• Korean Institute of Interior Design Journal
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• no.8
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• pp.23-31
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• 1996

The purpose of this study was to prove that there is inherently golden ratio and color harmony in nature and to investigate some examples that have applied this elements in and out of construction . This is to provide a momentum to explore another new principles of nature and apply them to not only interior but also another design field. Under this purpose, the author of this study reviewed general theories on golden ratio and colour harmony and related them to leaves of plant and flowers to consider. As a result, it has revealed that theoretical golden ratio and colour harmony coincide with the order of nature, and this has made the author to investigate certain examples applied some orders owe can see in the plants to the interior or exterior parts of construction. There are lots of principles in nature still unrevealed to us, and therefore we must consistently make efforts to study new formative orders to apply them.

• Industry Promotion Research
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• v.1 no.1
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• pp.151-157
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• 2016

Nowadays Chinese society advocates a kind of principal thinking, which Chinese call it "harmony". The entire Chinese society is trying to build a so-called "harmonious society", that is, people live in harmony with the natural environment and carry out sustainable development; people live in harmony with others and build harmonious social relationships; people live in harmony with themselves and cultivate self-morality and enhance national self-quality. It can be seen that the word "harmony" runs through this thinking all the time. This paper aims at viewing Chinese people's philosophy in Ming Dynasty from the Piaohailu. Likewise, the starting points of the paper are also these three aspects which are people's relationships with nature, others and themselves. Based on this angle, it tries to conduct a simple analysis and study by taking Korean official Cui Pu's Piaohailu as the main historical data.

• The Research Journal of the Costume Culture
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• v.21 no.5
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• pp.613-628
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• 2013

This study aims to identify characteristics of neo-naturalism coming from periodical changes in the 21th society, culture based on naturalism and analyze the expressional and design characteristics of neo-naturalism on 2000s. For a research method, this study researched development of naturalism in fashion, and searched digital naturalism and ecology which are design paradigm effecting on neo-naturalism through literature research and preliminary study. Analyzing preliminary study on architecture, interior, fashion about digital naturalism and ecology design, concept of neo-naturalism identified and four expressional characteristics of neo-naturalism was classified, actual examples of neo-naturalism in 21th fashion were extracted and drew design characteristics. The results are as followings. Firstly, naturalism described nature as it is and developed according to the values and needs of the times. Naturalism in fashion showed natrual human body's curve, nature pattern and used natural materical focused on ideal beauty of nature. Secondly, neo-naturalism renews with the foundation of digital culture and ecology design paradigm, and focuses on the flexible possibility to express nature with digital, new media and formative art, and made the artificial nature uniting human-nature-environment as organic whole by ecology design paradigm. Thirdly, design of neo-naturalism divided four characteristics, nature's organic form, combination with the technology, ethical harmony with nature, global local design. The first characteristics of the nature's organic form are expressing silhouette of the nature's organic volume abstractly, the second ones of the combination with the technology are reinterpreting primitive nature contemporary with artificial sensibility of high technology, the third ones of the ethical harmony with nature are showing simple design and high-touch, and the forth ones of global local design are expressing cultural hybrid preserving vernacular design.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.4
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• pp.95-102
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• 2018

In this study, existential thoughts in Frank Lloyd Wright's notion of nature were investigated. Wright, a modern architect, presented the idea of creating organic architecture in harmony with nature. His naturalistic romanticism is considered to be the original inspiration for his concept of organic architecture. However, his understanding of architecture in harmony with nature stems from existential ideas in his notion of nature, including humanity. The proposed study analyzes his existential beliefs through his speeches and writings in four categories-love of nature, thoughts of abstract and concrete, nature as being intrinsic and "becoming," and thoughts on science and art. Our analyses reveal that, on the one hand, Wright was inspired by thoughts of naturalistic romanticism born from his disillusionment with city life and an urge to seek life in nature, while, on the other, he also believed that real nature is intrinsic to humans and manifests itself in the very core of their being. He sought to unite humanity, as the interior of nature, with its physical environment, as the exterior of nature. His notion of nature is a "becoming" one that changes with time and space, and varies based on individual humans. In line with these thoughts, Wright sought to create forms not only with respect to mathematical dimensions, but also in consideration of human significance. He considered art and architecture to be born out of an integral thought as a process of humanization. To him, nature is interpreted by humans.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.236-244
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• 2000

The concept of the true house' is based on the balance of a person's life and nature and represents the life in which lies an organic harmony between environment and ecology. However, humans have always been in a position of dominance over nature and with their developments have brought on much destruction and corruption to the ecosystem. With this, the position of the true house has intensified and the ecological approach of architecture has started to come into consideration as its alternative plan. Accordingly, it is essential to reconstruct and take on a new perspective of nature. The conversion to a more Oriental approach, which dwells in the adaptation and harmony of nature, is especially sufficient to the ecological aspect of architecture. From this we can realize that the ecological approach is none other than a modern interpretation of what our ancestors have lived by. In other words, an architectural concept deriving from the adaptation of climate, season, and nature-the coexistence of man and nature. From an ecological point of view, the idea of favoring nature in the traditional house can be found in the inclination of being one with nature by adapting to its geographical and preferable climate conditions. This results in the use of natural energy, the use of natural resources, the organic connection between the inner and outer natural space, and the application of nature itself. By approaching these elements from a modern point of view and applying it to the current time, we can open up the door to a more lasting human-environment based ecological position of architecture where our own climatic characteristics and traditions can be reflected in the pursuit of harmony between man and nature.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.39-63
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• 2023

Modern medical science tends to categorize addiction as a kind of disease, but a Taoist world-view would not consider addiction to be a disease. Taoists do not have a concept of addiction as an eternal substance. Within the Taoist world-view, human beings are meant to live in harmony with the transformative cycles of nature. Human beings achieve self-realization through balancing themselves with nature. This is what is meant by Self-Realization in Harmony with Nature. There is no disease known as addiction when one's life is in harmony with nature. There are two main principles in the Taoist medical worldview. First, is the theory of correspondences. This theory of correspondences is the foundational to Taoism's value-neutral world-view wherein humans are seen as working together with Heaven and Earth in correlative relationships to create harmonious societies. Second, is the principle of harmony and balance in the Universe. One creature can be in harmony with other creatures and learn to appreciate the interconnectedness of all living beings. Survival of the forest is vital to the survival of natural harmony, balance, morality, and environment. The vitality of the human body depends on the movement of Qi energy. According to the principles of Korean traditional medicine, all human problems stem from the mind. There is no madness, no illness, no tempting fate, and even no death outside of what stems from the mind. Within the human body, there are two principles behind energy systems: harmony and balance. When human beings achieve the state of homeostasis, they obtain Qi flows which are associated with the various organs. In doing so, they can always maintain a healthy state of life in accordance with the cosmic rhythm. Taoist philosophy contains advice that prevents addiction. Empty your mind of all thought. Let your heart be peaceful. Finally, all worries are washed away by the cosmic wave.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.91-99
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• 1997

Alvar Aalto has pursued National Romanticism, cultural art movement in scandinavian peninsula, organic concepts of growth and suitability, comprehensive view of nature including a possibility of coexistance of human-being and the nature well harmonized. For instance, his design expressed local features of the nature, human emotions instead of geometical arts and mathematical principles. It is noteworthy today that he built up the identity with satrical architecture vocabularies, different from modern arch-itechtural idiology. The characte-ristics of his design related to interior architecture are collectively as follows; The first, Space discontinuity of the interior and exterior, gradual process by joints which are inclined to collage with many shapes in plan and section of the space and such joints are adjusted by sensual ways and stressed with inner collectivity in his works. The second, He pursued the architectural orderfor modern irreqularity, various changes and sensual harmonies. As result, free curved line, fan shape and irregular modeling were individually expressed by technics of natural features and national characteristics of Finland. The third, Organic synthesis. A harmony through med-ums in its space, materials and space effectiveness relations are made and expressed for mixed design especially harmonized of all the materials he planned, entire harmony with total design, itemized details, materials and furnitures in entire space. The fourth, The interest of the nature based on his sense harmonized with nature made him mainly use native materials, lumbers and red bricks masonry and showed and arranged various interior sky light and grazed in to let natural light in, harmony with garden to sensually cohere to the nature and courtyard, etcetera. His major subject are to direct architectural developments through the nature and human-being in his works. At this point, it is considered that his direction of the locality and independence as a human-being made the concepts of organic space structure possible.

• Journal of Environmental Science International
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• v.19 no.11
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• pp.1437-1444
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• 2010

This research was to find out the effectiveness of the horticultural therapy program based on the therapeutic factors and the most meaningful experiences of the clients. For this purpose "Green harmony" program focused on harmony through horticulture was implemented. It is based on the preposition that holistic health is promoted with harmonious relationships with oneself, other people, community and nature. The program has three-fold structure: In innermost it deals with the task of the late adolescent, i.e., self identity, secondly the experience of communication and solidarity in the group, and finally extension of interest to the community. For the therapeutic intervention, questions using the metaphor of the activity were given to the clients for the establishment of self-identity, while group activity and the donation of the works let the second and third purpose accomplished. Outdoor activity, 'Tire garden project', has provided the clients with chances of the contact with nature, cooperation with other group members, and a contest to provoke enthusiasm. Also recycling and greening of the community were possible by utilizing old tires for the containers and by donating the final works to the community. For the evaluation of the result, the effect of the program on the stress of the college students was tested, and the most meaningful experiences during the participation to the program were asked to identify the therapeutic factors acknowledged by clients. "Green harmony" program has brought positive effects on the stress of the clients in spite of relatively short period of five weeks. The clients has acknowledged plant/nature contact and interactions between group members for the most meaningful experiences. This research suggests "Green harmony" horticultural therapy program based on the therapeutic factors is highly applicable for the general populations.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.97-104
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• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• Fashion & Textile Research Journal
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• v.24 no.6
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• pp.686-693
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• 2022

The rapid development of the fashion industry in contemporary society has also caused various problems such as environmental pollution, material excess, and spiritual poverty. Accordingly, traditional Chinese Taoist aesthetics can solve the spiritual poverty that people are facing today, and the spiritual pursuit of returning to innocence. This study focuses on the works of first generation Chinese designer Ma Ke as an example to discuss the embodiment and application of Taoist aesthetics. The results are as follows: First, Ma Ke's works emphasize the value of handicraft through traditional handcrafting and natural fibers, which reflect the beauty of simplicity and the non-action of Taoist aesthetics. Second, the works acknowledge nature by using natural materials and retaining their original appearance, which embodies Taoist aesthetics of the beauty in non-action and living in harmony with nature. Third, the collections reflect a critical attitude toward the fashion industry and consumer culture by rethinking consumerism and advocating environmental protection, thus propagating the beauty in simplicity and the harmonious life with nature in Taoism aesthetics. In conclusion, Ma Ke's designs incorporating sustainability and handicraft exhibit the core features of Taoist aesthetics, including the beauty in simplicity, non-action, and living in harmony with nature while exploring the relationship between modernity and tradition, man and nature, and handicraft and fashion. This research can contribute to understanding Ma Ke's works in promoting critical thinking about the fashion industry through Taoist aesthetics.