Friedensreich Hundertwasser , born in Vienna 1928, is a painter, an architect and an environmentalist. His architecture is radically different from the traditional , straight -lined, functional architecture practised, for example, by the Bauhaus Masters. From the very beginning , he has tried by various means to show that radical change in thinking are necessary , possible and realized. Hundertwasser's goal in this architecture is to make and give human dwelling in harmony with nature. his architecture is characterized by avoidance of straight lines, " Window Right", irregular arrangement of windows, onion dom, a wealth of colours and such environmentally -friendly consideration as planting of roofs and realizing of "tree-tenants". hundertwasser sees houses as evolving creations which are to be shaped by their inhabitants. He hates Uniformity. The irregularity is always the guiding principle in his architecture. The Hundertwasser's architeucture express his fundamental belief that we may not simply rob nature of her resources, but that we must also return territory to nature which we habe stolen from her. Roofs, terraces and courtyards planted with vegetation and " tree-tenants" build bridges between man and nature. They influse the architecture with vitality and romanticism and are a statement of a quality rather than a standard of living. It is quite possible to value the architecture of Hundertwasser as an important inspiration, as a sort of turning point in the thoughts and actions of city planners. It's success could be healing shock for the international architectural community, which is hypnotized by technology and abused by the shortsighted interests of ren.tability . Under this pressure, today's architects trend to reduce people to a mere part of the " Dwelling machine", without acknowledging that in the long run such machines eat away at people's souls.uch machines eat away at people's souls.

In terms of modern design history, De Stijl movement had continued as one of influential groups by 1931, and it attempted to pursue universial reality that combined painting and architecture, seeking a new style based on Neo-Plasticism and succeeded the nineteen century's Art and Craft movement and Art Nouveau. Especially, the De Stijl movement provided 1920's rationalism with new space pattern and its ideas greatly affected the Bauhaus movement such as Walter Gropius or Mies van der Rohe. De Stijl's utopian idea that claimed on the conformity of art and life contributed modernism movement combined with scientific and rational view, and even now experts its lasting power with the concept of time and space free from simple cube in modern architecture and interior design. The tue meaning of the De Stijl movements is that is sis the basis of general ideas, and the change of modern architecture is based on this modern styled foundation. It may be the unchangeable fact like Russell Hitchocok says, "The architectural style and pattern which everyone admitts its importance has the value of living."

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.

The main focus of this paper is to apply contemporary aesthetics and psychological study with interior design analysis. Up to now, the methodology of interior design analysis has been developed toward a more qualitative way. By the virtue of the perception , congnition , and information theory, which oriented toward a quantitative approach, it became possible to investigate interior space analysis to a more objective and scientific ways. The purpose of this study is to investigate Modern and Post-Modern interior - architectural style with quantitative analytical method. The subjective interior critique studied by intuitive research will be transferred to scientific way by using quantitative formula . Savoye Villa and Guardiola House were selected as study model, because each architectural works ware regarded as masterpieces of Modern and Post-Modern style. These two oppositional style model will be distinguished with mathematical quantity by calculating Iave , Hmax, and Redundancy formula.

Based on individual characteristics and values, human preference on interior finishing material is various . Finishing materials, however, do not seem to satisfy those characteristics and values. Given the aspects of life style and population classes, finishing materials are an important part of human life and draw much attention . As a result, there is a necessity to study them systematically. This study related finishing materials to tenants, understands the characteristics both of them, and identifies in terrelations between them in order to find out satisfaction and preference which teants have towards their finishing materials. As a result, this study is about design materials preference of tenants in apartment houses for the purpose of improving quality of finishing materials. A practical study method of questionnaire research was used to find out tenant's opinions on components of interior space.

Now interior designers have to meet this challenge by rising to the occasion and taking advantage of opportunities while strengthening their skills which have not kept pace with the increasing emphasis on design. furthermore, they are hampered by the lack of a general working design methodology. Interior designers in Korea have been slow to recognize the need for developing a specification methodology manual which could be adapted to meet varying requirements and modified to reflect designers experiences. The design process in Korean interior design often involves utilizing drawing document methods based on architectural prototypes rather than upon drawing methods developed by design firms as a result of work experience s and unique needs. However, these unique nees are nearly always limited by traditional working drawing methods. This has led to confusion and inaccuracies due to the lack of a single starndardized and universally acceptable working drawing methodology which is capable of reflecting the needs of all parties involved , partiality those of interior designers. This thesis is an attmepted to establish the necessity for developing a better working drawing methodogoy or technical mans of satisfying the information sorting and processing need s of interior design professionals, a five step suggestion for developing such a methodology follows. First, arrange pertinent design research information by means of a process which can be employed throughout the design process, from inception through to working drawing stage. The end result should be an interior architectural design process culminating in a pattern skillfully blending architecture, vision and product with environment . The design process should be manifested into a series of definable steps and yet sufficiently flexible and variable in order to provide the most apropos design solution. Secondly , motify the design methodology systematically according to site conditions and prevailing construction technology and manifest the design process in a booklet form so that it reflects a desired pattern. Thirdly, this methodology should incorporate a stand-ardized and functional process capable of being utilized to impact clear design concepts and objectives with preci-sion and efficiency in a manual form.

People live in an environment which affects the human b by way of ‘Affordance’ .. And the interaction between h human and the surrounding environment arises ‘the sense of place' through adoptation. Considering the human emo¬t tional and psychological needs, besides the functionalones, for the design of environment gives ‘the place’ the h humanized atmosphere. Then the viewing-window, re¬f fleeting the dweller’s sensibility and aesthetic aspect, be¬c comes an important design element for the human interi¬o or atmosphere. G Generally, the view has the character of the Panorama a and sometimes of the Picture. And the viewing - window t transfigures the visual effects by ways of ‘Framing’, at t taching the ’Screen’ and ‘Successive development' of the views through openings on the wall. Hence this study w was developed from the aesthethic view-points of archi t tecture, cinema, picture and photography etc., and the c conclusions are as follows. T The ‘Frame’ limits the boundary of the view into a p particular area, while the ‘Screen’ changes the clear view t to an obscure one. And the wall-openings located with i intervals show the fragments of the outer view in a suc¬c cessive way. And these techniques applied to the viewing window make the viewer have the associated meanings d derived from the ‘Guided Projection'. So, the associative p psychology of the viewer complements the partiality, ob¬s scurity and brokenness of the view into a complete one, a and finally the view comes to be an aesthetic one to the v vIewer.