Sculpture, in its simplified and conceptual form, is already used to experiment with and test the perceptions and characteristics of environments and spaces that are in the design phase; there is already a sort of contamination between the two art forms. 

My goal, therefore, is to elevate an already existing condition to a broader and more formal level.

The demonstration of this thesis will be very pragmatic; it is based on the creation of a fully functional and qualitatively acceptable dwelling, complete with all services, within a Chillida sculpture.

I chose the sculpture *Casa de Luz III*.

It best synthesizes all the considerations previously made regarding architectural experimentation through sculpture. The theme of the “house” is present, and it is clearly representative of a form composed of voids and solids coexisting in a perfect state of harmonious balance.

Before moving on to the actual design phase, I imposed some limitations and obligations on myself.

These rules can be summarized in a few simple and well-defined points:

- Do not add volumes perceived as solids inside or outside the form.
- Identify all essential additions (railings, glass walls, doors) with distinctly different materials.
- Carve inside the form without altering the visual perception of the spaces to meet practical technical needs, such as creating connections or bathrooms.