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The Weird and Wonderful World of Public Art at Traffic Roundabouts

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Roundabout Sculpture celebrates the kitsch, playful and occasionally patriotic tone of public art stationed at road junctions around the world, as seen on Google Street View.

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During this project you will hand in:

At the end of the project you will have to hand in a PowerPoint presentation in which you present every exercise you've done and you will evaluate on everything you've learned.

Check out the column 'exercises' and your teams to find out more.

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The main focus in this assignment is:
- Learn about art history
- Learning to evaluate

But you will also learn about
- Shape
- Concept
- Composition
- Material
- Technique

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H3a, H3b, V3a, V3b the new writing frame. Slighty simplified however do elaborate!!!!

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Het Windzwaard is een strijdlustig baken van 33 meter hoog, dat als een bewegende mast rijzend uit de golven, als een verlicht Star Wars zwaard, boven het landschap uitsteekt. Tegelijkertijd is het een meetinstrument, waaraan de windkracht en -richting af te lezen zijn.

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De kleurrijke creatie van Franz Bodner verbeeldt de naam van de wijk en is behalve het resultaat van zijn kunstenaarschap ook een product van participatie door de wijkbewoners. Ook over het groen op de rotonde hebben zij meegedacht, meegepraat en meebeslist. De sculptuur is mogelijk gemaakt door Ymere en de gemeente Haarlemmermeer.

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Glowing Van Gogh Bicycle Path by Daan Roosegaarde

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Fine Art is creative art, especially visual art whose products are to be appreciated primarily or solely for their imaginative, aesthetic, or intellectual content.
Not only you can find art in a museum but also in public space. Like in your own town Hoofddorp ‘Het Mannetje van Hoofddorp’. The giant aluminium figure.

For this assignment you will design an artwork especially for the roundabout in front of the Haarlemmermeer Lyceum.

Your artwork must meet the following criteria:

1. Safety: The artwork must not pose any danger to passersby or traffic on the roundabout. (Any sharp edges or protrusions should be avoided in case of an accident)

2. Scale and visibility: The artwork should be clearly visible to motorists and pedestrians approaching the roundabout, so it should be proportionate to the size of the roundabout and the surrounding environment.

3. Sustainability: The artwork must withstand weather conditions and be durable enough to withstand prolonged exposure to the elements without significant deterioration of its aesthetic quality.

4. Suitability to the environment: The artwork should match the aesthetics and character of the surroundings, including the architecture of the school and surrounding buildings.

5. Creativity and originality: The artwork should be creative and original, making it a unique and interesting addition to the roundabout and the overall environment.

6. Maintenance: The artwork should be practical in terms of maintenance, so it can be easily cleaned and any repairs can be efficiently carried out without compromising its aesthetics.

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Sculptor Andy Scott is well known for the iconic Kelpies in Scotland, which are sited at the Forth & Clyde Canal in Falkirk. The two steel horses heads are the largest equine sculptures in the world, inspired by the cultural heritage of the Clydesdale horses, draught horses, which worked hard to help people along the canals and on the land.

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Sculptor Andy Scott is well known for the iconic Kelpies in Scotland, which are sited at the Forth & Clyde Canal in Falkirk. The two steel horses heads are the largest equine sculptures in the world, inspired by the cultural heritage of the Clydesdale horses, draught horses, which worked hard to help people along the canals and on the land.

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Anish Kapoor, Cloud Gate, 2004. Stainless steel, 1,006 x 2,012 x 1,280 cm.Mike Warot/Flickr, CC BY

Every day thousands of people play with Anish Kapoor's in Chicago's Millennium Park. Affectionately nicknamed "the bean" for obvious reasons, the immense mirrored sculpture is made up of 168 stainless steel plates welded together and placed on the ground. It's about 10 meters tall, with a base of about 20 by 13 meters. That's what it takes - smaller is not possible. Such an impressive size is needed for the sculpture to impose itself in the Millennium Park and to achieve the ambition of the project, to play with the light and mix all the reflections of Chicago and its environment, day and night.

It's striking: the city of Chicago is the right place for Cloud Gate, with a very simple surrounding geography. On one side is the Midwest, the flat American plain over seemingly infinite distances. Unlike France, where the landscape can change completely within just a few kilometres, in the Midwest, you can drive for hours and nothing will change. On the other side of Cloud Gate is Lake Michigan, its surface equivalent to 10% of the area of France. Water goes to the horizon on one side and endless cornfields are on the other. In this flat world, the city's skyscrapers point to the sky. More than 100 culminate at more than 150 meters, with 442 meters for the highest. At night, it's just magical.

Cloud Gate is in Millennium Park, between downtown Chicago and Lake Michigan. Depending on the position you take, Cloud Gate is the mirror you choose for yourself. You can mix the elements as you wish: the sky, the city, the space above the lake and, and of course, the skyscrapers. It is gorgeous night or day, when weather is good and when it is not. You can be in the image you construct or not. If you want, you can even walk underneath to hide everything. Thousands of photos on the Web show all the possibilities.

Geometric optics, rules the game with light

Mirrors and lenses are two pillars of geometric optics, the basic tools for changing the direction of light rays. Transmission, reflection and refraction are the associated words. What we want to look at and how we observe determine how we build and assemble these optical elements. Professionals of this game are astronomers and microscopists. Anish Kapoor does the very same thing with Cloud Gate. But anyone who plays with light does not do so without consequences. Light brings into our eyes pictorial information about the world at the speed... of light. Having this information, seeing it, determines our lives. Nothing less.

Mirrors and lenses allow us to see at different scales: from the infinitely large with the Hubble Space Telescope to the invisibly small all around us with optical microscopes. Imaging at different scales has always been one of the major issues in science. Anish Kapoor approached sculpture with this idea, so he ended up building curved mirrors. This is no surprise for a physicist, but what Kapoor does with it artistically is amazing. Say why with a physicist's eyes is the subject of this article.

Galileo's telescope changes the view of the universe

The most famous example of this game, in which one looks beyond the visible with an optical instrument, is the observation of the surface of the Moon with a telescope by Galileo in 1609. Two references help to situate the importance of the event. First of all, in the 1610 treatise "Sidereus Nuncius" (Messenger of the Stars), Galileo makes it evident at the very first page:

"Great, certainly, are the subjects that in this thin treatise I propose to each of those who observe Nature, so that they examine and contemplate them. Great, I say, first because of the importance of matter itself, then because of its unprecedented novelty over the centuries, finally, also because of the Instrument through which these subjects have offered themselves to our perception."

As an experimental physicist, I particularly appreciate the capital I of the word instrument. As a teacher, I have always noted the phrase "are offered to our perception". The result of the observation, in other words, is that any viewer in Galileo's time, even one previously convinced that the Moon is an ideal celestial sphere, would see it like the Earth, "covered on all sides with enormous protuberances, deep hollows, and sinuosities". Too late, you should not have looked... Believe what you may, but with one look at the Moon with a telescope, and it will immediately lose its status as the ideal sphere to become like the Earth itself. Your vision of the world and the universe will be irremediably transformed, as Galileo emphasised in his book.

The philosopher Hannah Arendt, in The Human Condition, underlines the radical break that this Galileo experience introduces. For her, three events founded modernity: the discovery by Europeans of the New World, the Reformation and the invention of the astronomical telescope:

"What Galileo did and what nobody had done before was to use the telescope in such a way that the secrets of the universe were delivered to human cognition 'with the certainty of sense-perception', that is, he put within the grasp of an earth-bound creature and its body-bound senses what had seemed forever beyond his reach, at best open to the uncertainties of speculation and imagination."

We do not play with light with impunity - it opens doors and transports us far away. Today, the images of the Hubble telescope show us the incredible diversity of deep space.

With Cloud Gate of Anish Kapoor, a return to Earth

In this context, which combines the technical capacity of observation and its overwhelming implications for our vision of our situation on Earth and in the universe, how can Anish Kapoor's mirror sculpture be approached? In "I have nothing to say", Anish Kapoor insists on the link between his mirrors and their place of installation, the space they open by deciphering the world around them.

Chicago, with its elementary geography of an immense plain, lake and magnificent man-made urban landscape, is made for Cloud Gate. The sculpture, in a dialogue with the skyscrapers that create verticality in this flat space, is an instrument that allows everyone to play with light to propose all the mixtures, all the distortions, all the reconstructions of this landscape. It is a new scope, which, by distortion and dilatation, changes how we see us in the world. This sculpture processes the elements of the landscape around the viewer, and changes his or her perception. The Skyline is now in front of us. We are in immediate proximity with the massive buildings behind Michigan Avenue. This new kind of scale focuses our attention on what is immediately around us.

The contrast with Hannah Arendt's analysis of Galileo's observation of the Moon and its bezel is radical:

"We always handle nature from a point in the universe outside the earth. Without actually standing where Archimedes wished to stand, still bound to the earth through the human condition, we have found a way to act on the earth and within terrestrial nature as though we dispose of it from outside, from the Archimedean point. And even at the risk of endangering the natural life process we expose the earth to universal, cosmic forces alien to nature's household."

You don't play with light without consequences...

We're now back on Earth, but times have changed. With the exception of Elon Musk, perhaps, we all now know our planet is a finite one and the only one.

Sculpting one's environment

In its simplicity, Cloud Gate is just a giant mirror, after all. Its curved shape provides all kinds of mirrors with different curves and viewing angles. This is how everyone builds their own image of Chicago. Unlike Galileo's telescope, the viewer sets up his or her own presence, choosing a place and that of others during the construction of the image. For a moment, we all becomes sculptors of our own environment and its ephemeral representation. And one day I will have to write how the discovery of exoplanets is again changing everything... after an artist seizes it.

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Anish Kapoor's "Cloud Gate": playing with light and returning to Earth, our finite world

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Every day thousands of people play with Anish Kapoor's in Chicago's Millennium Park. Affectionately nicknamed "the bean" for obvious reasons, the immense mirrored sculpture is made up of 168 stainless steel plates welded together and placed on the ground. It's about 10 meters tall, with a base of about 20 by 13 meters.

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'Maman' de Louise Bourgeois en Bellas Artes

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Christo interview: "Every interpretation of my work is legitimate" | Art | Dezeen

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De afdeling Beeldende Kunst leidt studenten op tot professionele beeldend kunstenaars. Zij beschikken over de vaardigheden om deel te worden van de kunstwereld en om eventueel een master- of een postacademische opleiding te volgen in binnen- of buitenland. Op onze afdeling worden studenten onderdeel van een dialoog over de mogelijkheden van de beeldende kunst als creatieve discipline en als theoretisch onderzoeksveld.

Wij dagen studenten uit om de dingen niet te beschouwen 'zoals ze zijn' maar het bestaan van materialen, objecten en ideeën binnen zich steeds veranderende complexe contexten te zien. Studenten leren kritisch te denken door middel van het maakproces. Ze verwerven de vaardigheden om een creatief proces dusdanig vorm te geven en uit te voeren dat de parameters rond theorie, praktijk en de publieke sfeer kunnen worden verschoven.

Ons programma is 'studio-based'. Studenten hebben wekelijks een-op-een gesprekken met docenten, groepslessen en theorielessen. Excursies en tentoonstellingsbezoeken maken deel uit van het programma, evenals het volgen van workshops van gastdocenten waar ook samenwerkingsprojecten en groepspresentaties bij horen. Ook het tentoonstellingsmaken komt aan bod, waarbij studenten in aanraking komen met de vraagstukken die aan bod komen tijdens presentaties en exposities.

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graduation show 2021: joana velu (fine arts)

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De afdeling Beeldende Kunst leidt studenten op tot professionele beeldend kunstenaars. Zij beschikken over de vaardigheden om deel te worden van de kunstwereld en om eventueel een master- of een postacademische opleiding te volgen in binnen- of buitenland. Op onze afdeling worden studenten onderdeel van een dialoog over de mogelijkheden van de beeldende kunst als creatieve discipline en als theoretisch onderzoeksveld.

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De Bachelor Beeldende Kunst aan de Koninklijke Academie van Beeldende Kunsten, Den Haag (KABK) verbindt het verleden van de beeldende kunst met het heden en de toekomst. We omarmen de geschiedenis en tradities met een discours die is gebaseerd op het heden.

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Hogeschool voor de Kunsten Utrecht - HBO

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Hogeschool voor de Kunsten Utrecht - HBO

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Fine Art in het kort

Ontplooi jouw kwaliteiten en talent

Werk vanaf het tweede jaar in je eigen studio

Maak gebruik van onze professionele werkplaatsen

Sluit je aan bij een hechte community

Laat je opleiden tot een professioneel beeldend kunstenaar

Ontwikkel je eigen visie op het beeldend kunstenaarschap

Wanneer is Fine Art echt iets voor jou?

De bachelor Fine Art is iets voor jou als je beeldend ingesteld, nieuwsgierig en gedreven bent.

Je zit boordevol creatieve ideeën

Je bent in staat om deze ideeën te vertalen naar beeld

Je durft te experimenteren met media en materiaal

Je bent cultureel/maatschappelijk nieuwsgierig en betrokken

Je hebt veel doorzettingsvermogen en een kritische houding

Je kunt goed zelfstandig werken en hebt zelfdiscipline

Waarom Fine Art bij HKU?

Je krijgt binnen deze bachelor veel kansen en vrijheden. Na een algemeen eerste jaar leer je je eigen studiepad vorm te geven. Je studeert veel individueel. Ook werk je samen met medestudenten onder begeleiding van professionals op het gebied van het maken en de theorie. Zo krijg je een goed beeld van het werkveld van de beeldende kunst. Je werkt vanuit een eigen atelier en hebt beschikking over werkplaatsen voor print, gips/keramiek, hout, metaal, digitale en performatieve media.

Enthousiast? Meld je nu aan!

Ontdek hoe de Bachelor Fine Art scoort in vergelijking met andere opleidingen:
Ga naar Studie in Cijfers

In vier jaar leer je vorm te geven aan jouw fascinaties en ideeën. Je leert te experimenteren en te maken. Zelforganisatie en inzicht in je eigen mogelijkheden zijn daarbij heel belangrijk, net als grondige kennis van de kunstgeschiedenis en de hedendaagse context van het werkveld. Jij bepaalt, samen met medestudenten en begeleiders, je individuele pad.

Tijdens deze studie werk je met alle soorten media en materialen. Door te experimenteren, leer je steeds beter wat jij wilt maken en vertellen. Van tekeningen tot schilderijen, van sculpturen tot installaties, van video's tot performances en van tekst tot gesproken woord.
Na de studie - je professionele kunstenaarsschap
Het creatieve werkveld is altijd in ontwikkeling. Je hoeft je geen seconde te vervelen en werkt alleen of samen met anderen in een atelier of op locatie. Je ontwikkelt je eigen beeldende werk en onderzoekt continu nieuwe mogelijkheden om je werk te tonen of in te zetten. Dit kan via open inschrijvingen voor tentoonstellingen, wedstrijden, residencies of vervolgopleidingen en gesprekken met professionals uit het werkveld.

Je kunt ook in opdracht werken of in samenwerking met andere kunstenaars tentoonstellingen organiseren. Na de Bachelor Fine Arts ben je op meerdere terreinen actief. Je bent beeldend kunstenaar en zelfstandig ondernemer en daarnaast vaak ook tentoonstellingsbouwer, schrijver, docent, curator, organisator of coach. De keuze is aan jou.

Werkplaatsen

Wanneer kun je je aanmelden?

De studie is echt wat voor jou als je jezelf herkent in de volgende omschrijving:

Je hebt een vwo-, havo-, mbo (niveau 4) of een gelijkwaardig diploma

Je beschikt over voldoende artistieke aanleg

Je hebt een beeldende nieuwsgierigheid en staat open voor experiment

Je bent zelfstandig en neemt zelf verantwoordelijkheid over je studievoortgang

Je werkt constructief samen en kunt goed met feedback omgaan

Tijdens de selectie beoordelen we of de studie bij je past

Toelatingsdata

Nog bekend te maken.

Meld je hier aan

Bekijk op de pagina Aanmelden en Toelating of je je nog kunt aanmelden.

Wil je meer weten?

Neem dan contact op met Servicebalie Studentenzaken. Zij helpen je met vragen over (bijna) alles wat met studeren aan HKU te maken heeft.
Contact

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Ontplooi jouw kwaliteiten en talent Werk vanaf het tweede jaar in je eigen studio Maak gebruik van onze professionele werkplaatsen Sluit je aan bij een hechte community Laat je opleiden tot een professioneel beeldend kunstenaar Ontwikkel je eigen visie op het beeldend kunstenaarschap De bachelor Fine Art is iets voor jou als je beeldend ingesteld, nieuwsgierig en gedreven bent.

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Jouw inbreng en persoonlijke wensen krijgen alle ruimte bij St. Joost School of Art & Design. Door middel van theorie, zoals lessen kunstgeschiedenis en kunstfilosofie, en praktijkvakken als 'manifestaties & presentaties' en 'contexten & posities' ontwikkel je een brede kijk op het vakgebied. Je verdiept je tijdens deze studie samen in actuele vraagstukken, zoals collectiviteit, digitalisering en globalisering en zoekt uit wat deze onderwerpen voor jou persoonlijk betekenen. Je onderzoekt hoe je als kunstenaar kunt bijdragen aan kunst, cultuur en de maatschappij voor nu en in de toekomst.
"Ik heb vooral geleerd altijd alles ter discussie te stellen. Stevig genoeg in je schoenen te staan om kritiek te durven uiten, maar tevens ook kwetsbaar te blijven. Altijd zaken te bevragen en samen te werken op een andere manier dan gebruikelijk is." - Esther Schaminee, alumna Art & Research
In de studie is praktijkonderzoek het middel om een kunstpraktijk te ontwikkelen die past bij jouw kwaliteiten en aansluiting heeft met een werkveld. In het praktijkgericht onderzoek komt het maken in een beeldend werkproces, het oriënteren op het werkveld en het verdiepen in de vragen en onderwerpen die je aanspreken samen. In de praktijklessen en onderzoeksgroepen is veel aandacht voor werkwijzen die je ontwikkeling als kunstenaar stimuleren en je beeldend werk verrijken.

Het kunstenaarschap kent geen gebaande paden en vaststaande posities. Volharding en wilskracht zijn daarom essentieel voor deze studie. Er is veel aandacht voor de ontwikkeling van zelfvertrouwen en zelfkennis, waardoor je jouw talenten versterkt binnen een veilige en fijne studieomgeving.

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Jouw inbreng en persoonlijke wensen krijgen alle ruimte bij St. Joost School of Art & Design. Door middel van theorie, zoals lessen kunstgeschiedenis en kunstfilosofie, en praktijkvakken als 'manifestaties & presentaties' en 'contexten & posities' ontwikkel je een brede kijk op het vakgebied.

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Koninklijke Academie voor de Schone Kunsten Antwerpen

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Koninklijke Academie voor de Schone Kunsten Antwerpen

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Koninklijke Academie voor Schone Kunsten Antwerpen

Bachelor en Master in de Beeldende Kunsten

Vrije Kunsten - Beeldhouwkunst

In een driedimensionale taal vorm en betekenis geven aan je omgeving: dat is de kern van het traject beeldhouwkunst (afstudeerrichting Vrije kunsten). Je onderzoekt daarbij de meest uiteenlopende mogelijkheden van structuren, kleuren en texturen, van klei, gips, metaal, steen en mixed media.

Beeldhouwkunst is een keuzetraject (afstudeerrichting Vrije kunsten) waarbij het atelier centraal staat. Dit atelier vormt een artistiek broeinest waar je zowel samen als individueel oefent en werkt. Je medestudenten zijn daarbij je steun, stimulans en gesprekspartners.

Eerst leer je de basistechnieken van het beeldhouwen. Op basis daarvan kan je eigen artistieke taal zich vrij ontwikkelen. Door te boetseren, te tekenen en de werkelijkheid visueel te analyseren kom je tot het weergeven in klei van de menselijke figuur. Daarnaast krijg je ook opdrachten rond compositie en assemblage. Gaandeweg ontwikkel je een persoonlijk artistiek onderzoek waarbij je individueel wordt begeleid door een team van professionele kunstenaars en de nodige theoretische context meekrijgt.

Tekenen is een belangrijk onderdeel van jouw persoonlijk onderzoek. Zowel anatomisch en figuurtekenen als onderzoekend en ontwerpend schetsen komen hierbij aan bod. Zo kom je uiteindelijk tot een eigen stijl. Je beeldend werk kan dan ook alle kanten uitgaan, van het figuratieve tot het extreem abstracte en alles wat daar tussen zit.

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Koninklijke Academie voor Schone Kunsten Antwerpen Bachelor en Master in de Beeldende Kunsten Vrije Kunsten - Beeldhouwkunst In een driedimensionale taal vorm en betekenis geven aan je omgeving: dat is de kern van het traject beeldhouwkunst (afstudeerrichting Vrije kunsten). Je onderzoekt daarbij de meest uiteenlopende mogelijkheden van structuren, kleuren en texturen, van klei, gips, metaal, steen en mixed media.

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Step 1. Inspiring assignment

Step 2. Create a mindmap

Step 3. Create sketches

Step 4. Final design 3d

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Choose 3 artworks in Hoofddorp or search online.

For each artwork answer these questions:

a. What is the location? (country, city)

b. Who is the artist?

c. From which material is it made?

d. What is the meaning of the artwork?

e. What do you think? What do you like or dislike about the artwork.

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What I need…

-Dummy

-Pencil

-Colour pencils

-Pencil sharpener

-Eraser

How it’s made…

-Start in the middle

-Write down the word ‘ARTWORK’

-Write down all the words that come to your mind

- Shapes, colours, materials, everything you can think of

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What I need…

-Dummy

-Pencil

-Colour pencils

-Pencil sharpener

-Eraser

How it’s made…

-Create different sketches of your artwork

-Different types of ideas

-Different angles, frontview, sideview

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What I need…

-Different tools & materials

-Wood, cardboard, foam, textile, clay, wax, etc.

-Maybe you want to use an old shoe as a base

-

-How it’s made…

-Make your sketch 3d

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A writing frame for your powerpoint. Feel free to change the design. However make sure all topics are present in your version.

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Fine Art

Creative art, especially visual art whose products are to be appreciated primarily or solely for their imaginative, aesthetic, or intellectual content. (Art that have no real function besides being a piece of art)

Representation

What the artwork shows or depicts.

Abstract

Abstract art is art that does not attempt to represent an accurate depiction of a visual reality but instead use shapes, colours, forms and gestural marks to achieve its effect.

Figurative

When an artwork recognizably shows something in the real world, we call the representation figurative.

Shape

There are three categories of shapes: geometric, organic and stylized.

Applied art
all the arts that apply design and decoration to everyday and essentially practical objects in order to make them aesthetically pleasing. (Art designs that have a function besides being an aeshetical piece of art)

Geometric

Shapes you can create with the aid of a compass or a ruler. Think of squares, circles and triangles.

Organic

Shapes inspired by nature, for example patterns shaped like flowers, the sea or plants.

Stylized

Stylized shapes that have been simplified by leaving out details.

Site-specific:

Artwork that is created to exist in a particular location, often incorporating elements of the site's history, culture, or environment.

Interactive:

Artwork that invites viewer participation or engagement, encouraging people to interact with or contribute to the piece.

Environmental:

Artwork that responds to or addresses issues related to the natural or built environment, often incorporating sustainable materials or promoting environmental awareness.

Conceptual:

Artwork in which the idea or concept behind the piece is considered more important than the finished product, often challenging traditional notions of art and aesthetics.

Community engagement:

Artwork that involves the local community in its creation, installation, or interpretation, fostering a sense of ownership and connection among residents.

Landmark:

A prominent or significant feature in the landscape, often used to denote location or serve as a point of reference, sometimes enhanced through artistic expression.

Functional integration:

The incorporation of practical or functional elements into artwork, blurring the line between art and utility and enhancing the artwork's relevance and impact within its environment.

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www.rotondekunst.nl is een verzamelsite van rotondes welke kunst bevatten. De site is de grootste internationale database van rotondes.

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The big idea here is to empower you, the students, to transform your local environment creatively. While there are guidelines to adhere to, they're designed to provide structure while still allowing for individual expression. Through this process, you'll delve into the realm of fine art, grappling with the complexities of designing for public spaces. It's an opportunity to explore divergent creative pathways, gaining insight into the intricate balance between artistic autonomy and communal impact.

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The following materials are commonly used in art in public places:

Concrete: A composite material composed mainly of water, aggregate, and cement, often used in construction due to its strength and durability.

Steel: A strong alloy of iron and carbon, commonly used in construction and sculpture for its strength and malleability.

Glass: A transparent or translucent material typically formed by heating sand and other ingredients, often used in public art for its aesthetic appeal and ability to transmit light.

Bronze: A metal alloy consisting primarily of copper, usually with tin as the main additive, known for its strength and ability to hold fine details, frequently used in sculpture.

Wood: The hard fibrous material that forms the trunk and branches of trees, valued for its natural beauty and versatility in artistic applications.

Ceramic: Objects made from clay that is shaped and then fired at high temperatures, often glazed for decorative or functional purposes in public art.

Mosaic: An art form consisting of small pieces of colored glass, stone, or other materials arranged to form a pattern or image, commonly used to decorate public spaces.

Resin: A synthetic or natural organic compound that is viscous and often transparent, used as a material in sculpture and other forms of fine art for its versatility and durability.

Aluminum: A lightweight metal known for its strength, corrosion resistance, and malleability, commonly used in outdoor sculpture due to its ability to withstand weathering.

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As you have to design a three dimensional artwork you have to take the way you shape your sculpture into consideration

Form: The three-dimensional shape and structure of an object, often used interchangeably with "shape" but implying volume and mass.

Volume: The amount of space occupied by a three-dimensional object, often conveyed visually through shading, highlights, and perspective.

Curvature: The degree to which a surface deviates from being flat or straight, often used to create dynamic and organic forms in sculpture and design.

Angular: Having sharp or distinct corners, edges, or angles, often used to convey strength, stability, or tension in artwork.

Symmetry: The balanced arrangement of elements on either side of a central axis, often used to create a sense of harmony and order in artwork.

Asymmetry: The lack of symmetry or balance in an artwork, often used to create visual interest and dynamism.

Negative space: The empty or unoccupied space around or within objects in an artwork, often used to create balance, rhythm, and emphasis.

Silhouette: The outline or shape of an object or figure, typically seen in profile against a lighter background, used to create dramatic and recognizable forms.

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commonly used techniques for creating art in public places are (a combination of):

Sculpting: The process of shaping or carving materials such as clay, stone, or metal to create three-dimensional artwork.

Carving: The process of cutting away material from a solid surface to create a sculptural form or relief.

Casting: The process of pouring liquid material such as metal or resin into a mold to create a replica of a desired shape.

Welding: The process of joining metal pieces together by heating and melting them, often used in sculpture and metalworking.

Etching: The process of creating designs or images on a surface by using chemicals or abrasives to remove material.

Printing: The process of transferring an image from one surface to another, often using techniques such as lithography, screen printing, or intaglio.

Modeling: The process of shaping a pliable material such as clay or wax to create a three-dimensional form.

Assemblage: The process of creating artwork by assembling found objects or materials into a composition, often with symbolic or narrative significance

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Visual aspect that have to be taken into consideration while creating a piece of art in public places:

Texture: The tactile quality of a surface, often perceived through touch or visually represented in artwork to create depth and interest.

Color palette: The range of colors used in a particular artwork or design, chosen for their aesthetic appeal and ability to convey mood or meaning.

Contrast: The degree of difference between elements in an artwork, such as light and dark, or complementary colors, used to create visual interest and emphasis.

Scale: The relative size of objects within an artwork or in relation to the surrounding environment, used to convey importance and create visual impact.

Composition: The arrangement of elements within an artwork, including their placement, balance, and relationships to one another, used to create a unified and harmonious whole.

Lighting: The use of natural or artificial light to illuminate an artwork, creating highlights, shadows, and depth, and enhancing its visual impact.

Shadow: The dark area created when an object blocks light, used in artwork to convey depth, volume, and mood.