In contrast to the front, the three-dimensional composition is designed for viewing from all sides, its visual "consumption" takes into account the viewing angles, their dynamic change. Objects of three-dimensional composition can be represented by one volume, an aggregate of fused forms, a group of separate but compositionally related masses. The three-dimensionality of the form greatly complicates and enriches the means of construction and information about the three-dimensional composition.
This type of composition, usually multicomponent, has more expressive forms, high potential imagery, structure, based on contrast comparisons. The essential characteristics include mainly the vertical vector of shaping, attractive as the organizing center of the adjacent space.
In this role, an object representing a three-dimensional composition acts as a dominant or subordinate to the overall stylistic solution of the key element of the environment. The environmental position of the object of three-dimensional composition makes it necessary to reveal these connections spatially, to fix materially the reference points of observation preferred from the point of view of the creators. If we are talking about the monument, the background of its setting is studied, an alley is laid, marked by trees, flower beds, small forms. The choice of the necessary, worthy viewing distance, and the dramatic plan of his being as a whole are also essential.
As a characteristic feature of the modern inclusion of monuments in the environment can be noted the decline of official pathos around them as an object of political manipulation. The sculpture of the famous bard can be put directly on the grass of the lawn of a modest square, and the sculpture of an idle citizen — on the sidewalk. Monuments now put not great people, and fictional literary heroes, the subject or being associated with this place (Siskin-Pyzhik in St. Petersburg, a mermaid in Copenhagen, a duck brood at the ponds of the Novodevichy convent in Moscow). Such sculptures give the urban environment a sense of coziness and home comfort, which should be considered by the designer, who decides the issues of improvement.
The inclusion of three-dimensional compositions in the interior is a relatively rare case, due to the need for a wide space for review and unobstructed bypass. They are mainly addressed to large-scale interiors of public buildings. It can be sculpture, fountains, dendroalsia, the altar canopy in the Church, etc.
When developing the layout of a three-dimensional composition, it is necessary to program the energy and the halo of its influence on the immediate environment, especially if the layout consists of several objects. In this case, the interobject space and the plane of the sub-frame become full-fledged elements of the composition.
The practice of making paper layouts suggests expressive possibilities of the technology of working with it, the logic of attracting color and other materials with their characteristic qualities.
But still the most productive in the creative sense are the basic rules of composition formation: the integrity and brevity of the compositional code, a minimum of visual means, maximum attention to the harmonization of forms by articulation, proportionation, identification of subordinates.
As in any creative process, the sequence of preparatory work on the idea of a composite layout of a three-dimensional composition should be divided into three stages:
- development of the General sketch of the principal decision;
- clarification of proportions, articulations, dimensions and location of parts in their relation to the whole;
- generalizing correction of the composition as a whole and checking the solution on the working layout. After that, you can proceed to the patterns of the exposition layout.
In interior design, its composition is determined by the overall spatial solution. Its size, scale and imagery should have the most accurate compositional certainty, since the three-dimensional element in the interior inevitably becomes the focus of spatial organization and the main carrier of artistic intent. Spacious and high interiors are visually enriched with mid-vertical objects of three-dimensional composition. It can be decorative compositions on all height from a floor to a ceiling, the hanging chandeliers, wall sculptural groups.
The interiors of the small area of bulk compositions appropriate to place on the background of the walls in the sector of good visibility; in the center a valid location of the composite accents in the form of photoinstallation, sculptures, vases, etc. with a maximum height of 1 m, does not prevent you from viewing the interior. Placing the furniture in the room, it should also be interpreted as an object of compact or dispersed compositional organization. The degree of functional and aesthetic harmony of the subject content of the interior is well demonstrated by the abstract geodetic model of its "relief". Abstract modeling helps to distract from the secondary properties of objects filling the environment and to identify visually significant parameters of the developed space