This study estimates the economic value of a multidisciplinary environmental art exhibition addressing climate and environmental issues by applying the Contingent Valuation Method(CVM). The willingness to pay(WTP) of visitors is estimated using both parametric and nonparametric approaches, and the determinants of WTP are analyzed. The results indicate that the average WTP derived from the two approaches ranges from approximately 5,450 KRW to 13,116 KRW. The analysis of WTP determinants shows that willingness to recommend, income level, exhibition-related expenditures, climate change awareness, and support for climate policies positively influence WTP. This study provides empirical evidence on the economic value of environmental art exhibitions dealing with climate and environmental issues and offers a basis for understanding their broader social and cultural impacts. The findings may serve as foundational information for evaluating the necessity and justification of policy support for climate- and environment-related cultural and artistic programs in the future.

Public art has taken on the power of cultural expression, thus influencing the ways in which cities practice identity, negotiating memory and developing community belonging. With the rapid urbanization in the modern global environment, the issue of environmental art becomes more and more important in keeping the cultural uniqueness and developing the spatial meaning. The paper explores the role of the participation of public art in the development of urban cultural identity by exploring the communicative, symbolic, and participatory roles of the piece in the contexts of the West and in China. This paper examines the role of public art in turning urban spaces into landscapes that have cultural significance through the application of a comparative literature analysis and a theoretical review based on a case. Results indicate that the Western view of public art is more likely to focus on social discourse, civic symbolism, and involvement of people, whereas the Chinese view tends to focus on philosophical harmony, significance of rituals, and cultural continuity. Differences notwithstanding, both contexts of public art play an important role in creating a sense of identity, strengthening the emotional connection, and enhancing cultural resilience to rapidly evolving cities.

Summary In the 1970s and 1980s, environmental art emerged in France’s New Towns programs as a critical response to modernist urbanism. This research investigates how these artistic practices turned sensory engagement into a method for urban place-making. Drawing on a series of case studies, three conceptual lenses guide the analysis. First, “anti-cultural strategies” reject art’s subordination to architecture, instead proposing tactile environments that destabilize visual dominance, as seen in Gérard Singer’s Déambulatoire and Jean-Pierre Raynaud’s Tour Blanche. Second, “sensory objectivation” describes how artists like Nils-Udo and Nissim Merkado rendered environmental phenomena – such as wind, water, and light – into tangible experiential elements. Third, the “total environment approach,” exemplified by Dani Karavan’s Axe Majeur, employs sculptural components as perceptual instruments that guide visitors’ movement and attention, shaping landscape through bodily interaction. In conclusion, these practices reframe public space, advancing multisensory strategies as effective tools for fostering urban identity. Despite institutional constraints, their legacy endures as a model for human-centered urban design that reconnects people to place through immersion, spatial choreography, and situated experience.

Nowadays, interior environmental art design no longer merely satisfies basic functional requirements but increasingly emphasizes emotional expression and personalized experiences in space. As the most expressive and influential element in design, innovative color pairing plays a crucial role in shaping spatial ambiance and influencing users' psychology and behavior. This paper delves into the innovative applications of color coordination in interior environmental art design, based on its fundamental principles, aiming to provide valuable insights for designers.

This note from the field outlines an environmental art therapy project for service users in primary care mental health services. It considers the importance of selective attention through close observation of the natural world, whilst looking for ‘materials’ with which to engage. The note describes how the unfamiliar engagement with natural objects, for creative interaction and artistic production, requires selective attention. The study investigates how focused attention whilst selecting materials to work with, can activate neurological systems that deliver positive neurochemical activity to support mental well-being. Consideration is given to how well-being may be enhanced when working alongside and observing others’ engagement. Evidence for this hypothesis is supported by group members’ qualitative feedback.

With the continuous development of the information age, people’s demand for design is also increasing, which promotes the accelerated development of interior space environment art and the personalized design industry. People’s demand for design, whether it is suitability, aesthetics, practicality, or green environmental protection, is getting higher and higher. With the development of the times, science and technology and design processes are also progressing and developing new technologies. Building information management (BIM) technology plays a great auxiliary role in the artistic design and individuation of indoor space environment and greatly improves the design efficiency and quality. This paper studies BIM technology in indoor space environment art design and individuation and draws the following conclusions: (1) BIM technology in indoor environment art design can better meet people’s concept of returning to nature, and people-oriented concept and practical concept are considered and applied to the design. (2) In indoor lighting design, BIM technology can not only better understand the influence of the light source on indoor illumination but also improve the utilization rate and quality of design. (3) BIM technology is more visual and intelligent for traditional design in indoor personalized design, which improves the efficiency and quality of indoor space environment design.

This article aims to share the experience from a theoretical approach to creative proposals on the study of climate change and seismic risk in Chile, through the transdisciplinary artistic space, the selected works of video art and technological installations. The main objective is our vision of contemporary art that involves different values towards an integral look for the elaboration of knowledge, such as technology and the socio-environmental, of course, social inclusion, encompassing the greater awareness about the need to rethink our daily practices, both at a personal and group level, through the absence of vulnerability and the profound disconnection. This research adopted a qualitative methodology through a series of documentary reviews, various case studies, visual, and content analyses, and a visual studies approach to establish the theoretical and practical contextual foundations for environmental and media art. The case study identified several key findings that highlight the role of video art and new media installations as effective tools for addressing ecological and socio-environmental issues, especially in the context of climate change and seismic risks. Some key elements are represented in a series of discussions aimed at strengthening critical social and ecological issues through the representation of the environmental crisis, technological interaction and interactivity, the emotional and social impact of commitment to social justice, and, of course, activism through environmental art. In conclusion, as climate instability and seismic threats continue to shape our future, it becomes ever more urgent to cultivate practices—both artistic and societal—that prioritize sustainability, resilience, and justice.

Background.The article is devoted to a comprehensive analysis of the phenomenon of digital immersive environments in the context of contemporary culture. The technological, anthropological, and sociocultural aspects of immersiveness are examined, tracing the genealogy of immersive practices from archaic rituals to modern digital technologies. Special attention is paid to the transformation of perceptual mechanisms and the formation of new modes of subjectivity in conditions of total digitalization of cultural space. The specific characteristics of virtual and augmented reality, interactive installations, and immersive theater as key formats of digital immersiveness are analyzed. The paradoxes and contradictions of immersive experience in the era of post-digital culture are identified. The phenomenon of immersion has become a key element of modern culture, actively penetrating various spheres. It affects not only the forms of artistic expression, but also the modes of perception, cognitive processes and self-identification of a person. There is a need for a theoretical understanding of immersion, its historical roots, anthropological and socio-cultural consequences, especially against the backdrop of the rapid development of digital technologies. Purpose.To analyze the evolution and specificity of immersive practices in culture: from archaic forms (shamanic rituals, mysteries) to modern digital technologies (VR, AR, immersive theater, environmental art), revealing the influence of immersion on subjectivity, perception, emotions and cultural interaction, rethinking the aesthetic and ontological status of art in the digital environment. Methodology.The basis of the study is formed by cultural and comparative-historical, interpretive analysis, phenomenological approach. Results. It has been established that immersiveness is not an exclusively modern phenomenon, its origins go deep into the cultural history of mankind. Modern digital technologies radicalize archaic practices, turning them into technologically constructed environments for the transformation of consciousness. Immersive technologies contribute to the shift in the role of the subject - from a passive viewer to an active participant, co-author and interpreter. The dual nature of immersiveness has been revealed: on the one hand, an expansion of the possibilities of perception and learning, on the other, the risks of losing critical thinking and emotional authenticity. It has been noted that the development of immersive environments leads to the formation of new aesthetic, ontological and ethical paradigms. A hypothesis has been put forward about the transition to a post-immersive culture focused on a balance between immersion and distancing, experience and reflection.

The relationship between art and nature has persisted since the earliest known artistic creations. Throughout history, nature’s manifestation in artworks followed a relatively consistent pattern, but this began to change in the 20th century. With the emergence of Land Art in the 1960s, artworks expanded into public spaces, and by the 1980s, ecological issues had become a part of artists’ agendas. Since then, discourses on ecological and environmental art have been reiterated through various works and have become integrated into the art world. From the early examples of ecological art to the present day, artworks frequently incorporate living plants. Within the scope of this research, the impact of living artworks on viewers and the reasons why artists include living plants in their creative processes have been questioned. Various interpretations and analyses have been made regarding the viewer’s thoughts during their interaction with living artworks and the lasting impact of these works. It is believed that living artworks enable urban individuals to reconnect with nature and foster environmental awareness. Additionally, the underlying messages of the works offer insights into the relationship between nature and humanity.The transformation of a living being into an art object, as well as the need for nourishment and care of such artworks, has been identified as an unexplored aspect of the research and set aside for future investigation.Within this context, Hans Haacke’s Grass Grow, Joseph Beuys’ 7000 Oaks, Lauren Berkowitz’s Manna and Sustenance, and Agnes Denes’ Living Pyramid have been identified as key examples of living artworks worthy of examination.In conducting this research, literature review and artwork analysis methods were employed.

In the context of increasingly severe ecological and environmental problems, ecological and environmental art design must take into account both aesthetics and sustainable development. This paper constructs an ecological and environmental art design optimization and intelligent evaluation framework based on fuzzy algorithms, adopts a multi-objective optimization method based on fuzzy logic, and works together through fuzzy optimization, intelligent evaluation, and feedback correction modules. The experimental results show that in urban park design, the aesthetics of the fuzzy optimization model is improved from 0.45 to 0.85, the convergence speed is 280 iterations, and the running time is 12.5 seconds. It is superior to traditional algorithms in terms of multi-objective optimization accuracy. The study proves that the model can effectively deal with the uncertainty in the design, achieve multi-objective balanced optimization, and provide a new scientific method for ecological and environmental art design.

Based on the policy requirements for the integrated development of aesthetic education and professional education in the new era, this study addresses the common disconnection between aesthetic education courses and professional teaching in the environmental art design major of higher vocational colleges. It innovatively proposes a three-dimensional interactivity model comprising goal coordination, content penetration, and evaluation feedback, exploring an educational reform scheme with higher vocational characteristics. Through a combination of theoretical construction and practical verification, the study develops teaching modules with regional characteristics and a school-enterprise collaboration project system, constructs a laddered curriculum structure of “theoretical cognition—technical transformation—practical application,” and simultaneously establishes a dynamic evaluation feedback system. Practice has proven that this model significantly enhances students’ ability to translate cultural symbols and apply material aesthetics. The study provides an actionable solution for higher vocational colleges to solve the problem of aesthetic education and professional education operating in isolation, and explores an effective path for cultivating composite design talents with technical capabilities, aesthetic literacy, and cultural understanding. In the future, it can be expanded toward the development of intelligent evaluation systems and innovation in industry-education integration mechanisms.

Abstract The study proposes an improved algorithm based on non-dominated sorting genetic algorithm II (NSGA-II) and teaching learning-based optimization algorithm for optimizing campus layout configurations. By introducing teaching learning-based optimization algorithm and combining it with Levy flight strategy, the improved algorithm shows significant advantages in multi-objective optimization performance. The Genetic Learning Test (GLT) data set is used to evaluate the efficiency and effectiveness of genetic algorithms in learning and optimization tasks. By designing test problems with different levels of difficulty, it provides a measure of the learning ability and adaptability of the algorithm. The experiment outcomes indicate that in the GLT dataset, the reverse generation distance of the improved algorithm is significantly lower than other compared algorithms. For example, in the GLT2 test, its reverse generation distance is only 0.020, far lower than other algorithms. Meanwhile, its super volume also performs well in the LZ dataset, with a super volume of 0.75 in the LZ2 test, outperforming other algorithms. In practical applications, taking a school in Guangdong Province as an example, the improved algorithm achieves significant results in optimizing campus environment design. In the optimized plan, the annual average thermal radiation optimization of Plan 3 reaches 60.4 Kw h/m2, the optimization range of the hottest week average general thermal climate index is 0.4 ℃, and the optimization range of sky opening width is 1.8%. The above results indicate that the improved algorithm can validly balance the functional, aesthetic, and sustainable goals in campus environment design, and optimize the artistic design scheme of campus environment. The study aims to improve the thermal comfort and overall environmental quality of the campus by optimizing key design elements such as the orientation of campus buildings and the layout of building clusters, creating a healthier and more comfortable learning and working environment for teachers and students.

Improving the visual appeal and practicality of areas is a major function of environmental art design. Nevertheless, conventional techniques for assessing and improving such designs are frequently arbitrary and ineffective. In order to assess and improve environmental art design, this study suggests a distributed system that makes use of Generative Adversarial Networks (GANs) and sophisticated image processing methods based on the characteristics of Computer-aided design (CAD). The methodology is based on distributed demand-side management in intelligent energy systems and emphasizes the decentralization of computational resources for increased flexibility and effectiveness. In order to model different design situations and improve based on aesthetic characteristics like color balancing, spatial arrangement, and visual balance, the system uses GANs for creating images and design transmission. This method’s implementation in a distributed framework speeds up the assessment procedure and allows for continuous improvement and real-time feedback. A comparative examination of the findings from the experiment highlights the remarkable quality and effectiveness of the strategy presented in this study, which performs better than alternative strategies when it comes to of precision, recall, and F1 score. The results validate the superior performance of the suggested approach in relation to component extraction and recognition in CAD environmental artwork design. It is expected that this will support strong evidence for real-world applications and further research advancements in relevant sectors.

In order to solve the problems of dimensionality reduction and color display of spectral data after redundancy reduction in interactive display in environmental art design, the author proposes a research on an interactive display system that integrates information technology in environmental art design. The author first performs principal component transformation on the spectral data cube, assigning the first three components to the black and white channels, red and green channels, and yellow and blue channels in the color space. Then, after spatial transformation to sRGB space, the data is segmented and translated to the range of 0-1, mapped to 8-bit RGB, and single item evaluations of standard deviation, entropy, and average gradient are performed on each translated image. After all translations are completed, a comprehensive evaluation is performed on all evaluation values, and the interval with the highest comprehensive evaluation value is selected to output the mapping. The experimental results show that although this algorithm has a slightly longer time overhead, it is still far less than the acquisition time of 6.63 seconds for one spectral data cube, and is suitable for real-time detection applications of hyperspectral data. The fusion of images can maximize the energy, information, and clarity of the images, which is beneficial for the rapid recognition and judgment of the human eye.

This article is part of ongoing decolonizing efforts in critical arts-based research to unsettle the dominance of settler-oriented environmental and place-based thinking, particularly in relation to a U.S. Northeastern university arboretum. Facing current ecological precarity, we find the framing of the conventional environmental approach problematic because it reinforces settler colonial and Anthropocene perspectives that center on extraction and proprietorship while romanticizing nature in what is purported as its pure form. In response, our environmental art approach in the context of the arboretum engages settler colonial critiquing of ecology, place making, and archiving that point to the need to attend to the land as a relational, more-than-human living environment. Our environmental approach indicates the need for unsettling the settler ecology, as it has become associated with the settlers’ projects of elimination and replacement. This approach is discussed through a graduate student’s visual experiments in The Pennsylvania State University Arboretum toward advancing environmental justice.

This paper examines the dynamic intersection of art and environmental sustainability, highlighting the power of creative practices to influence public discourse, foster community engagement, and inspire policy change in response to ecological crises. Drawing on insights from the seminar “Art and Sustainability: Creative Approaches to Sustainability”, held in Plovdiv as part of the European Capital of Culture 2020 initiative, the discussion emphasizes how artists utilize diverse media and participatory approaches to address issues such as climate change, resource consumption, and ecological degradation. Historical perspectives on environmental art reveal a transition from aesthetic contemplation to active ecological engagement. Contemporary eco-art practices integrate organic materials, digital technologies, and community-centered installations, bridging the gap between science and public awareness. Through case studies of influential eco-art projects and installations, this paper demonstrates the potential of art to not only reflect environmental issues but to catalyze systemic transformation by invoking empathy, urgency, and collaboration. Ultimately, the research underscores the necessity for interdisciplinary efforts in crafting sustainable futures, where art is both a mirror of societal challenges and a tool for environmental advocacy. Keywords: Environmental Art, Sustainability, Eco-Art, Climate Change, Community Engagement, Participatory Art, Digital Environmental Art.

In an era marked by climate change, socio-economic disparity, and digital acceleration, the challenge of effectively communicating complex environmental data to diverse audiences has become increasingly urgent. This study examines how data visualization and interactive art can be employed to translate scientific knowledge into engaging, accessible formats that raise public awareness and encourage climate action. We reviewed 495 environmental art and design projects and selected a corpus of 36 that focus on dynamic data visualisation and interactive experience design in response to climate and urban challenges. A multi-scalar, qualitative analysis was conducted to assess the thematic structure, technological strategies, and aesthetic dimensions of these projects. Our findings show that interdisciplinary methods—blending real-time data, machine learning, sonification, and immersive installations—are effective in rendering abstract climate data into emotionally resonant, actionable narratives. Through detailed case studies, we demonstrate how artistic interventions can facilitate public understanding, stimulate behavioural change, and support participatory urban adaptation. We conclude by highlighting the significance of collaborative, cross-sectoral approaches in designing future-oriented communication strategies for climate resilience, and by identifying future research pathways in the integration of environmental science, technology, and the arts.

ABSTRACT Improving psychology and promoting exercise through interactions between people and spatial environments are important means for modern people to cope with their physical and mental health problems. We implemented a comparative experiment between experiences in actual and virtual space in residential neighborhoods where people have frequent contact. We aimed to explore the correlations among spatial livability, psychological level, and activity and to determine whether virtual space has better intervention effects on psychology and activity. RESULTS: There were significant differences in perceived livability, psychological level, and potential exercise intention when the participants observed actual and virtual spaces separately. Virtual spaces produced more positive effects in terms of moderated negative emotions (like anxiety) and increased motivation to interact with the space; these changes were influenced by livability elements such as sanitation facilities and barrier-free travel. This study provides spatial designers with a reference for spatial elements to meet the physical and mental health needs of individuals and provides a new direction for the application of virtual space at the intersection of multiple disciplines such as psychological recovery, sports training, architecture, environmental art design, and the social sciences.

This study explored the integration of super-resolution (SR) image reconstruction technology into environmental art design, addressing key challenges and highlighting its potential to enhance visual quality, design efficiency, ecological awareness, user satisfaction, and cultural heritage preservation. By examining the principles and models of SR technology, the study demonstrated its ability to significantly improve the aesthetic and functional standards of environmental art, contributing to more sustainable and culturally rich designs. The analysis and practical applications presented underscored the significance of SR technology in advancing both technological and artistic progress. Future developments in SR technology promise to further transform environmental art design, creating more dynamic, sustainable, and visually compelling environments.

This study investigated the application of information technology—specifically, virtual reality (VR)—in environmental art design education. With the rapid advancement of information technologies, VR offers novel opportunities for enhancing the quality of teaching and learning in the field of environmental art and design. This research focused on the development of a teaching model that integrates VR technology, exploring its potential to improve students' design skills, foster innovative thinking, and enhance teaching effectiveness. The findings indicate that VR significantly boosts student engagement and interest while also promoting the development of design thinking and practical skills. This study not only demonstrates the positive impact of VR on environmental art design education but also provides valuable insights for future educational innovations. As technology continues to evolve, the VR-based teaching model is poised to become a mainstream method in the field of environmental art design education.