I wanted Madonnas building to be highly sexual, in reference to the mashup article I used.
The impression I get of Madonnas sexuality is one that is almost violent, but still highly sensual. It is highly charged, and used as a form of empowerment.
My aim was to make the overall shape of the building, the colour, and the movers reflect her sexuality.
The sleek black shape of the building I modeled on a female body, where the curves resemble the curves of a female body arching. This contrasts with the more solid, sharp shapes of Obamas building and enhances the difference between their two types of power; Obamas as charasmatic and bureaucratic, and Madonnas as sexual and expressive.
The black, which I like to think resembles PVC or a shiny leather, in juxtasposition with the softer pink interior, works to contrast Madonnas hard, dominating and overt sexuality with a softer and more sensual side.
The above image shows the dynamic between the two buildings, and how they relate to each other. The bridge acts as a foundation that Obamas building is built on, but also penetrates through Madonnas building. This can be read as either sexual, or as a sort of object trying to hold Madonnas building down. The latter is reflective of how it is difficult to catagorise or put Madonna in a box, as she is always changing her 'look' and outward appearance and personality throughout her career. Madonna does not conform to society, or to the expectations of the public, and is this attempt to escape from controlling factors and maintain freedom and power that the 'penetration', or meeting between the bridge and Madonnas building portrays, as the building can be seen to be arching and reaching away from the bridge.
The bridge reflects aspects of both Madonna and Obamas power. An example of this is the use of a shiny, chrome surface, which enhances the hard, professional aspects both clients embody. In contrast, the texture of the carpet represents the more intimate nature of the relationship of power I am suggesting between the clients.