question - InDesign

Aj.Camillee, is there a way to import layers from Photoshop to InDesign?

Also, for the radius map, I tried saving the file from photoshop in jpeg, then opened it in InDesign but the image is pixelated.

updates and questions

for the colour of the structure

i think that the ring's colour will continuous graduates in a shade of black white and greys

I will use use the gradient to emphasis turns and intersections and maybe the landing

so that in the space inside people could see from the gradient as they are moving through if it was about to reach the turns yet and if the slope is about to end

I think the middle of the bridge where the space will be the most opened the rings will be white because it gives the feelings of a wide opened space and as it get to the sharpest of the turn

the ring will be black and graduates to white again in the middle of the slope and back to black at the end of the slope where it touches the floor

and also

can my final model be 1:100 because if it is 1: 50 then my final model

once again

You are walking down along Payathai Road. Before you, piling up six metres from the footpath, stands a heap of concrete blocks. Beyond them you see a bridge with the crumpled -paper-like surface. Glass panes, pieces of mirror and fragments of concrete are randomly placed at different angles forming the structure, on which either the sky is reflected or the glimpse of the other side of the transparent glass can be seen. The stairs at the four corners of the structure give the impression of tubes that poke into the central space. Right at your feet is a stair with an extraordinary orientation. Its steps are around the shape of the enclosed space. Some steps are at the position of the openings on the wall and they reposition the openings to the ceiling. You move through the space while observing the surrounding through the openings at different angles.

Along the walkway, you are now under the crumpled-paper-shelter and again, like the outside, different views are seen at different angles. The same spots of the sky are seen, as far as you could remember. Like the sky exists on its surface. However, what you saw through the glass from the outside has now become the reflection of the interior space. You haven’t seen the outside at the south yet but expect the same effect.

You can see the narrow exit at the far end while moving southward. It gradually expands as you go down and, by the time you reach the ground again, its width has doubled

--

If you were to walk back the same way you have passed: entering the expanding stair to exit from the rotating one. Apparently, the width would keep shrinking along the way up. The route would be familiar to you and you would see similar views, but different angles from what you have just seen. However, the feature that would get your mind bewildered now is the size of the panes above your head that is getting smaller and smaller while directing your way to the exit.

--

Another stair at the westward exit, which is not the one you have used, consists of a series of unequal steps. You would be given the freedom to choose your own path. The width and height of the steps vary without a definite pattern as if you were to climb up a rocky hill.

On the bridge, it provides you with various views through different mediums which are different in shape and size. Towards the end of the walk, you come to realize that the bridge and its stair share a similarity about the inequality of their elements despite their appearances.

The exit leads you to the South whose exit is a stair with a different material from others, excluding the steps, the rest are made of glass just like those panes on the bridge. It allows you to see the surroundings of the bridge as you are walking down before you come to realize that what reflected on it is yourself and the surrounding at the outside.

At night it goes another way round. Throughout the walkway with lights on, your endless, uncountable reflections appear on both side along the forever-expanding width of the stair. On the bridge it is no different: those spaces through which you have seen the outside now reflect thousands, perhaps more, of the You who stand there, staring aimlessly.