Abstract
Developing the art of graphic formations in interior design is considered one of the creative processes in design, as it presents new design variables that give the opportunity to produce creative and innovative designs. It formed a clear role in the diversity of the internal determinants based on a system linked to the principles of interior design related to the techniques of designing the internal determinants. If we follow the line of graphic art, historically in design achievements, we will know its distinct methods from one time period to another, due to the association of that interior space with the functional dimension of the occupant of the interior space, as well as the ability of the designer who employs cognitive data according to his artistic references, and his visual interpretation of these forms with an aesthetic awareness that moves temporally and spatially. As a result of this real overlap, design relationships are formed primarily based on the designer’s idea that overlaps with global experiences, and from the foregoing, we find that the graphic formations are one of the products of advanced technologies, from which the question of the current research problem will emerge, concerned with understanding the main role, which the graphic formations devote through, it is formulated as follows: What is the role of graphic formations in an expressive vision? And what is its relationship to the techniques of internal determinant designs? While the research aims to reveal the role that graphic formations achieve from an expressive vision, through figurative relationships in the techniques of designing the internal determinants of space. While it included its spatial and temporal limits for the interior spaces represented (Contemporary Interior Spaces in the Arab World by Iraqi Architect (Zaha Hadid) for the period (2007-2020), This is what the first topic included. As for the second topic, it included the concept of the art of formation and its organizational relationship to the elements of the interior space to meet the needs of the user, as well as the employment of structural relationships for the works of graphic art formation in interior design, while the third topic included the research procedures represented in the research methodology and its society based on the descriptive approach in (content analysis), and it relied on the intentional method in analyzing the sample models, and the fourth section included conclusions and recommendations, and it most important were: The study of the interior designer is related to the study of choosing the art of graphic formation to a large extent over its relationship with the implementation technique for the designs of the interior determinants through a design act based on the tangible reality within the design building act. Achieving the general meaning of the interdependence of the effectiveness of the design space is according to the relative importance of the design elements, due to the design consistency they include, and this is done by studying the interior designer for expressive connotations of aesthetic dimensions.