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I OPTED TO GO WITH MY SECOND SKETCHUP MODEL. I FELT THAT THIS MODEL HAD MORE POTENTIAL AND MORE ROOM TO PLAY AROUND WITH.



THE "ABOVE GROUND" AREA IS INSPIRED BY YRACEY MOFFATT'S PHOTOGRAPH ENTITLED "UP IN THE SKY (#16)." THE WORD I BASED THIS DESIGN ON WAS "ENTANGLE." JUST AS THE SUBJECTS OF THE PHOTOGRAPH ARE ENTANGLED IN WHAT APPEARS TO BE A FIGHT, I WANTED THE DIFFERENT LEVELS AND SHAPES OF THE BUILDING TO ENTANGLE AND ENVELOPE EACH OTHER.



IN THE STUDIO UPSTAIRS, MOST LINES OF SIGHT AREN'T OBSTRUCTED AND SOME VIEWS ARE FRAMED BY THE WALLS/WINDOWS. THIS IS SO THAT THE ARTIST MAY TAKE INSPIRATION FROM THE VARIOUS VIEWS AROUND HER.



THE GALLERY SPACE BELOW SEEMS MORE ENCLOSED TO CONTRAST THE OPENNESS OF THE ABOVE AND BELOW GROUND STUDIOS. LITTLE WINDOWS ARE ALSO PLACED (EXCEPT FOR THE FRONT AND REAR OPENINGS) TO ALLOW GALLERY VISITORS TO FOCUS ON THE PIECES OF ART. THE OPENINGS ON THE OPPOSITE ENDS ALLOW MORE THAN ENOUGH NATURAL LIGHT.



THE "BELOW GROUND" STUDIO REFLECTS THE WORD "IMBEDDED" AND WAS INSPIRED BY ROSALIE GASCOIGNE'S ART WORK, "FULL FATHOM FIVE." THE STUDIO, ALTHOUGH UNDERGROUND, IS OPENED UP TO A LOT OF NATURAL LIGHT. IT IS SURROUNDED BY MANY TREES TO GIVE THE SPACE A MORE NATURAL FEEL. THE WIDE STAIRS APPROACHING THE GALLERY CAN ALSO SERVE AS SEATING FOR VISITORS TO VISUALLY INTERACT WITH ALL LEVELS OF THE GALLERY.