Newtown Site 3 was chosen in accordance with the three main principles that drove this scheme. As the circulation focused on a non-linear, cyclical path, Site 1 was ruled out. The division in the facade as a result of the aesthetic vs meaning notion captured in the model similarly ruled out Site 2, the corner site as it provided 2 distinct fronts to the building.
Within the facade of the gallery lies a divide between the actual front of the building and its entrance, which is reached via a passageway that symbolically acknowledges this fracture. The allusion to interconnectedness is also evident in the composition of the gallery front.
The interior of the gallery attempts to represent the principles that remain central to Aboriginal artwork. There is a rhythmic integration of three main galleries. The first includes an upper level which surrounds the lower level and the interplay of light created with the skylight. Again, there is symbolic allusion to the dreamtime and its everpresent, cyclical nature. The upper gallery space leads to a feature gallery which synthesizes a connection between the gallery and the Newtown site.There is no direct linear path which links the 3 gallery space, instead there is a dynamic integration of these spaces, moulded together through the sculpture courtyard which again symbolizes the dreamtime and its inherent link with the artworks of Indigenous Australia. The rear of the site houses the apartment and the workshop/storeroom. There is a visual connection between the apartment and the gallery spaces to ensure that this interconnected theme runs throughout the entire scheme. It is also important that the residential aspect of the scheme ties in with the artwork as it signifies the importance of artwork and its religious and spiritual connotations within the everyday life of Aboriginal Australians.
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