Figure 9 shows a design motivated by such an idea, but later transformed by concepts of posture. To experience the building was to be involved in the successive unfolding towards a state of exaltation. But as the design developed, the concept of inspirational progression gave way to a metaphoric excursion into successive stages of posture, reflected in the progressive growth in scale of the architecture as you pass through it. A design in which the language of inspiration was transformed into that of posture, by Sarah Bradley. The concept of inspiration can be treated as a bodily term.
Inspiration pertains to animation, invigoration, arousal, inhaling, and rising to a height.
The relationship between inanimate objects and attitude was developed early in the studio. Once the element was modelled students were required to copy the file and create a variant of the element. The variant was to be something that is hostile to the element's normal relationship with the body. Figure 11 a to d. The iron bridge on the site, modelled by Paul Barnes Hoggett.