Finalised SketchUp Model

The top building is 'Rustic', a word used to describe Ricky Swallow's sculpture, The Exact Dimensions of Staying Behind.

The botton building is 'Wait', a word used to describe Sidney Nolan's painting, Kelly.

Textures include 'brittle', 'metallic', 'rusty', 'sturdy' and 'clean'.

Original Section Drawing:

Developed SketchUp Model:

NOTE: several changes were made, thanks to advice from Brad. These include the removal of the round orb room in 'Wait', the removal of hemispheres in the stairs linking 'Wait' to the gallery and instead inclusion of traffic lights, addition of more practical studio space to 'Rustic'

Materials: concrete, steel, glass, marble

The left building has purposely been left open to show the interior. Otherwise its exterior would appear like the right building.

Ricky Swallow, 'The Exact Dimensions of Staying Behind'

Swallow’s work, although contemporary in subject matter, upholds the tradition of sculpture through classical carving techniques. Working directly with his hands, he uses a chisel and hammer to render his subjects out of blocks of wood. Then scraping and sanding techniques are implemented to obtain smooth surfaces, resulting in a long and arduous process. Here his material is lime wood, and laminated so as to enhance its durability through time and climate conditions. Swallow’s skilled craftsmanship is evident through the intricate details of his sculpture; the seated figure clutches both an ornate staff and carving blade, the former symbolizing support in seeking a path, while the latter a tool of both creation and destruction. This contradiction introduces Swallow’s main concept of mortality, and the need to balance life with death and dying.

Sidney Nolan, 'Kelly'

Nolan’s status as a fast and prolific painter, is supported by this work as the thick visible brushstrokes suggest vigorous spontaneity and the use of a large brush. He is known to work in his studio, painting from memory rather than preliminary sketches. Rather than upholding the conventional painting medium of oil paint or acrylic on canvas, Nolan favours the enamel house paint Ripolin on compositional boards. As Ripolin is fast drying and very fluid, it demanded immediate execution and painting on flat surfaces – thus Nolan would also have challenged the artistic convention of painting on easels. It is said that Nolan’s success is more attributed to his edgy, bold shapes and historical, cultural charm, than his painting ability, as his works don’t attempt to build form or investigate space.