The structure of the bridge is highly significant to the meaning. The structure is an adaptation of an arch bridge. Each side is reliant on the other for support. In this way neither Coke nor  Facebook are represented any higher than each other. The COke side of the bridge consists of a large and bulky support, with a cable stay structure holding up the road. Although the long support would not be needed as the bridge can be supported adequately by the slight arch and cables, the excessive amount of materials is a reflection of power. The bridge makes a statement on the influence that these companies have, even in a national park environment. (similar to Coca Cola's influence on rubbish disposal at the grand Canyon national park - need article for Mash-up).

The side on which the Facebook studio is placed is simple in appearance however like Coke its supports significantly affect its surrounding environment. The simple appearance, like the studio hides the complex, internal structural mechanisms.

Facebook and Coke studio, meeting place

I have chosen a simplistic exterior for the Facebook studio to reflect the clean cut appearance of the brand. When the facade is rotated however, the interior shows a network of connecting staircases and work spaces. In contrast the interior is busy and occupied to reflect the complex inner workings of the Facebook product, that the public do not see. The interconnecting staircases reflect the aims and functions of the Facebook site, that is to connect a variety of people who would otherwise communicate less. The rotating sides allow the interior to be viewed externally. The nature of the two pieces creates a combination of absolute privacy and openness. 

Coke's form of power lies in delivering an experience, while the actual product is unchanged and quite simple in comparison. The studio space is the elevator so that when the users are working, they gain a changing experience without moving themselves. The tiered spaces reflects the rigid hierarchy that would exist in a corporation like Coke. The series of spaces offers different views of the surrounding national park, to highlight the "experience".

The meeting space displays ideas of equality however has two distinguished sides for Coca Cola and Facebook. The orientation of the table determines which side each of the companies should sit. Although the corporations meet at the table and also halfway on the bridge, each has its own designated side. The vegetation is cleared in this spot, but enough remains to give the meeting place a sense of privacy. 

EXP3 ARCH1101 Test Animation

Jamison Valley, Blue Mountains, Australia

Google Sketch-up model can be accessed through this link:

http://www.mediafire.com/?746fr3erjnw8cee

Crysis file can be accessed from:


http://www.mediafire.com/?hc14neft3b59b2n

Illustration of moving part

This video illustrates the moving block in my model. This short animation is taken from the point of view of the player and therefore shows the scale of the monument relative to a person. 

Landscape and model

Textures in model

Textures from light to dark

Architectural concepts

Kisho Kurokawa:

In the following axonometrics, I have used the following ideas for inspiration: dynamic architecture; symbiosis and abstract symbolism. Dynamic architecture explores how architecture can be flexible, interchangeable, reversible and extendible based on the functions or requirements of a space (seen specifically through the Nakagin Capsule Tower). Symbiosis explores the relationship between the inside and outside of a building. Kurokawa considers how one can directly influence the other and how to transfer elements between them. Kurokawa also explores the idea of abstract symbolism and how specific shapes have specific universal meaning, which does not stem from belief.

Steven Holl:

In the following axonometrics, I have used the following ideas of Steven Holl’s to base them off: phenomenology, porosity and hinged spaces. Phenomenology explores how the experience of walking through architecture changes as you move through it. That is, every part of a space has a different experience depending on where you stand. As the observer pass through a room, the architecture reveals itself to them. Porosity is explored by Steven Holl, as a way of breaking down a solid mass. Especially light and movement illustrate the idea of porosity. Hinged spaces explore how a space can be flexible based on function (similar to metabolist idea of dynamic architecture).

Crysis Environment

Environment

James Cameron's Avatar based on Zhangjiajie National Park in China

Avatar

Zhangjiajie National Park, China

Combination axonometrics

Porous and abtract symbolism

This model has effectively shared common block to unify the two ideas while creating a single cohesive monument. The positioning of these blocks has created another space which acts as a middle ground that bridges the gap between the two ideas.. Kisho Kurokawa’s abstract symbolism has been slightly altered so that the two monuments could share a common block. In this arrangement the model reflects its core ideas of variations of symbols, and enforces it in the middle space through which all its features can be viewed. Steven Holl’s porous structure remains contained however the junction between the two monuments enforces its core idea of penetration and negative spaces. Again the negative space between the two monuments allows the viewer transitional space so that the two monuments can be studied separately and together. 

Dynamic architecture and phenomenology

This combination allows both architects’ ideas to be apparent while combining effectively to form a single monument. Kisho Kurokawa’s dynamic architecture has been flipped and scaled to reflect its ability to move based on its required function. Steven Holl’s phenomenology has been positioned so that it shares a wall (block) thus creating new ideas that change as the viewer passes through the monument. 

Flexibility of space and symbiosis

This combination of blocks coherently works together while still enabling a viewer to comprehend their individual ideas. Kisho Kurokawa’s idea of symbiosis is still reflected in this arrangement. Steven Holl’s flexibility of space acts as a “hinge door” at the entrance to Kisho Kurokawa’s symbiosis. This enforces the idea of flexibility and the ability of architecture to move with required function. The more defined entrance now created by Steven Holl’s flexibility of space further enforces the ideas of in and out in the larger sense of symbiosis.