The relationship between technology and art has always been an important issue in the field of art. With the application of information technology in interactive media arts, the traditional aesthetic theories can no longer fully interpret an emerging morphology of artistic styles. The unification of interaction, experience and aesthetics based on the “indwelling” idea of tacit knowledge theory and embodiment theory of phenomenology may be seen as a total framework for analyzing interaction aesthetics from three dimensions: information, space and time, which embodies three important features: full sensory experience, dynamics and psychosomatic oneness.

Originating from human thinking on the relation between man and nature, the ecological design outlook is a new concept that arose in recent years with great significance for the sustainable development of design. In fact, the same concept has always been running through Chinese classical design notions. From the ages when the principle that “in compliance with the rules under heaven, things are created for human use” dominated design notions, to the rise and prevalence of the later principle of “following natural rules of heaven”, ancient Chinese had always dealt prudently with the relations among human, nature and zao wu (creation), which benefits the contemporary ecological design.

From the perspective of Information design science, this thesis discusses the fact that in the transition of the entire society toward informatization, building skins have unprecedentedly picked up more complex functions and borne more social responsibilities, as shown in the following aspects: As the interaction between outdoor advertising media and humans and environment, as the media that link up indoor and outdoor information and as the media for indoor householders to express their needs, the infiltration of being digital into the architectural field has made building skins the interface for human-computer interaction in a broad sense. Accordingly, in addition to professional skills, architectural designers must keep on learning the knowledge and methods of digital interactive design and develop the awareness of studying inhabitants' behaviors. Architectural design has become an integration process of massive information in a way that is different from traditional design ideas. Therefore, designers need to look for more appropriate building skin design methods in this new period of architectural design.

The pictograph is the core of ancient Chinese characters. In recent years, Chinese characters, especially the ancient oracle-bone inscriptions and seal characters, are often adopted in logo design in China. This article analyzes the concise thought adopted in ancient character-creating, such as “highlighting characteristics”, “simplifying”, and “less for more”, and probes into the application of such ancient thought with modern design cases, in an attempt to establish evaluation standards for the integration of culture and art.

Cycling sportswear that meets the multiple functional requirements of thermal comfort, biomechanical protection and aesthetics is highly demanded by cyclists. These multiple functional requirements lead to innovations in cycling sportswear design based on multi-disciplinary knowledge integration and fusion of art and technology. A theoretical model for cycling sportswear design is developed in this paper to model the design process by systematically integrating different knowledge and identifying the relationships between them. This model demonstrates that the design innovation of cycling sportswear is the fusion of aesthetic design with thermal and biomechanical functional design, which meets cyclists' demand for wearing comfort, relief of muscle fatigue and beautiful appearance.

This paper explores theoretical issues around authenticity in fashion design and art collaboration (FDAC). The aim is to understand the marketer's actual momentum and cultural properties of this phenomenon. Based on multiple case studies and interview surveys, this research identified that: FDAC is in widespread use as a way of above commerce; additionally, it bridges a gap between authenticity and fashion (especially youth fashion), while it represents the value of being free, true to the self and having passion for life. It is also heavily linked with creative youth culture and fashionisation featuring fun, excitation and hedonism.