art. In short it requires
knowing how a given group sees and values the world in which they
live and how this vision and values affect their action.”
Rapoport A, Aspectos de la calidad del entrono, La Gaya Ciencia,
Barcelona 1974.
There is a growing concern in developing countries about the
precedents of the micro-cosmic environmental conditions.
There are serious imbalances in the life styles and therefore the
human psyche of many.
Key social issues we believe must be addressed in the future
evolution in public spaces.
Public space and its use can help create a more human culture.
Public art must now go further than just being artistic.
They must have a social duty contributing in a direct and
committed way;
For the improvement of the environment and consequently human
behaviour, providing more comfort, security, peace and pleasure.

13. References:
El Espacio Raptado, by Javier Maderuelo.
Public art & its intergration in the urban enviroment,
by Montserrat Casanovas.
Public sculpture, interaction between disciplinary fields
by Ascen Garcia.
Wikipedia, www.wikipedia.org