• 한국실내디자인학회논문집
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• 제15권5호
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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.

• 한국디지털건축인테리어학회논문집
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• 제9권3호
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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.

• 디자인학연구
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• 제13권3호
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• pp.221-234
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• 2000

본 연구는 1970년대 이후 포스트 모더니즘 예술가들의 작품공간에서 나타나고 있는 해체적 방식의 공간개념 고찰을 목적으로 하고 있다. 이에 따라 예술가들의 세계관 변화에 따른 20세기 후기 시대 포스트모더니즘 시각예술 작품에 나타난 복잡계(complex System)의 특성들을 20세기 전기 시대 모더니즘 시각예술 작품에 나타난 단순계(simple System)의 특성들과 비교하여, 그 특성들이 작품형식의 특징을 이루어 주는 구성체계와 어떤 상관관계를 맺으며 조형적 체계화의 변수를 갖게 되는가에 대한 탐구이다. 따라서 그 구성체계들과 변수에 대한 이론적 접근방법으로서는 예술작업에서 기본적 형태 구성 방법으로 사용되는 질서체계의 의미 즉, 모듈(module) 개념을 르 꼬르뷔제(Le Corbusier)의 이론을 통하여 살펴보고, 예술작업에서의 형태구조를 랭거(Suzanne langer)의 형태론 연구에서 정의된 '생명체의 법칙(the law of living form) 즉, '유기체의 원리(the principles of organization)'로 볼 수 있을 때, 인체나 자연 생태계의 성장구조에서 나타나는 유기체적 구조라고 보며, 모듈의 법칙을 지배하는 원리를 햄비지(Jay Hambidge)가 주장하는 다이내믹 시미트리(dynamic symmetry)로서 작품 공간을 산술분석 하였다. 이로써 20세기 전기 시대와 후기 시대의 시각예술 작품에서 나타난 양식의 특성들을 제시작품을 통하여 그 내용면과 형식면에서 차이를 비교 분석할 수 있었으며 이를 통해 20세기 후기 포스트 모더니즘 시각예술 작품에서 나타나는 복잡계의 특성들이 새로운 조형적 체제화의 변수에 작용하는 원리를 다음과 같이 다음과 같이 제안할 수 있게 되었다. 첫째, 작품공간에서의 모듈은 다이내믹 시미트리로부터 만들어지고 이루어져야 한다. 둘째, 모듈은 다이내믹 시미트리의 필요충분 조건인 만족스럽고(acceptable), 효율적이며(effcient), 융통적이고(flexible), 적응력이 뛰어난(adaptable) 인간적 요구사항을 충족시켜야 한다. 셋째, 다이내믹 시미트리는 역(逆, reciprocity)의 원리와 보상(補賞, complement)의 원리를 제 1의 구성원리로 하며 공간에서 서로에 대한 역과 공통성(common property)을 갖고 자기유사를 지닐 때 연속체(continuum)를 손상하지 않고 전체공간을 유기체적으로 분절한다.

• 한국실내디자인학회논문집
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• 제11호
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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.