The curvaceous form of Miranda Kerr's office emulates her own use of form to exert the traditional power of young women: physical beauty. It is visible and exposed. Her elevator is soft and rounded. Its delicate spiral design reinforces the sensual nature of her power.
The dining table has a levelling potential, though here the showy requirements of Kerr's power have been pushed to the fore. The two parts of this table best represent the original idea behind the broader design: the dichotomy of function and form. However, behind the curvilinear ostentation and the stolid pragmatism of either end of the table looms the jagged mass that supports Merkel's office.
This image best illustrates the disparity between the power these women have. Merkel's true stature is apparent and founded on the piled masonry of German history and reinforced by a solid vertical element. Kerrs'office is far below and is suspended by only its own weight and a slender and precarious thread. The bridging element passes directly through Merkel's office but bypasses Kerr's altogether. Their usual worlds rarely meet and it is only at formal events such as presented by the dining table below that they encounter one another.
Again the disparities are displayed. The bridging element is a substantial part of the structure and it's raison d'etre. Merkel is exercising power in this mainstream of geo-politics whereas Kerr displays her power in a world far below.
The lift here appears like a cushion, ready to take the displayed Kerr to her destination in languid comfort. The billowing and suspended extremities of Kerr's studio show the thin and unstable basis of her power.
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