Artists: Milne and Stonehouse, Paul Brown, Craig Flood, Laurindo De Abreu Soto. Using industrial materials of stainless steel, aluminium, Alpolic cladding, glass and lights the artworks for this project became a reflection of the strong architectural presence in an inner-city location while acknowledging the site's heritage. Six artworks were commissioned for this high -profile government office building. The largest of these artworks is attached to the corner façade extending out over the George and Mary St intersection. The artwork is a dramatic series of plates of steel and glass demonstrating a spectacular fusion of artistic merit with engineering feat. The top plate is balanced 48 metres above the street level with another five plates descending beneath each other. Conceptually “Tiers”, by Milne and Stonehouse, is a sculptural progression emphasising the elements of air, light and water and their negotiation with shelter. The work has a day and night personality, offering changing aesthetics with the changing day. Another impressive artwork is the wall pattern designed by artist Paul Brown in collaboration with the design architect Spence Jameison. The large scale pattern of “Ghost Amaze” was based on First World War “Dazzle” camouflage. The final design was modified to integrate the original concept with environmental considerations. The artwork successfully uses the façade material to generate interest and truly integrates into the fabric of the building. Framing the main entrance doorway is “Reflective Presence” by Craig Flood. This artwork is a contemporary reflection of “Auckland

House” the original brick house that stood on this site from 1906 to 1962. The design stems from the brick arch that framed the entrance with a sense of grandeur, while the subtle glass detail references the geometric timber balustrades of the surrounding verandas. The house has important medical associations through Dr. Lilian Cooper, Queensland's first female medical practitioner who lived and practiced here from 1906 to 1926. The otherwise ordinary exhaust vents on the periphery of the building have been transformed into showcase pieces that complement the building's architecture. The most prominent of these three vent artworks is “Blue Prism” on the footpath level of the corner of George and Mary St. The stainless steel used in this piece has been sophisticatedly shaped to produce an appealing outcome that resonates both with pedestrians and with the overall scale of the building. Its internal blue lights give a softening glow at night. “City Lights” also has a day and night presence located less predominantly along Mary St. The artist, Laurindo De Abreu Soto, has given this utilitarian vent a whimsical shroud, claiming “in the city, even the vent covers have to dress up to go out”. “Three Graces” recreated in a three dimensional way the strong concept of Paul Brown's design for the outer wall of the building, creating a connection between the two. These three elements although strong, rest quietly together, floating above the floor of the internal courtyard. Public Art in civic public buildings, as exemplified by this project, is one of Art Built-in's greatest achievements.