Moffat's work can be raised into the gallery space from the imprisoned studio via the manual pulley. This can ad a theatrical element to the premiere of new work, be an efficient manner to raise large pieces, and for the artist be a physical representation of the toil that goes into producing art.
Aswell as producing photograph's, Moffat also creates movies that can be projected against the gallery wall for the public to watch from the sloped floor space.
The first texture that I chose is 'solid'. Being a meditative space, I wanted Gascoigne's studio to be like a small chapel in form with the enclosed feeling of a grotto. The texture is structured, but soft, and I reversed it to achieve a darker interior. 
For Moffat's studio I wanted a cold, solid texture like the walls of a prison, relating to the emotional prison that the main character of Something More is trapped in. I created this from tally marks which you would find in a prison, but has strong repetition like formed concrete.
I wanted one end of the gallery to sit apon an exposed granite boulder to contrast the plain white walls, and to give Gascoigne's studio a meditative outlook that can be read both as biblical, or zen. The texture is very regular and small in detail which likens it to granite. 
Gascoigne's work in studio: I can see similar materials to those chosen by Gascoigne strewn over the floor in a loose homage to the artist. This gives the public the opportunity to come and produce their own 'Gascoigne' pieces, or possibly for her husband Ben to continue to manufacture her exceptional creations, as he did before her passing. 
Moffat's work in studio: There are two main elements of Moffat's studio. The first is a dark room for the production of photograph's including developing baths (shown above), developing machines and room for digital editing. The second is the set space for the production of photo's and movies as Moffat often creates her own sets for the production of her work, this included Something More. 
The stairs to Moffat's studio are surrounded by 'prson' bars to capture the user as they walk down. This is inkeeping with the theme of seclusion. The pulley also means the artist can themselves be secluded from the gallery whilst the art can be hoisted up without any contact with the public at all.
I designed the rise on the stair to Gascoigne's studio to be very low so the user has to step quite slowly and gradually rises to there destination. This makes more than just the studio itself a place for meditation,but also the stairs. It would also best allow for the movement of large heavy pieces between spaces aswell.
