Professional Documents
Culture Documents
Figure 2, 3. On the left - Presentation Material for the Design Museum, Holon, Ron Arad, 2010
On the right Design Museum as seen from the Plaza, Holon, Ron Arad, 2010
The ribbons also hide the box-like gallery spaces, which are on two levels, and perform
circulation route function as curved lines lead the viewers to go inside and allures to
discover other spaces of the museum. Ron Arad was always fascinated by the metal work,
in fact he tries to avoid the separation between industrial design, one-off pieces, architecture
and architectural installation Antonelli (2009).
Being true to the material is another aspect in design, Ron Arad was looking forward into
eliminating the use of paints that would flake away in time, thus this will destroy the initial
texture and character of the material. The use of COR-TEN steel, the texture of which was
rusted beforehand, in other words the weathered steel, is an innovative way of how to avoid
using paints on metal and show the respect to the natural colours. The shades of COR-TEN
steel, allowed the designer to play around with dynamism, vividness and achieve balance
between them by just keeping his design closer to nature.
The museum is situated in an open spaced public plaza, which introduced the museum well
to the public. The topography of the space creates a lowland with flat terrain, and becomes
a placement site for the museum, making up an almost invisible balance with the geology
of Israeli desert parallely mimicking and mirroring the idea of the desert into the posture
and visual representation of the building.
The design museum is undoubtedly a
functional exhibition space that is also the
epicentre of artistry and design in Israel. The
museum became culturally significant for
contemporary artists, designers and the
society overall as it constantly upgrades,
renovates and rejuvenates its resources. The
understanding of design and what it means in
our lives is communicated to the public. As
Turner (2009) claimed the archive will be an
Figure 4. Vitra Design Museum, East Side view, F. O.
interactive environment for in-depth research Gehry, Weil am Rheim, 1989
on design, from concepts and materials to
execution and trends. The exposure of compelling information about design works well as
an educational process and source of inspiration for the designers of today.
Going back to the history, design museums are usually a challenge to carry out, given the
fact that there are only a few such museums in the world. Vitra Design Museum (Figure 4.),
founded in 1989 in Weil am Rheim, architecture of which constructed by Frank O. Gehry,
shows the connection with the purpose of the museum, together with its outer appearance.
The sculptural design of Vitra Design Museum although stylistically different to Ron Arads
design, shows that design is housed in something rather unconventional, very standing out
architecture.
Reference List
Antonelli, P (2009). Ron Arad: No Discipline. New York: The Museum of Modern Art. p10-19.
Pile, J and Gura, J (2014). A History of Interior Design . 4th ed. New Jersey: John Wiley &
Sons, Inc. p450-451.
Turner, B. (2009). Design Museum Holon by Ron Arad Architects . Available:
http://www.dezeen.com/2009/09/24/design-museum-holon-by-ron-arad-architects/. Last
accessed 29th Nov 2014.
Anon. (2010). Design Museum Holon / Ron Arad Architects. Available:
http://www.archdaily.com/87173/design-museum-holon-ron-arad-architects/. Last accessed
29th Nov 2014.
Anon. (n.d.). Vitra Design Museum. Available:
http://www.greatbuildings.com/buildings/Vitra_Design_Museum.html. Last accessed 29th Nov
2014.
Anon. (n.d.). Richard Serra, b. 1938, San Francisco, California. Available:
http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/1377. Last
accessed 28th Nov 2014.