• 한국환경교육학회지:환경교육
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• 제24권1호
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• pp.1-11
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• 2011

The purpose of this study is to analyze the contents of environment aesthetics for environment education. This study analyzes in accordance with theory of the environment aesthetics of Berleant, A. The results of this study are as follows. The result of analysis the contents of Berleant's environment aesthetics, in his philosophy of environment aesthetics the environment is defined to be inclusive of all and the unity of human and environment is stressed on more than in the current prevailing philosophy of environment education. And environment aesthetics propose the most part of theory and methodology suited for environment education, but, do not mention about a definite theory of 'Skill'.

• 조형예술학연구
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• 제13권1호
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• pp.11-21
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• 2008

It seems to be difficult to bridge between human and nature. All depictions of nature are not necessarily reflections of reality. Thoughts are projected into nature, then nature will reflect us. The world is composed of natural and cultural environment. There are differences between depiction of nature based on correspondence and construction of world. Environmental aesthetics is an emerging field of study that focuses on nature's aesthetic value as well as on its ethical and environmental implications. Allen Carlson, a pioneer in environmental aesthetics, provides challenges as well as a wealth of resources for those who would appropriate his ideas in the service of environmental protection. Carlson's positive aesthetics, his focus on the functionality of human environments, and his integration of aesthetics and ethics have great import for those seeking to use aesthetics to assist in addressing environmental controversies. Environmental ethics would benefit from taking environmental aesthetics more seriously. Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but fully integrated and continuous with us, Arnold Berleant explores the aesthetic dimensions of the human-environment continuum in both theoretical terms and concrete situations. Aesthetic experience is always contextual. The aesthetic aspect of any human habitat is an essential part of its desirability. The aesthetic perception of environment shows us the reciprocity that constitutes both person and place. The genuine beauty lies in the coexistence and harmony with natural environment.

• 한국실내디자인학회논문집
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• 제5호
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• pp.59-65
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• 1995

This thesis focuses on a study of design science, which is of a disciplinary character. And the purpose of such a study is to suggest a new direction to develop aesthetics through an empirical research into environmental psychol-ogy, human behavior, design thought, and the visual qual-ity of environment. The author of this study, since recognizing the necessi-ty of understanding environmental aesthetics as well as the necessity of aesthetics, has done an elementary study of empirical aesthetes, and then obtained some facts as follows: First, it is possible to analyse the visual characteristics immanent in the interrelations between human and envi-ronment by means of applying both the information the-ory of formal perception and expressional value and the perceptual theory of ecology to environmental aesthetics. Second, formal aesthetics is a science about the form and structure and in the meantime, symbolic aesthetics is a science about the environmental patterns giving pleas-ure to mankind and its associative meanings. Accordingly it is same as providing some aesthetic value to the ob-ject of environment design to apply some empirical data of visual quality to environmental design. Through such a process, users are provided or delivered with diverse, visual effect. In conclusion, environmental aesthetics is worthwhile to study, and its purpose is that it, as a framework of use-ful knowledge to the creation of the environment superi-or in quality, be applied to design.

• 한국가구학회지
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• 제20권3호
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• pp.205-212
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• 2009

Through this study, I explored a creation of the postmodern furniture aesthetics through the transformation by student's interpretation in experiencing the art/craft/handmade/studio furniture aesthetics in postmodernism theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. Following the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor and the lesson two on interpreting an aesthetics of art and everyday life with the wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism in the previous papers, I developed lesson three on creating an object using eco-friendly materials like wood in transforming an aesthetics of postmodern furniture as the final stage of the study. Therefore, the students will be able to create a piece of eco-friendly wood furniture for our environment as metaphor transformed by his/her perspective regarding a piece of selected New Design furniture.

• 한국조경학회지
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• 제13권2호
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• pp.91-98
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• 1985

^x This study is an attempt to present the possibility of environmental aesthetics and its characteristic form in Korea. This paper investigated the concept of art as a traditional theory of aesthetics through R.G. Collingwood and present- day analytic philosophers who had been influenced by the ordinary language philosophers in 1950s. Accordingly, the study focused on the institutional theory of art which was developed in reaction to M. Weitz′s views. The institutional theory of art concentrates attention on the nonexhibited characteristics that works of art have An virtue of being embedded in an institutional matrix which may be called "the artworld"and argues that these characteristics are essential and defining. Taking this position, the paper examined the relation between environment and art as aesthetic object because it would be one of the ways to find tole possibility and foundation of environmental aesthetics. Furthermore, these works will be the basis to create our proper landscape or ′our own environment′as a significant and a mental cultural landscape.

• 한국조경학회지
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• 제51권2호
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• pp.42-53
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• 2023

이 논문은 다변화하고 있는 환경미학의 최근 전개 양상을 고찰하고, 환경미학의 중요한 갈래로 부상하고 있는 일상미학의 주요 의제와 주장, 쟁점과 의의를 비판적으로 검토한다. 1960년대의 문화 변동과 환경주의를 바탕으로 싹튼 환경미학은 20세기 후반 이론적 기반을 다지며 성장했고, 21세기에 들어서면서 대상과 주제의 다변화 과정에 진입했다. 학문적 성숙기를 맞은 환경미학은 도시를 포함한 인문환경 전반으로 이론적 영토를 확장했으며, 도시 환경과 경관의 계획·설계 담론으로서 실천적 좌표를 제시했다. 특히 2000년대 중반 이후 환경미학의 가장 주목할 성과는 '일상미학'의 성립이라고 할 수 있다. 일상미학 연구를 주도하고 있는 유리코 사이토는 미학 이론의 대상과 범위를 일상의 사물, 사건, 행동, 환경으로 확장한다. 그는 기존의 예술 중심적 미학이 간과해온 일상의 미시적이고 감각적인 국면을 미학의 시선으로 발굴해 현대 도시의 환경과 경관, 공간과 장소에서 벌어지는 현상의 다양한 층위를 새롭게 해석하며, 일상에 숨겨진 '미적인 것의 힘'이 삶의 질과 세상의 상태에 미치는 심대한 영향을 분석한다. 그는 일상의 대상과 환경에 내재한 특유의 성질과 분위기에 대한 감상을 고찰하고, 일상의 미적 감상과 판단이 낳는 환경적, 사회적, 정치적 결과를 경계하기 위해 '도덕적-미적 판단'을 제안한다. 이 논문은 일상미학의 쟁점과 의의를 첫째 미학의 확장과 모호한 일상, 둘째 도덕적-미적 판단과 돌봄의 미학, 셋째 도시 재생 경관과 미학적 문해력으로 파악한다. 특히 사이토가 주장하는 일상미학의 도덕적 덕목, 즉 돌봄, 사려 깊음, 감수성, 존중 등은 동시대 도시재생 경관의 실천에 대한 비평적 준거를 마련해준다. 그가 강조하는 '미학적 문해력'은 일상의 도시 환경과 경관 해석에 환경미학의 관점이 필요한 이유를 입증하는 핵심 개념이다.

• 한국환경생태학회:학술대회논문집
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• 한국환경생태학회 2006년도 정기총회 및 학술논문발표회
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• pp.51-54
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• 2006

• 디자인학연구
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• 제14권4호
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• pp.47-56
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• 2001

본 연구는 심미적 영향요소 중 전형성과 동시에 중요하게 인지되는 또 다른 속성 즉 비례(proportion)를 중심으로 소비자가 선호할 수 있는 디자인을 창출할 수 있도록 하기 위하여 제품의 범주화와 제품 형태분석을 통해 제품에 대한 이상적 비례를 도출해 냄으로써 비례의 조작만으로도 소비자가 선호할 수 있는 차별화 된 제품디자인을 위한 방법론을 구축하고자 한다. 이에 본 연구의 연구방법으로는 시중에 판매되는 제품들 중 비례가 중요하다고 인식되는 제품을 가지고 전형적 모델을 찾아 치수를 유추시켜 2차 자극물을 만들었다. (즉 전형적 모델에서 일정한 치수 변화를 주어 2차 자극물을 만들었다.) 이후 2차 자극물을 동질성분석을 통해 대표적인 2차 자극물들로 실험을 하여 그 제품에서 가장 이상적인 비례를 찾았다. 이후 황금 비례와 이상적 비례와의 관계를 살펴보고 제품들마다 이상적 비례는 따로 있음을 증명하였다. 즉 결론은 "신제품 개발시 비례는 주어지는 규격이 아니라 찾아내어야 할 선호 요소 중 하나이다"라는 것이다.

• 디자인학연구
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• 제19권3호
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• pp.105-116
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• 2006

In product manufacturing industries, a recent issue is the green concept. The green concept is a complicated area. If the green concept is for products, its serious issues have to be criticized. Although the importance of the green concept has overflowed, its influences have not been disputed vigorously. So this study is to critic the serious issues of the green concept in aesthetics in product design, manufacturing, and products' prices. The green environment has four representative elements: systems, policies, minds, and technologies, but they are not in the field of design. An element of the green concept, green design is also a sub concept for design, so it should be based on aesthetics. It is green aesthetics. But since green design first appeared, it has never approached by aesthetics because it has mostly had social meanings and expectations. So for green aesthetics, to think about what makes a product, and what can be aesthetic issues among them are important. Products consist of form, structure, material, and technology. Form means different shapes in a structure, but there cannot be any specific directions for a green concept. Structure has two kinds: interior and exterior structure. While interior structure has a technological character, exterior structure is deeply related with aesthetics, but it has also no chance for green concept. Material can be divided as two also: aesthetic and technological. Aesthetics materials mean the colors, opacity, and tactile sense of materials, but they are not aesthetic issues. Technological materials are recycled materials or non-recycled materials. Even if recycled materials are used today, they are close to systems or policies rather than aesthetics. With this result, green aesthetics is a very difficult concept. Second, green products are usually 30% more expensive than general products. But every consumer has his or her own economical conditions, and nobody can coerce consumers into buying expensive green products for green environments. And green products without good quality cannot satisfy consumers. This means that green concept is not accomplished by just manufacturing green products. Third, although a lot of proposals have appeared as green design in exhibitions, most of them are close to craft because they are so hard to be manufactured. Manufacturing is the first consideration for products. These three issues are enough to explain why green concept is complicated in manufacturing products. If they are not solved, the green concept is just a fiction. So if this study proposes a turning point against blind green-oriented atmosphere, it will be meaningful enough.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2006년도 춘계학술발표대회 논문집
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• pp.87-90
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• 2006

The purpose of this project is to greatly elevate the image of a high-technology wireless communication company by improving its office space environment through remodeling techniques. In order to accomplish this goal, the design concept was established in the direction of harmonious beauty with maximized functionality and aesthetics. Specifically, an efficient traffic line was planned in consideration of the connectivity between mutual spaces, and smooth yet strong formal aesthetics was given to such things as planes, frontal surfaces, and ceiling design, so as to do away with the existing authoritarian atmosphere and create an image of a futuristic company.