• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.95-103
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• 2006

Ron Arad, the master of contemporary design in the U.K., is one of representative leaders of this age who has left distinguished achievements in the history of contemporary design through innovative design. Analyzing and understanding the Deconstructive design concept and the deconstructive characteristics of interior space of Ron Arad will contribute to finding directions for today's design and laying the ground for explaining the development pattern of design in the 21st century. After analyzing the deconstructive characteristics of each selected space, One Off and Ron Arad Associates have shown a deconstructive design trend of a creative formula by using methods that shed conventional processes and material while a space composition and form of new concept was attempted in the resting space of the New Tel Aviv Opera House, offering not only the establishment of a new circulation system, but also diverse experiences of space to visitors. Likewise, a temporal experience and communication between the user and the space was attempted in Belgo Noord and Belgo Central by partially applying a narrative space composition that sheds existing design concepts. At the Millennium House, they have produced an interior space for future house developed by breaking off from existing typical design development work and material through computer operation, and made various forms of space and atmosphere possible by attempting variable elements and the use of ultramodern material. Y's fashion shop has granted variability to the form and volume of space according to time by presenting display elements that have shed existing form and function. Hotel Puerta America as well, with a curved structure that has broken off with existing forms and maximized space variability through structures that have utilized ultramodern materials and instruments. Through this study, it has been verified that Ron Arad has been unraveling connections between interior space and its user, its requirements, and the original unique principles of space by applying deconstructive design concepts, and that through the mediation of these spaces, he is attempting indirect communication with the user. Eventually, he is taking part in the harmony and development of all elements of space connected with human beings by applying deconstructive design concepts.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.3
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• pp.85-93
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• 2009

In this study, the ex-formal expressions observed in space form of Korean modern architecture are distributed for characteristic analysis based on the period and type. The result of the study is certified by the work analysis and the result is as follows. Initially, due to the limited materials and influence of western brutalism, the works developed during 1960~70 tend to be plastic and contain expressionism. Around 1980's, the works tend to show forms of amusement and popularity. In 1990's the works show significance in deconstructive expression. From after 2000, ecological concept of architecture was introduced and organic expression started increasing Secondly, the ex-formal expressions are found to be in four different types. The organic expression is shown regardless of the period. In modern days, not only the physical properties of materials, but also the ecological concept is combined with the organic expression and is in increase. The plural expression started appearing after the 1980's and the sculptural diversity is enhancing with the addition of decorative factors or modification of geometrical form. The ex-construction and deconstructive expression show significance in some characteristics such as folding, inclination, and geometrical explosion. The free form and nonlinear expression tend to increase dramatically based on the development of structure technology as well as execution and introduce of the digital design technique.

• Archives of design research
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• v.13 no.3
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• pp.221-234
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• 2000

This thesis aims to study the space concept of the constructive mode in the work space of the postmodernism artists since 1970s. According to the changing view of the world artists, they are searching for the characteristics of having the parameter of formative organization on how they are related to the constructive system which represents the work styles. First, this study searches for the theoretical approaches of the constructive system and parameters that were studied by Le Corbusier - the module concept as the meaning of order system being used for the basic formative construction Second, when it is regarded as a formative construction in making art as the'principles of organization'(the law of living form), which was defined by Suzanne Langer in the formative theory as the organized structure shown in growth structure in mu and ecological system, the principles governing the module rules were arthmetically analysed art-work space through the dynamic symmetry of Jay Hambidge. Therefore, this study shows the principles working on the parameters for new formative organization as follows: First, the module in the work space should be designed and built from the dynamic symmetry. Second, the module should satisfy the human needs that it must be acceptable, efficient, flexible, which are the necessary and sufficient condition for the dynamic symmetry. Third, the dynamic symmetry which has the principle of Reciprocity and the principle of Complement as its primary construction principle has the common properties and the reciprocity in the construction of the work space and when it has the self similarity, it segments organically the total space without damaging the continuum.

• Korean Institute of Interior Design Journal
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• no.11
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• pp.57-63
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• 1997

In the early 20'c, scientific thoughts make a change the absolute and separate concept of space-time into relative concept of continual entity; a kind of ideal world. It suggests that the meaning of geometry as absolute truth with which has endowed human beings would changed to a relative meaning of accumulation in intellectual work on 'nature'. This cognitive changes appeared into absolute arts in 20'c like Cubism, Superematism or Constructivism. De Stijl movement which had recepted the relative concepts like Einstein's 'theory of relativity' as a developed thought from Newton-Cartesian cognition on the world. Abstration would be adequate method for expressing the dynamics and interrelationship between forms and for giving values to indivisual elements in a compositiov. This method had appeared Modern architectural form, as a common framework. The expression characteristics of geometrical design in Deconstructive and Experimental architecture were summerized in four features through the results of the analysis. First, the relation of architectural element and intertextuality is expressed in discontinuation of context and refusal of functional building. Second, the concept of trace expresses as connection of place, decomposing of excavation of trace, trace of axis, trace of fragments. Third, anti-gravity expression is there to express of open cubic, to outgrow of rectangular system, to outgrow of volume, to separate of ground connectiov. Fourth, the complex composition of abstracted geometric form is these to abstracted geometry about indefinite shape, to layer through the overlap and collage, to de-meaning and amusement of form through the pursuit of uncertainty, to indeterminate of formal meaning through operation and composition of similar form cause to the diverse of meaning.