EXP 3- Prada's Office (Final Draft)

Here, the curvy thin pieces are intended to be like strips of satin/fabric. I found this suitable as Prada is known for using a wide range of materials in her designs and fashion items. As mentioned previously, Prada's space is aimed to highlight extravagance, with a large platform outside that acts like a catwalk platform. It has been noted that despite being one of the wealthiest women in the fashion industry, she is quite low-key. Consequently, I have used the interior space, which is quite minimal to accentuate this side of Prada.

EXP 3- Table (Final Draft)

This final design of the table is quite different from the first draft. I was not entirely satisfied with the previous table legs, thus I have created these two sharp points as legs instead. These points allude to the fact that both Obama and Prada are sharp and quick-witted. By using glass, it represents the fact that as people of "Power" in the 21st century, they are innovative and unconventional.

EXP 3- Obama's Office (Final Draft)

Sketchup Model (completely changed from first idea):


Obama's office aims to highlight both the notion of power/dominance and domesticity. The exterior resembles a house, hinting the fact that although Obama is in such a high rank of power, he is still like a common person; (constantly seen to be around with his wife and children). Once imported into Unreal Tournament, I intend to add dominating large staircases around the office to different levels, to suggest a 'lead up' to power.

EXP 3- Meeting Space (Draft 1)

Further development of the lunch meeting room:

Initial Sketchup model of room:


This is the intended meeting space for Barack Obama and Miuccia Prada. The multiple layers in this meeting space are representative of different time periods and styles that have ever existed. Obama and Prada, both prominent figures with great "Power" are included in these layers. Prada has, and will continue to make a significant contribution to fashion and style, whereas Obama is starting off his Presidency, following on from and improving what previous Presidents have achieved.

EXP 3- Final Elevators

BARACK OBAMA:

• LEADERSHIP/INFLUENCE

These images are of Obama's elevator, which was designed based on the ideas of leadership and influence. Obama stands in the centre, surrounded by columns of varying widths and lengths. These are representative of people of different races, age groups and genders who require Obama's guidance and leadership. The curved arches that extend at varying angles and directions suggest that these people are 'reaching out' for help, showing how influential a world leader like Obama can be to them.

MIUCCIA PRADA:

• EXTRAVAGANCE/SUCCESS

Unlike Miuccia Prada's office, which shows her simplistic personality and appearance, this elevator overturns this side of her. As a powerful and innovative fashion designer, one would think that she is flashy and highly fashionable. Thus, this elevator is not as conservative as the space in which I have created for Prada. Also, by creating a complex piece of geometry, it suggests that Prada belongs to a complicated business, which had not faced success immediately, but rather over decades of establishment and hard work.

EXP 3- Obama's Office (Draft 1)

These screen-shots feature Obama's office, and represent the various ways in which he has executed power. At the moment, the two curved platforms that jut out of the building seem unbalanced, symbolising that he is slowly attempting to restore balance within American society. This building has been specifically designed as a tall "building," making it hard for intruders to enter the President's office. The hole up the top is going to be the main working area for Obama, where he is separated from any disturbances.

EXP 3- Prada's Office (Draft 1)

The large expanse of space connected around Prada’s studio can be seen as both a slide, and a catwalk. According to many articles, it has been noticed that Prada has a slide in her office, which she uses when she is in high spirits. Both the studio and the “catwalk” are very curvy and quite feminine, which was intentional as Prada is a women’s fashion designer. Also, the sharply angled curve represents that Prada owns a rapidly growing business. I have made the main studio space in the shape of a sphere, which suggests unity and compactness. Prada seems quite conservative, thus I have aimed to show this through the simplistic and minimalistic exterior. However for the interior, I intend to create a more extravagant and fashionable space, as she is a fashion designer after all.

EXP 3- Table (Draft 1)

This table does not conform to normal conventions regarding design and material choices. For the table legs, I have used glass and for the table tops, I have chosen to use metal. This was deliberately done to enhance Prada's skill in choosing to mix fabrics and different materials when designing her clothes, bags and accessories. At the same time, the fact that the table looks unstable alludes to Obama, suggesting that it is his power which will continue to stabilise America.

EXP 3- Comment on another student's blog

http://aisiis.blogspot.com/2009/05/elevator.html?showComment=1243218337588#c2389904398840589933

EXP 3- Inspiration for Prada

I have taken the following pictures which were from the "Fallen Shadows Premiere" from the official Prada website. They have been useful in giving me a greater insight into Prada's style.

EXP 3- 36 Custom Textures (Movement)

EXP 3- Two Point Perspective Drawings

EXP 3- 3D Draft Pathway in UT

EXP 3- Mashup of 3 Articles

CLIENTS

• Barack Obama
• Miuccia Prada
• Madonna

It is impossible to forecast how important rarefied and potent ranks of fashion are. It is not just that desperation and luxury are mortal enemies, but fear and power alone do not peacefully coexist. A designer should design what she likes, with good features magically inverted and bad ones exaggerated. The collections are completely an expression of a respectable professional. It's no surprise that designing the overall final product is no longer novelty.

Merely by becoming well-known, Mrs. Prada, as she is known to her Italian staff members would dispel many of the myths built up that she can not only sing, and dance, but also be a businesswoman. Worryingly, a stylish woman is unafraid of a good fight, with no money and few supporters.

A year or so ago, Americans announced that they would forsake the world of design benchmarks. Prada the company has been a lifelong dream, and both Americans and celebrity friends have flocked here to experience something that once was unimaginable. There were strong arguments against designing another company that was architecturally pioneering.

Despite a heavy load of debt, a brighter future for the world expects an image to be constantly updated. You can't do different when it comes to peace with a generally admiring world.

REFERENCES

Belinda Luscombe, “Fashion’s Auteur, True To Her Own Eye,” TIME, http://www.time.com/time/2004/style/020904/power/2.html (accessed 10 May, 2009).

Elena Gorgan, “She Put the M in Mediocre,” INOUT STAR, http://www.inoutstar.com/news/She-Put-the-M-in-Mediocre-4543.html (accessed 10 May, 2009).

Unknown, “The Presidential Election: It’s time,” The Economist (October 2008), http://www.economist.com/world/unitedstates/displayStory.cfm?story_id=12516666 (accessed 10 May, 2009).

EXP 3- 18 One Point Perspsective Drawings

Exploring the relationship to POWER

EXP 2- Final UT Screen Captures

Keith Campbell's Laboratory:

The unevenness of the walls, jutting in and out responds to the complexities involved with the cloning technology. The rings in the centre of the laboratory mirror the various stages of cloning, and are of the same structure. However, the fact that some are broken in half shows that although they are ‘genetically identical,’ faults that may occur during the process and exact replicas may not always be created.

The texture around the laboratory represents the organisms and cells. Cloning is more commonly known as, to "derive a population of cells from a single cell." By tiling this texture, I have aimed to depict how one single cell can grown into countless amounts, furthering the notion that cloning is complicated but results in endless possibilities; even to the extent of "improving the quality of life for people with genetic disorders."


This is the ramp from Keith Campbell's laboratory that leads onto the meeting space. The identical pole-like forms make it difficult for Campbell to walk through, confirming the idea that cloning is a difficult process and involves many obstructions.

Meeting Space:

This is the meeting space for both clients, and is a simple room where the two can come together to have a chat. I decided to keep to this simplistic design, as it gives a chance for both clients to get away from the complex problems they have to deal with.


Jacques-Yves Cousteau's Laboratory:

As a lover of nature, Cousteau’s laboratory space was specifically designed in the outside space, to emphasise his strong connection to the outside world and environment. The blue-green glass walls have been chosen as they reflect the qualities of the sea, which was where Cousteau’s research was focused. This space also highlights Cousteau’s growing concern over our environment, accentuated through the strong sense of decay and deterioration on the columns, which seems to scream out the urgency in needing to protect our vulnerable environment.


This is a view of Jacques-Yves Cousteau's ramp that leads to his laboratory. It seems to be fairly dark and mysterious, mirroring the unknown mysteries of the sea. I had tried to create a shelter above, that allows Cousteau to feel a sense of "protection" and whilst walking through.


This is the exterior of Jacques-Yves Cousteau's laboratory. The laboratory lies within the brightly lit blue area, and this was deliberately done to suggest a sense of "protection" of the building itself.