When all the rules are broken, the result is brilliant — Lyon House Museum

Some have said that Art must not be confused with Interior Design. And that Interior Design must not be confused with Architecture. Yet, Corbett Lyon and his wife Yueji team all three into a beautifully motivating experience.

I’ll work from big to smaller in a bid to describe why a visit is so engaging. Corbett’s Lyon’s family has a history in Architecture, stemming from his grandfather. Hanging on the upstairs wall is a meticulous drawing by Corbett’s grandfather’s house in Brighton. Mathematicians will be very impressed by his precision. Lyon tells an anecdote of making one last visit to the Brighton home and arriving to a demolition team. A disgruntled one at that. The foreman informing Lyon that they had allowed two days for the job but were up to their second week of demolishing. We were happy to hear that Lyon’s grandfather’s intention for his home was longevity, stacking on the reinforced concrete.

Along the journey around the home you are able to take a peak into all of the interior design nooks and crannies, you’ll gain an appreciation for Austrian designed cupboards.

But your legs are a little weary at the half-way point? Sit and listen to Bach. Or at least Corbett playing his hybrid organ that is able to pick up the tune of famous organs from around the world. An amazing instrument with music that fills the room and ripples through you. When it stops you continue to hear the hum.

But naturally it’s the art that we’re really excited by. Just to name a few on current show, first up is Louise Forthun. And you’re not the only one to have noticed her. Representatives of the Guggenheim have commented on her works, in particular her piece of the Melbourne Central Construction. Full of potentially vicious palette knife strokes and burnt colours. Around the corner Patricia Piccinini’s Carrier gives a shock to small children, and simply amazes any of us who hear about her technique for formulating layers of skin. Upstairs you wander through Brunswick visiting each of Peter Atkins’ Journal entries from 2003. But it’s Howard Arkley’s Fabricated Rooms that pins you to the ground. Lyon shares a conversation that he had with Arkley, after Arkley had introduced two new panels to the edges of the work for the Venice Biennale. Before his death, Arkley had told of his intention to extend the work to go completely around a room, and Lyon was to be the one to design the room.

And so if you do find yourself in need of a pick-me- up on Sunday afternoon book an appointment to enjoy a contemporary museum with a personal touch. 219 Cotham Rd, Kew Melbourne.

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