Richard Serra's sculptures are not about the form of the piece, but about the spacial relations that the piece creates. With this knowledge I have grouped the like volumes (all the cylinders together, all the cubes together, and all the planes together) to add the element of how each volume interacts with the piece separately, while creating viewing points and rest areas at the same time.
Many people argue; why put a gallery around a Richard Serra piece, while at the same time argue his indoor pieces are very successful. This is because, generally, his outdoor works create their own gallery, and the four surrounding walls of a gallery (or space) give an indoor piece context and a spacial perimeter.
It is for the above mentioned reasons the location and the sculpture (Richard Serra's, Switch 1999) were chosen. They share a symbiotic relationship where the the surrounding roadways (which create a curvilinear triangular island that mimics the shape of Switch) act as walls and set a perimeter for which the piece to be viewed, where as the volumes are an extension of the experience of spacial exploration.
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