• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.105-108
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• 2006

The 21 century has entered a stage of innovation with current globalization. The technical development of science has changed more rapidly than any other era and through this change, design will control the world. For this reason, I consider that researching Philippe Starck's - one of most active designers in the world- philosophies and traits of his work can be the key to understanding 21st century's design characters and main trends. Furthermore this research will also help to predict future design. Philippe Starck has diverse traits but this study would like to focus on his trait of Surrealism. First I have arranged all his design backgrounds including periodic circumstance which influenced his works. Secondly I researched and analyzed how his design philosophy has expressed his works. Phillppe Starck defines Surrealism as an expression of a dream and unconsciousness showing an indoor view and he expresses his characteristic wit and humor by presenting completely different and exceptional space from what people have usually seen.

• Korean Institute of Interior Design Journal
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• v.14 no.4 s.51
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• pp.27-34
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• 2005

One of the most famous designers of our age, Philippe Starck designed eight hotels among fan Schrager's of which hotels are not so big but have huge popularity all around the world located in major cities such as New York, London, Miami, L.A., and San Francisco. These hotels have brought significant influence particularly to the aspects of their recent fashion and strategies in Boutique hotels. Therefore, this paper intends to examine the space composition and design methods by analyzing the eight hotel projects by him. The research started with reviewing his design background first and analyzed the characteristic of his designs of above hotels. The analysis results were arranged from the aspects of narrative spatial configuration and dramatic presentation. From the aspect of narrative spatial configuration, the hotels by Philippe Starck mainly consisted of 1) boundaries and gateways, 2) spaces of passage, 3) center spaces, and 4) the spaces surrounding the center spaces. For the latter's aspects, it was found that various design methods such as 1) objectification, 2) intended ambiguity, 3) depaysement 4) eclectic hybrid, 5) distortions of scale, and 6) sensuous clues were employed. A study on the hotels by tan Schrager, which owe their big success to the emotional design of Philippe Starck's, not only widens the understanding of his design world, but also serves to the appreciation of today's hotel marketing strategies and design.

• Korean Institute of Interior Design Journal
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• v.14 no.5 s.52
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• pp.193-204
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• 2005

Design took a radical turn in the 1980's, deconstructing the rigid ideology of the Modernism, often with great humor. Contemporary representable Avant-garde designers, Philippe Starck and Ron Arad brazenly borrowed from the 'historical elements' of previous styles and created bio-morphic forms with whimsical names of furniture. This study is proposed to understand the diversity of contemporary design, by comparing these two furniture designers. It also covers the common factors in contemporary furniture design, and analyzes their individual differences and similarities in design. It helps to plan the foundation of design methods for 21C, and predict and respond to the future as a reference point. Philippe Starck links Romantic Rationalism within Minimal style and Ron Arad links Deconstructivism within High-tech style but both of them pursue of Organic concept design in their furniture through the concept of humanism. They are able to establish a base of contemporary furniture design by adapting new conceptual form, and design process for the general public.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.162-169
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• 2008

Philippe Starck is a famous french designer known for his creative works in all aspects of life from architectural space to product design. Especially, in regard to furniture, he designed more than 250 works with various design characteristics. This study therefore aims to examinate the characteristics of furniture designed by Philippe Starck through assessment of his design background and philosophy, evaluation of fifty or so of his works in terms of their function, form, material, and emotions, and lastly through a chronological analysis. As a result from this study, following various results are drawn as design characteristic through forty six representative cases: 1) possibility of fabrication and transformation 2) multi-function or optional function for user 3) pursuit of simplicity using the characteristic of singular material or mono block and immateriality 4) emotional approach in design 5) non-design method such as use of archetype or historical form.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.130-139
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• 2008

We have attached importance to the values of spirit and immateriality. As the age of modernism of rationality ended, human being began to emphasize spiritual and immaterial while accepting multiplicity and diversification in the whole areas of society and culture. Hence interests have increased in another side of human spirit that was oppressed by rational, analytic, reasonable and scientific thinking, which has expanded the inner world of human being to the world of the unconscious. According to these paradigm changes, steady efforts to improve our lives better both materially and spiritually have been made in the areas of art and design. Therefore, the current study aims to examine the meaning of object expressed in space from the viewpoint of the unconscious, focusing on works of designer Philippe Starck after 2000 in which unique, preferential and liking characteristics are expressed well. Philippe Starck is a designer who connects design with our daily lives and formalizes it with creative ideas. Also the study theoretically explored the theory of the unconscious, a concept of Freudianism, based on 'Meaning of Dreams' of Freud, and explained the expressional characteristics and meaning of unconscious desire through his works by putting object in Philippe Starck's space. It aims to grope for the meaning of object as another possibility that can function as a spatial ruling element by analyzing object through expanding the extent of correlation and interpretation between human containing spiritual things and object which is the recognition subject in space of the present time, not a mere concept as substance like in the past, and expression of Starck's unconscious desire based on unconscious theory.

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.11a
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• pp.32-33
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• 2003

• Archives of design research
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• v.16 no.2
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• pp.405-414
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• 2003

The modeling analysis for objects placed in a given space can be described objectively when their visual image structure is grasped. It can't be answered without first analyzing the basic program, visual expression. And when the whole aspect of the visual image of the desired interior utensils is presented, the mindset of its designer can be deduced from that. Therefore, the study was based on the lemon juice squeezer, one of the interior kitchen utensils that Philippe Starck designed for Italy ALESSI company. For the study method, putting'The Elements of Dynamic Symmetry' by Prof. Jay Hambidge into practice, 'paradigm' analysis containing the whole'lemon juice squeezer'image was attempted. And to describe it, the visual mark description method by Prof. Bok-Young Kim was used. In conclusion, henceforth, the relationship between interior space and articles, the relationship between object and user, the modeling critique or analysis of the production itself shoud not be intended to be emotional. On the contrary, the study presented an art analyic methodology that can analyze and describe the visual image structure numerically, and confirm the relationship between form and content.

• Journal of Digital Convergence
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• v.20 no.2
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• pp.375-381
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• 2022

The purpose of this study is to find out the spatial expression characteristics of Philipstock from a heterotopic perspective in the background of the times of modern people struggling to live in the era of an infectious disease called COVID-19 along with the era of the 4th industrial revolution. As for the research method, a total of 11 places were selected, focusing on the completed works of interior space from 2015 to the present, when they are more active after retirement, to find out the characteristics of spatial expression through literature and case studies. As a result, the spatial expression characteristics of narrative that only space has were the most frequent, and it was found that the characteristics of imaginary space and fantasy, which are the form of overlapping time to express a place, were interrelated. Philip Stock's design method, which uses narrative, fantasy, and imaginary spatial characteristics, can be seen as sufficiently representing heterotopic characteristics and can be used as another design methodology when designing a new space.

• Archives of design research
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• v.16 no.1
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• pp.199-208
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• 2003

The Israel-born Ron Arad is one of Britain's "superstar" designers, an it has been said that he is Britain's answer to Philippe Starck. Arad is a highly individualistic designer whose ideas stem from a mental process that has more in common with that of the fine artist than of the jobbing designer for industry. His imagination expresses itself in the form of things. By the early 1990s he had become internationally recognized for his "ready-made" work. His furniture and lighting designs required extremely costly labour-intensive techniques to produce. As his work was highly evocative, suggesting a post-industrial world in which the urban landscape was characterized by materials in a state of decay. More recently, through collaborations with Italian and German manufactures, his work has reached a new level of sophistication and finish, which differentiates it from the earlier designs. As Arad reputation as a designer of workshop-based furniture came to an end and the era of "democratic" Arad furniture came into being. By middle of the decade he had become one of the most-discussed designers of the day. The spirituality that emanates from all his work is a product of his particular vision of the creative process, far removed from the typical, stereotyped trends in the sphere of modern industrialization. He goes one step further in his work by attempting to restore aesthetic dignity to the objects of daily life, in a search for beauty within the immediate environment.hin the immediate environment.