Introduction
Environmental art design (EAD) has recently encouraged creative thinking by investigating novel materials, technologies, and techniques for designing environmental art that advances sustainability. EAD faces challenges in integrating novel materials and technologies while promoting sustainability. Environmental art design is targeted at human living areas; here, adequate and excessive utilization of resources is minimized, and the social and natural environments are utilized aesthetically.
Aesthetic excellence in environmental art design, along with growing technological accomplishments and cultural heritage, is concentrated on meeting the demands of human aesthetic pursuits in the new era, which lacks earlier techniques. Hence, an algorithm named environmental art design using fuzzy (EADF) to evaluate the environmental criteria for better decision-making is introduced.
Initially, a fuzzy-based technique for order preference similar to the ideal solution (FTOPSIS), which considers multiple variables such as visual appeal, environmental impact, sustainability, and audience involvement in the community, was employed in the design process. Environmental art designers utilize fuzzy TOPSIS to assess works of art using several criteria. It seeks to make accurate decisions and accomplish desirable creative effects by considering ambiguity and subjectivity.
The approach utilizes fuzzy variable entropy analysis to determine questionable attribute weightings and employs triangular fuzzy numbers to represent criteria and analyze preference values. Artworks are evaluated for deviation from ideal results using the Euclidean distance measure, enabling logical ranking evaluation and comparison. The EADF model outperforms the other models when considering different input factors. EADF excels in color (83.74), composition (82.37), emotion (85.61), contrast (97.52), clarity (98.16), harmony (95.49), and sensitivity (96.44) when evaluated in environmental art design, showcasing its usefulness.
This work has implications for directing artists, designers, and decision-makers toward environmentally sustainable and artistically impactful art practices. Hence, the performance of this EADF model is validated using audience involvement, environmental impact, sustainability, and a visual appeal score.
The art of environmental design
The design of real-life environments that primarily respond to individual behavioral demands and aesthetic desires based on environment–behavior associations can be called the art of environmental design. Environmental art design is a creative approach that concentrates on developing artwork, carvings, and designs that blend with and are inspired by nature. This type of art frequently aims to generate knowledge about issues related to the environment, build a stronger bond between humans and the environment, and promote sustainable processes.
More environmentally friendly merchandise can be designed by addressing difficulties arising between environmental effects, expenses, and product performance. The critical process of constructing the experience is individuals’ perception of the environment related to a person’s experience, which is “the practical actions that occur and impact the emotions of others that may leave an impression”. Structure and interest in the visual field should be considered using both fuzzy and complicated impact artistic assessments.
Fuzzy theory is a reliable way of aggregating expert decisions and delivering consistent results, and fuzzy logic enables the depiction of inaccurate or ambiguous judgments that do not fit into rigorous number values. This project’s main objective is to develop a comprehensive evaluation methodology for Environmental Art Design (EAD) that considers evolving technology environments and public expectations. Its primary objective is to produce art that enhances people’s visual and sensory experiences with minimal resource demand, particularly in residential locations.
Fuzzy-based TOPSIS for EAD evaluation
Many aspects of EAD, including aesthetics, environmental effects, sustainability, and audience participation, are acknowledged in this study. The foundational approach is the fuzzy-based technique for order preference by similarity to the ideal solution (FTOPSIS). This study is driven by the connection between environmental awareness, creative creativity, and the necessity for a structured method to assess artworks within environmental art design.
The lack of research on this topic is due to the absence of a systematic methodology that fully incorporates aesthetic, environmental, and sustainability factors. This work fills a gap by introducing and applying FTOPSIS in environmental art design. The research gap in evaluating environmental art design is due to the absence of a thorough evaluation framework, restricted use of quantitative methods, and inadequate incorporation of sustainability metrics.
Current research frequently emphasizes aesthetic or environmental factors while overlooking comprehensive assessments. Quantitative methods can be subjective and qualitative, impeding evidence-based decision-making in selecting and creating artwork. Sustainability is an important issue; however, its incorporation into art assessment methods is still restricted.
This paper presents FTOPSIS, a decision-making method used to assess artworks in environmental art design. The process provides a systematic, structured, and quantitative way to evaluate artworks using aesthetic, environmental, and sustainability standards. The comprehensive evaluation methodology considers visual appeal, environmental effects, sustainability, and audience engagement. This study fills the research gap in fragmented art evaluation and advocates for eco-friendly practices in the artistic community.
The FTOPSIS-based methodology assists artists in selecting materials and methods that align with aesthetic objectives and environmental sustainability. This study builds on an examination of triangular fuzzy number scales, which are based on fuzzy set theory, to address human language. Collaborative decision-making is enhanced by the art design’s incorporation of linguistic word sets and uncertain fuzzy value linkages.
The EADF method considers aesthetics, ecological influence, longevity, and consumer participation to evaluate environmental artworks. The fuzzy technique for order preference by similarity to the ideal solution (FTOPSIS) method simplifies the evaluation of environmental art projects. This study aims to make EADF (environmental art design) a better tool. Its efficacy is proven by employing performance measurements, the FTOPSIS method, a multicriteria evaluation, and the measurement of Euclidean distance. It also addresses subjectivity and ambiguity.
The EADF algorithm is an effective decision-making tool for addressing the complexity of environmental art because of its comprehensive evaluation framework and capacity to adapt to changing technology and social situations, which contributes to the concept of EAD. The TOPSIS methodology was selected to effectively manage multiple criteria for decision-making difficulties. TOPSIS is known for its simplicity, resilience, and capacity to evaluate options based on their proximity to the optimum solution, considering several competing criteria. Its capacity to handle the intricate decision-making process involved in environmental art design—in which several factors must be harmonized to produce ideal results—makes it appropriate for this study.
The EADF algorithm is a game-changing resource for environmental art design evaluations and decisions. Its comprehensive multicriteria approach considers all aspects, including aesthetics, the ecological footprint, sustainability, and audience engagement. This technique uses triangular fuzzy numbers and fuzzy variable entropy analysis to address ambiguity and subjectivity. It is an invaluable tool for making decisions and helps with reasonable rankings and educated choices. The EADF model can be modified to accommodate changing cultural, technological, and creative contexts, and performance metrics provide credence. This new viewpoint provides practitioners with an advantage in the ever-changing field of environmental art design.
The role of technology in environmental art design
Given the aesthetic qualities of design functions, environmental art design pleasures the body and thought, enhances life, and promotes the sustainability1 of living and designing the aesthetics that play a part in the execution of environmental art design. Computers have significantly changed our lives as science and technology have advanced. The application of computer-assisted design2 for environmental artistic design creation can break beyond traditional forms of expression and empower design thinking.
Photoshop software can provide accurate and multiple dimension-based design impacts, display design purpose most transparently, and significantly improve the effectiveness of environmental design artwork3 in landscape and interior form. The successful integration of contemporary artwork design and folk art via virtual reality was imposed in Ref.4 to overcome the constraints associated with conventional environmental art design, providing artists with a multiangle approach and designing more compassionate and attractive environmental art design practices.
To design sustainable products in interior spaces and maintain their environmental properties, such as lifecycle span, energy use, and maintenance cost5, this research applied the building information modeling (BIM) environmental design approach for decision-making. This study gathered and analyzed environmental art design knowledge and approaches to categorizing and interpreting existing data to create the database required for a virtual representation6 of the environmental art design.
The application of AI has a long-term and imaginative impact on landscape collaboration7 in environmental artwork, dynamic setup, and digital sketching in a linear sequence on a multiple-dimensional basis. Creative platform-oriented digital design8 includes applying AI technology to certain software systems that consider users’ preferences for environmental art design, such as deep drawing and deer class designs, to create art that may produce interactions among humans and machines in knowledgeable systems and provides academic support.
The fuzzy integral9 was used to calculate the weight and performance of enterprises such as museum art licencings with cultural value to address the multicriteria decision-making challenge. Environmental art design provides joy to the laborer’s mind through the aesthetic elements of design efforts; the use of this AI technology not only fits the technical and security needs of energy enterprises but also helps to improve their visual quality10 and minimizes the costs involved with the construction of the energy sector’s environmental design.
Designers prioritize the aesthetic effect of visual appeal11 of cultural venues on viewers when developing them based on human factors; however, vision is never a single experience of perception. Vision is frequently accompanied by comprehensive attitudes such as observing, feeling, and contact, incorporating aspects of architecture such as dimension, style, shade and light, resources, vibrations, and the environment, both indoors and outside, and generating staggering visual knowledge12.
In addition to these indoor and outdoor environmental artworks, art design focuses on the energy sector to maintain the sustainability of the economy and reduce energy usage costs with the help of environmental art design, which causes few environmental hazards. A quantitative evaluation method that utilizes a comprehensive examination of the color of the material structure, design, and other features combines indoor wireless connectivity designs and cloud-based information to increase the application impact of sustainable environmental resources13,14,15.
In addition to sustainable features16, work focused on ecological principles and strategies, increasing the quality of urban environments and building an excellent community image is important. The architecture of the kindergarten, as well as its indoor and outdoor environments, has been renovated and redesigned. Today’s design practice and study are undergoing a major shift, focusing on the goal of thinking and acting rather than objects17.
The evaluation of art design and its related attributes has revealed that a culture’s worth depends on its past and heterogeneity. Environmental art design naturally reinforces budget accuracy, improves the relationship between the two groups in the design process18,19, simplifies landscape exhibitions, and replaces the conventional situation in which the thinking expression of artists with 3D technology constrains environmental art design. The environmental art design artists select materials, organic assets, and artistic components such as texturing software and visual space allocation20,21.
Fuzzy TOPSIS for EAD evaluation
Fuzzy TOPSIS, a method for fuzzy preference ordering according to resemblance to ideal solutions, was used to assess environmental art concepts in this study. The challenge of art evaluation is overcoming subjective judgments and imprecision, and this approach does just that. In addition, it allows for comprehensive criterion evaluation that considers factors such as sustainability, aesthetics, community involvement, and ecological influence, among others. The method also employs a weighting technique to make nuanced grading easier.
Using both positive and negative ideal solutions, Fuzzy TOPSIS offers a comprehensive decision-making approach that can be applied to environmental art design. It is a flexible approach for handling the intricacies of environmental art design, and it works with fuzzy logic. The EADF algorithm uses the TOPSIS methodology, particularly in its fuzzy variant (FTOPSIS), to assess the impact of public artworks on the environment.
Aesthetics, environmental impact, sustainability, and audience engagement can all be effectively managed with TOPSIS. It employs fuzzy logic to consider subjectivity and ambiguity, enabling a more thorough evaluation. FTOPSIS combines art and environmental science by offering a systematic method for assessing artworks using aesthetic, environmental, and sustainability standards.
The review approach considers visual appeal, environmental effects, sustainability, and audience involvement, allowing for a comprehensive assessment beyond traditional aesthetics. FTOPSIS adds a quantitative aspect to art assessment, aiding in making decisions based on evidence in the creative process. It addresses the complexity and ambiguity of environmental art design by offering a formal framework for evaluating artworks using predetermined criteria and weights.
FTOPSIS encourages sustainable art practices by integrating sustainability criteria into the evaluation process and advocating for utilizing eco-friendly materials and processes in art creation. Through metrics for both the ideal and negative ideal solutions, TOPSIS enables the systematic appraisal of artworks.
Key contributions
The major contributions of this work are as follows:
- Applying a comprehensive strategy that considers aesthetics, impact, sustainability, and community engagement brings art evaluation to a new level.
- Fuzzy logic is implemented in the evaluation process to capture the complexities of the aesthetics of the arts and their environment by producing a natural and diverse evaluation process.
- By empowering artists with a strong framework for making informed decisions, artists can balance artistic genius with beneficial effects in the ever-changing field of environmental art.
- A comparative analysis is performed to verify the proposed model’s efficiency using different environmental metrics.
The remainder of this paper is structured as follows. The “Literature survey” section reviews the previous literature to identify the aspects and criteria influencing the evaluation of environmental art designs. The “Proposed system” section describes the research methodology using fuzzy-based evaluation in environmental art design practices. The “Results and discussion” section provides numerical illustrations of the proposed approach and a comparison with existing techniques. Finally, the discussion and conclusions are presented in the “Conclusion” section, along with future research directions.
Literature survey
Singh et al. proposed an approach based on the fuzzy analytical hierarchy process and the technique for order preference by similarity to ideal solution (FAHP-TOPSIS) to prioritize the alternatives that surmount the constraints in eco-design practice in small and medium enterprises (SMEs)22. Their results showed that the sensitivity of the analysis was 0.60, and the bias in the outcomes due to experts’ and other countries’ perspectives on eco-design implementation may differ slightly.
Wei and Madina focused on using environmentally friendly materials in kid furniture design, integrating fuzzy with structured (F-S) technology for design to create a fuzzy technology-based furniture design system for children and two intelligent furniture design systems for children23. This research highlighted environmentally friendly children’s furniture design; nevertheless, it did not include exploring alternatives, analyzing user experience, or fully assessing environmental impact.
Xu et al. proposed an art design expertise communication teaching and practice centered on the modern multimedia environment to create teaching expertise and techniques. Four-dimensional goals for teaching, five criteria, and six tiers of IG-GC were used on the symbolic basis of the multimedia environmental art development principle, as well as the current teaching situation in China24. A major research gap was that this study focused only on the origin level of environmental art design.
Zhu et al. evaluated the visual impact of the artistic design of environmental schemes via a hybridized analysis of 4 multiattribute decision-making systems (H4MADM) that incorporated the fuzzy Delphi method (FDM), exploratory factor analysis (EFA), the analytic hierarchy process (AHP), and a decision-making trial and evaluation laboratory (DEMATEL)25. A major research gap that was identified was the lack of focus on the built setting in decision-making.
Xu et al. developed the hybridized conformal prediction algorithm (HCPA) model to handle the characteristics of indoor design, such as the client-oriented plan, environmental coordination, rational, safety, and artistic space of environmental art design with the incorporation of sustainable products26. The framework achieved 98% design correctness, 92% design execution, and a 6% error rate.
Guo et al. provided a community museum excellence assessment method that utilizes principles of human-centered design through the viewpoint of community-based museums and demonstrated the application of the computational concept of the fuzzy comprehensive evaluation technique to communal museums (FCET-CM)27. Due to time and resource constraints, this study focused solely on the level of assessment of community-based museums.
Zhang contrasted the image of environmental art design produced through AI with an image of traditional manual sketching28. The designer’s use efficiency increased dramatically by 84%, and the three-dimensional effect of the drawing surface was enhanced with improved quality. The factors considered for drawing were clarity, completeness, stereopsis, and frames per second, with a detection range of up to 120 min with a 20-min interval.
Xie et al. provided a full-connection strategy and greedy technique for assessing the environmental effects of urban environments that involved visual and semantic evaluation using high-dimensional attributes of public art design29. Their results showed that the audience and producer precision of public art design service areas were 0.87% and 0.78%, respectively.
Hou and Xu proposed AI in environmental design to analyze influential design works and evaluated the value and importance of artificial intelligence in contemporary environmental design, along with its possible long-term growth pattern30. Research gaps included a lack of specificity, an inadequate discussion of content transformation, an inadequate evaluation of the evolution of design languages, and an in-depth analysis of influential works.
Agarwal et al.31 introduced the probability-based double uncertain fuzzy (PDHF) algorithm as a novel approach for making group decisions involving multiple attributes in uncertain fuzzy settings. It creates a thorough decision evaluation matrix when used alongside the preference ranking organization method (PROM).
Garg et al.32 presented a novel multiattribute decision-making (MADM) method for intricate and unpredictable settings. The data representation involves the use of bipolar fuzzy information and Aczel-Alsina operators. Additional research is needed, which involves validation, robustness analysis, comparison with existing approaches, and stakeholder feedback.
Based on a