Above ground level reflects the mechanical and factitious nature of Rosalie Gascoigne's work which is why I have chosen metal as the dominant material. The stairs leading from this section to the gallery are supposed to appear to be almost apart of the studio itself, constructed from a single sheet of steel and metal ropes for rails, they are an extension of the building and the mechanical experience in itself. The below ground section is constructed of glass so the artist is almost 'at one' with the nature surrounding her whilst working in her studio. The stair treads are made of wood and take on a leaf-like shape to further develop the sense of nature in the studio which is so apparent in Fiona Hall's work. The disfigured walls very much express the 'contorted' element of Hall's work apparent in the 'tender' collection. Finally, the ground section (gallery) intertwines of the two themes expressed by the above and below ground studios. The Hall-like structure and open archways are to allow viewers space and tranquillity when reflecting on the artist's completed works. Whilst the structure of the gallery appears to be taking on a more constructed or mechanical appearance much like Gascoigne's work, this image is distorted in the contorted roofing which, in its way, superimposes Hall's work onto Gascoigne's. I wanted this to be a much more basic structure as it is not needed to inspire the artwork so I didn't want the building to subtract from the predominant focus of the art.