Materials and space: The top floor space (Nolan's studio) consists of two parts, one being made of tin and the other of white rendered walls. The conceptual relevance of this is the link these materials have to Nolan's exploration of Ned Kelly (the tin man) and of the crisp Modernist movement of architecture which paralleled the life of Nolan. Glass is added around the studio to provide different 'impressions' of the space's interior and to echo the eye slot on Ned Kelly's helmet. Impressions are made even more evident by the glass stairs which shape around the glass sphere, making the experience of walking up the stairs almost claustrophobic from the indentations seemingly left by each separate space.
The 'between' gallery space continues on with the 'impression' idea of the top space. With red wood spread around the building's exterior to add an organic quality to the building and continue on with the 'scrunched up box' effect, appearing solid but squashed around the glass central ball. This earthy outback quality is retained towards the back of the building where recycled concrete stones create a contrasting but complementing exterior space. Earth and man aim to also 'merge' through the stairs which link the gallery to Piccinini's studio, from the airiness produced by the glass above ground to the dampness and tightness created by the dirt revealed by the glass stairs continuing underground. The nature and man concept explored by Nolan and Piccinini is also echoed by these materials and the space they create.
To explore the word 'perplex' for Piccinini's studio space, limited material was used, mainly sandstone and rock. I wanted to create a dune-like and cave-like space that will appear 'perplexing' for any who enter. Because the space is symmetrical as well as circular, walking inside would confuse and challenge a visitor the same way Piccinini's artworks do.
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