The image captures above encapsulate the idea that power is something that mimics in order to gain authority over others and thus always results with a response. The response to power is very much dependent on one's perspective. With these images it can be drawn that the overall angular build of the bridge adapts into the rough appearance of the Australian Red Centre. Despite this, power does not necessarily mimic to conform but can make a statement, much like the "radical" choice of exterior cladding materials which do not respond well to the harsh environment of the site.
This image is the interior of Kerr's headquarters in the bridge and spans up for 3 levels, claiming more than two thirds of the length of the bridge. This was intentionally done as to reflect her fame in the fashion industry and maximise the space so that it allows for Kerr to be displayed whenever and wherever she is on the bridge. Thus the concept behind this space is that power is very influential though very much dependent on reputation.
This image capture is the interior of Keller's bridge and as seen from the images of the overall bridge the exterior of the space is plain and undecorated. The plain exterior in contrast with the rich interior was the intention so as to demonstrate that power is something that can be hidden. In Keller's case it was her potential and unrelenting aspiration to change society's perspective of her disability and personality. The encased office space intends for a nurturing and inspiring learning space for Keller's students, demonstrating that use of power can have a positive impact thus be infectious.
This image capture is of the dining table for Kerr and Keller's collaborations. The location's drastic change from the overall effect of the bridge above symbolises the transition of the two clients' respective unchallenged power into a space that places them both in level ground. The contrast in colour and form of the table and the environment, recognises that power is something that is distinctive and in rare occasions something undiscovered at the same time. The table and its location synthesises all these ideas concerning power and accommodates for the needs and personalities of the clients.Kerr's side is on the left of the table and revolves around her reputation as a model hence the platform-like form of her space to display her power. Keller's side is on the right, in which her table and chair collaboratively protects her fragile state.
I have decided to place a vortex hole on Keller's side of the table to reinforce the idea of pulsating power. Since Kerr's side of the table has slits due to the steps for the platform the light installed in this vortex hole will also intensify her influential power.
From the image captures above the slit effect for the light is still not achieved so I have to modify the form of the table (considering re-shaping the support of the table itself but maintaining the overall form).
I have made a few changes to the assembly of Kerr's elevator in which the initial pillars have become more encasing. This is to engross the occupier and the onlooker to the figure that the lift contains. The over-arching quality of the posts also allows me to enhance my concept of influential power in which spotlights can be installed to enforce the sense of admiration towards the display.
The form of Keller's elevator did not undergo any change however the movement of the components in Crysis have been re-explored. Initially, I planned Keller's guide rails to continuously revolve and contract and expand as the elevator moves, however, considering her disability and dependence on her senses other than sight I have judged it unsafe for the client. Instead of the original plan I have opted to maintain that idea of free space for Keller but in the same time provide her with security by enclosing her lift with a cylindrical elevator shaft. In this way the concept of pulsating power is still explored but at the same time catering for the needs of the client.
Note: The interiors of Kerr's space are still under construction.
The two images above are screenshots of Kerr's space on the bridge. Due to my concept of power as an influential force through display I have elaborated the exterior of the space. The decision to combine open air and translucent glass as the make-up of the exterior cladding reinforces the idea that power can be gained through spectacular display. The first image also adds another dimension to this concept, where the volume of the space in contrast with the density of the structure implies that this source of power seems internally empty.
Note: The supporting structure, bridge walkway and elevator shafts are still under construction.
This image capture shows the positions of Kerr's and Keller's spaces in regards to each other. The first conceptual sketch below is the envisioned composition of the resolved bridge.
Note: There are no textures yet in Keller's space.
The bottom three conceptual sketches above are for Keller's space and this has been translated in the two Google Sketchup images below and its exterior is seen on the previous image capture above. My concept of power for Keller is opposite to that of Kerr's in which it is based on the individual's internal potential and aspirations. Thus the exterior of the Keller's space is stripped of expression, instead elaborating the interior. This visually demonstrates that Keller had so much potential to share with the world but there always was a barrier between her and society.