• Journal of the Korean Institute of Landscape Architecture
• /
• v.51 no.2
• /
• pp.42-53
• /
• 2023

This paper explores the recent development of environmental aesthetics and critically examines the main agendas, claims, issues, and implications of everyday aesthetics, which is emerging as an important branch of environmental aesthetics. Environmental aesthetics began in the context of cultural change and environmentalism in the 1960s and expanded in the second half of the 20th century with a solid theoretical foundation. At the beginning of the 21st century, it entered a process of diversification of objects and subjects. Having reached academic maturity, environmental aesthetics has expanded into theoretical territory considering the urban environment and the human environment, providing practical coordinates as a discourse for planning and designing urban environments and landscapes. The most notable achievement of environmental aesthetics since the mid-2000s is the establishment of 'everyday aesthetics'. Yuriko Saito, who is leading the research on everyday aesthetics, expanded the objects and scope of aesthetic theory to everyday objects, events, activities, and environments. She excavates the microscopic and sensory aspects of everyday life, which have been overlooked by conventional art-centered aesthetics, through the lens of aesthetics. She reinterprets various layers of phenomena in contemporary urban landscapes and analyzes how the 'power of the aesthetic' hidden in everyday life profoundly affects the quality of life and the state of the world. Saito examines the appreciation of the distinctive characteristics and ambiance inherent in everyday objects and environments and proposes a 'moral-aesthetic judgment' to alert citizens to the environmental, social, and political consequences of everyday aesthetic appreciation and response. This paper identifies the issues and implications of everyday aesthetics as first, the expansion of aesthetics and the ambiguous everyday, second, the moral-aesthetic judgment and the aesthetics of care, and third, urban regeneration landscapes and aesthetic literacy. In particular, the moral virtues of everyday aesthetics that Saito proposes, such as care, thoughtfulness, sensitivity, and respect, provide a critical reference for the practice of contemporary urban regeneration landscapes. The 'aesthetic literacy' is a key concept demonstrating why an environmental aesthetics perspective is necessary to interpret everyday urban environments and landscapes.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2001.10a
• /
• pp.33.2-33
• /
• 2001

• Korean Institute of Interior Design Journal
• /
• v.19 no.3
• /
• pp.57-66
• /
• 2010

Currently, the nature and ecosystem's destruction by human beings and science is appearing as a serious problem. The possibility of ecological aesthetics is being sought as one of operations for new society in the contemporary society that the nature and ecosystem are getting attention, The present research aims to examine the characteristics and its expression method by setting the ecological aesthetics as an alternative of the future design. The history, meaning, mental image and image of Korean traditional Space forming the balance and harmony with the Nature, etc., which are important design concepts, were deduced as the beauty of emptiness, the beauty of a gap, the beauty of harmony and the beauty of changing and the beauty of simplicity as characteristics of experiencing space. If the deduced expression is examined through a case analysis of traditional housing, the characteristics trying to unite with the Nature while seeing ecology and aesthetics as one root, which the ecological aesthetics regarding as a root. The ecological arts based on the ecological aesthetics enters inside the universal life of human beings by examining the ecological and aesthetic characteristics appearing in Korean traditional Space, and the arts will move forward in a direction that its function and role link with maintenance of total ecosystem. The space application possibility and expression characteristics of ecological aesthetics should be continuously researched.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.7
• /
• pp.993-1004
• /
• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.

• Science of Emotion and Sensibility
• /
• v.8 no.3
• /
• pp.189-202
• /
• 2005

Since the origin of the web site in ti)e first part of the 90's there has been discussion regarding the function of aesthetics. Visual aesthetics has for the most part played an absolutely necessary role in human-computer interactive research. This study is intended to design websites on aesthetic aspects which focuses on the websites of universities in Korea and China. What exactly are the differences and commonalities of each; and how they have been clarified by methods of empirical research on aesthetic measurements.

• Archives of design research
• /
• v.19 no.3 s.65
• /
• pp.105-116
• /
• 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.

• Journal of the Korea Convergence Society
• /
• v.8 no.2
• /
• pp.1-8
• /
• 2017

In this paper, we investigates the basis of the theological aesthetics and the Bible as the standard of human value standards on the basis of this theological aesthetics. In another approach, unique designs of plants and animals were described in terms of aesthetics. These descriptions were then employed to design and create things, recognised for their beauty as well as practicable applications. From this point of view, we can deduce the relevance of God, the created world, and theological aesthetics. We review the implications of human engineering and the art of convergence and engineering theology. We discussed why the need for a tool of theological aesthetics in convergence engineering is important. We will need more discussion in terms of technological progress in which theological aesthetics is embodied in order to develop more healthy, moral and ethical convergent engineering skills in our society and to provide a better and healthier life for mankind.

• Korean Institute of Interior Design Journal
• /
• v.20 no.3
• /
• pp.110-118
• /
• 2011

Today aesthetics expression could be a 'Everyday-life Beauty', because today art & design are closely related with a contemporary life. This thesis dealt with a everyday-life and sensitive design which sublimate from everyday-life material to the concept of aesthetics, such a purpose of this thesis establishes a base of everyday-life design through everyday-life aesthetics. This purpose made to pay attention to Japan's aesthetics concept, because Japan has been maintained and developed its own everyday-life aesthetics. Even if Japan doesn't have only everyday-life aesthetics, it is useful that is studies as some kind of a prototype. So this study analyzed about a everyday-life aesthetics and the expression method through the case-study of Japan. According to Yonagi Muneyoshi and Leonard Koren, the Wabi-Sabi has three conceptual characteristics like impermanent, incomplete, and imperfect and six expression characteristics like implication, tranquility, simplicity, coarseness, purity, and association. This study process is as follows. In the first a vocabulary of interior design was derived from three conceptual characteristics and six expression characteristics, and spatial facts was abstracted from it, and then volume, form, and then shape of composition facts of interior space was extracted from it. Finally the expression characteristics of the Wabi-Sabi in interior design was derived from these processes. In conclusion, the expression characteristics of the Wabi-Sabi in interior design is the transitional space through a Shadow, the conversional space through form and material composition, and the copying space through a natural friendship.

• The Research Journal of the Costume Culture
• /
• v.23 no.5
• /
• pp.737-754
• /
• 2015

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

• Water Engineering Research
• /
• v.1 no.4
• /
• pp.299-307
• /
• 2000

The method for estimating the minimum instream flows required for the riverline aesthetics, proposed by the Kim et al.(1996), has been applied to the main channel reach of the Keum river basin in Korea. To determine the minimum instream flows for eight main reaches at Keum river basin, six representative stations have been selected. This paper provides an analysis of influence on the riverline aesthetics, which is affected by change of physical components of river, by using the survey-based quantification method. The developed questionnaire based on the literature, and submitted to the 326 people who visited an each representative station. This surveying had been implemented in three times at each representative station and we had been selected a different flowrate at each implementation. The results of this analysis and survey have produced the relationship between the variation of physical components and riverline aesthetics. Survey results bout the flow comparison are summarized as follows. At the view of riverline aesthetics, most of the respondents re sensitive at the change of the flow velocity and they prefer high water level to low water level. Moreover whole respondents prefer to abundant stream flows and moderate flow velocity. The minimum flows for riverline aesthetics is estimated at each representative station by using the survey-based quantification method and the estimated results of some representative station are greater than mean monthly flow at each station. The result of the analysis appears that establishing minimum instream flows for riverline aesthetics is not only a technical problem but a legal problem. Therefore in the case of establishing the instream flows in the river, the estimated results have to be considered as relative standard.