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Nature Is the Dao: Interpreting Sustainability Aesthetics in Modern Design Through Laozi’s Daodejing
Abstrac
In response to the growing emphasis on environmental sustainability in contemporary design, Eastern philosophy offers an alternative framework to the dominant technocratic mindset. Laozi’s Daodejing, with its principles of “Dao follows nature,” wuwei (non-action), simplicity, and non-contention, emphasizes harmony with nature and minimal human interference—concepts deeply aligned with sustainable design thinking.
This qualitative study adopts textual hermeneutics and thematic content analysis to investigate the Daodejing’s relevance to modern sustainability aesthetics. Drawing from ten selected passages focused on nature, aesthetics, and material ethics, the research interprets their meanings in cultural context and correlates them with principles found in contemporary sustainable design practice.
The findings reveal that the Daoist view of “Nature is the Way” encourages a shift toward design approaches that emphasize reduction over complexity, respect for material integrity, and low-intervention creativity. Rather than solving purely functional problems, design is reframed as a philosophical practice rooted in ecological awareness and cultural humility. This paper proposes an alternative sustainability value framework grounded in Eastern philosophy, offering new insights into global design ethics and education. It contributes to cross-cultural design discourse by bridging ancient Daoist wisdom with contemporary creative practice in pursuit of ecological harmony.
Keywords: Tao Te Ching Daoism follows nature Wuwei (non-action)
environmental ethics Bionic design sustainable design
1 Introduction
1.1Research Background
In recent decades, the world has faced unprecedented challenges such as climate change, ecological imbalance and resource depletion. Sustainable development has become an important issue in the policies and industrial development of various countries(Klarin, 2018). As a bridge between people and the environment, the impact of design is not limited to form and function, but also involves ethics, values and ecological responsibility. In this context, how to rethink the "relationship between man and nature" and the "essence of design" has become a philosophical topic that cannot be ignored in the field of contemporary design(Stegall, 2006).
In recent years, sustainable design has been based on Western scientific rationality, technical efficiency and material substitution, forming a functional orientation model oriented towards "problem solving"(Sik-wah Fong, 1999). However, such models often ignore cultural context, spiritual level and the deep interaction between man and nature. In contrast, Eastern philosophy, especially Lao Tzu's Taoism, provides a completely different view from the West - advocating "following nature", "less is more", "doing nothing", emphasizing symbiosis with nature, inherent order and simple beauty(Peng et al., 2024). These concepts not only have cultural depth, but also contain rich sustainable values.
As the core classic of Taoist thought, the concepts advocated by Tao Te Ching, such as "Taoism follows nature", "non-action", "simplicity" and "non-contention", form a deep dialogue relationship with the "low intervention", "material ethics" and "simple design" emphasized in sustainable design. This article believes that through text interpretation and aesthetic analysis, it is helpful to construct a sustainable design concept rooted in Eastern thought, and then supplement the single discourse dominated by Western technical thinking in current design practice.
1.2Research Motivation
Our research team has always been interested in the dialogue between Eastern philosophy and design. In particular, Laozi's Tao Te Ching contains a strong resonance between the concept of nature, material and behavior emphasized by contemporary design, such as sustainability, simplicity and low intervention. When our team observed the development of the current design field, we found that most sustainable designs are still based on technology or system efficiency, and pay less attention to the level of cultural spirit and values. Therefore, this study hopes to conduct text analysis and philosophical interpretation through the original text of Tao Te Ching, and explore how the ideas in it are transformed into design language and practice. This study can not only enrich the connotation of contemporary design aesthetics, but also provide a sustainable thinking framework with more cultural depth and philosophical foundation.
1.3 Research Purpos
The main objectives of this study are as follows:
1. To explore the core ideas in the Tao Te Ching related to the view of nature, aesthetics, and material ethics.
2. To analyze how the above ideas inspire the values and aesthetic criteria of modern sustainable design.
3. To construct a sustainable aesthetic thinking framework with Eastern philosophy as the core, as a supplement and criticism of the current sustainable design discourse
1.4Research Questions
Based on the above background and purpose, this study focuses on the following research questions
1. What core philosophical ideas in the Tao Te Ching can be transformed into concepts that can be used to interpret sustainable aesthetics in design practice?
2. How do these ideas affect designers' understanding and interpretation of nature, materials and the creative process?
3. In the context of modern design, how is it possible to construct a sustainable design based on "Tao follows nature"?
2. Literature Review
2.1 Tao Te Ching
The Tao Te Ching, also known as Laozi, is a classic work of ancient Chinese Taoist thought. It is said to be written by Laozi (Li Er), a thinker in the Spring and Autumn Period. The book consists of 81 chapters(McFarlane, 2008), divided into two parts, the first part is the "Tao Jing" and the second part is the "Te Jing", which uses concise and profound language to express the way of universe generation, life wisdom and political governance. Laozi advocates that "Tao" is the root and operating law of all things in the world, and emphasizes that people should follow the laws of nature and not force it(Lin & Zhao, 2017).
According to ancient annotator, the ideological system of the Tao Te Ching includes the following three aspects(Chew, 2021; Hua, 2023; Koptseva & Kirko, 2015):
1. Cosmology: All things in the universe are born from "Tao", which is invisible and nameless, but omnipresent and all-encompassing
2. Ethical practice: It advocates the ideas of "ruling by inaction", "weakness overcomes strength", "not advocating virtue", and "not competing", and attaches importance to following nature, self-control and non-confrontation.
3. Political and social views: Oppose power struggles and excessive intervention, advocate returning to nature and governing by a small country with few people.
In recent years, Western academia has also paid much attention to the Tao Te Ching, and regards it as the foundation of East Asian ecological philosophy.(Takahashi, 2013) pointed out that Taoist thought can be integrated with environmental ethics, and its concepts of "harmonious nature", "intrinsic value", and "control of desire" are consistent with contemporary sustainable development values. In addition, (Kim & Kim, 2025)believes that the Taoist concepts of "inaction" and "nature" have high potential for system integration and can make up for the shortcomings of Western technocentrism.
2.2 Philosophical Thoughts and Design Inspirations in Tao Te Ching
The main idea of Tao Te Ching is to make people follow the laws of nature. This study selected five sentences from Tao Te Ching that are closely related to modern sustainable design, aesthetics and material ethics, and conducted a preliminary analysis, laying the foundation for the semantic interpretation and work demonstration in session 3.
2.2.1 "The Highest Good is Like Water"
The Highest Good is Like Water. Water is good for all things and does not compete. It stays where everyone hates, so it is close to Tao. Interpretation points: This chapter uses "water" as a metaphor to express the highest good deeds as gentle, beneficial and non-competitive as water. Design should be flexible to correspond to nature, and choose forms and materials that can blend with the environment. Design inspiration: Conform to the terrain, coexist with the environment, and low-intervention design.
Design inspiration: adapt to the terrain, coexist with the environment, and low-intervention design
2.2.2 "Man follows the earth, the earth follows the sky, the sky follows the Tao, and the Tao follows nature"
Man follows the earth, the earth follows the sky, the sky follows the Tao, and the Tao follows nature. Interpretation points: All things follow the laws of nature, revealing a cosmic cycle order. Design should conform to the laws of nature and attach importance to systematicity and integrity. Design inspiration: Bionic design, ecological simulation, material circulation
2.2.3 "To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction
To learn, one must reduce daily, and to be a Taoist, one must reduce again and again, until one reaches in action. Interpretation points: Learning is about accumulation, while Taoism is about subtraction, removing the dross and retaining the essence, and ultimately reaching "inaction". This echoes the "subtraction thinking" and minimalism in design. Design inspiration: simple design, subtractive design, pure functional form.
2.2.4 " Holding the Great Image, the World Will Follow "
Whoever has mastered the great "Tao", people from all over the world will come to him, yearn for him, and come to him without interfering with each other, so everyone will be peaceful, safe and tranquil. Music and delicious food make passers-by stop. Using words to describe the Tao is bland and tasteless. You can't see it when you look at it, and you can't hear it when you listen to it. However, its role is endless and unlimited. Interpretation points: "The great Tao" means integrity and principle, emphasizing that design should grasp the core as a whole, so as to guide group resonance without harm. Design inspiration: system integration, macro perspective, ethical design.
2.2.5 "Reach the utmost emptiness, and keep the stillness"
Reach the utmost emptiness, and keep the stillness. All things work together, and I observe their return. Interpretation points: Emphasizing the harmonious coexistence of inner tranquility and external things is the philosophical view of "observing movement through stillness". It can correspond to the aesthetics of "spatial tranquility" and "noise reduction design" in design. Design inspiration: Space blankness, static atmosphere, and user introspection experience.
2.3 The correspondence between contemporary architecture/interior design and sustainable ecological development
2.3.1 Academic Literature Review
Contemporary academia increasingly values the combination of interior design and sustainable concepts. (Ceschin & Gaziulusoy, 2016)pointed out in the Journal of Cleaner Production that design should shift from product logic to "system transformation", focusing on material life cycle, behavior guidance and cultural value.
(Chen et al., 2022)mentioned in the journal Building and Environment that interior decoration must pay attention to environmental comfort and material carbon footprint assessment, and advocated that design should include three aspects: "circular material indicators", "user health" and "multifunctional flexible space".
2.3.2 Material application and symbiosis with nature
In terms of material selection, studied the application effects of natural fibers and recycled materials in interior design in the journal Sustainability, (Oh et al., 2024)proving that they can effectively reduce building material emissions and long-term pollution risks.,(Papina & Crăciun, 2023) they proposed bionic structures and nature-oriented material processing methods to establish a "material dialogue" mechanism between design and nature.
2.3.3 Trends in the introduction of the practical world
The design practical world is also gradually implementing the Eastern view of nature(Rolston, 1987). For example, Taiwanese architect Huang Shengyuan's "natural landscape architecture" advocates that architecture is like "water flowing through mud", only intervening rather than controlling. International cases such as Elora Hardy's bamboo structure, which uses recycled materials and imitates natural forms, specifically embodies the aesthetics and structural logic of "Tao follows nature" and "soft overcomes hardness".
3. Methodology
3.1 Research Design and Method Selection
This study adopts a qualitative research strategy, combining text interpretation (Hermeneutic Analysis) and design case empirical analysis (Design-based Case Analysis). The research is divided into two core steps:
1. Philosophical text analysis: Taking the "Tao Te Ching" as the basic text, five chapters and sentences that are highly related to the view of nature, aesthetics, and material ethics are selected for semantic and conceptual interpretation.
2. Empirical design case analysis: Two winning works of the author that won the A’ Design Award in the Italian international design competition are selected, and the practical application analysis is carried out in comparison with Taoist thought.
The purpose of this research method is to connect classical oriental thought with contemporary interior design practice, and explore how philosophy is transformed into the aesthetic principles of sustainable design.
3.2 Text selection and semantic interpretation strategy
This study uses the original text of the Tao Te Ching as the textual basis, and selects five sentences that are highly related to the view of nature, aesthetics, and material ethics as the analysis object, and has made a preliminary interpretation in Chapter 2. This chapter will continue the interpretation strategy and conduct an in-depth analysis of semantics, philosophical implications, and transformable design vocabulary. In order to strengthen the connection between interpretation and design practice, the following table summarizes the design inspiration directions corresponding to the five sentences selected in this study:
Philosophical Concepts in the Daodejing and Their Design Applications
A:(Chapter & Quote from the Daodejing) B:(Core Philosophical Concept) C:(Design Interpretation and Practical Application)
A:Chapter 8: “The highest good is like water” B:Softness, nourishment, non-contention C:Spatial fluidity design, flexible use of materials
A:Chapter 25: “The Dao follows nature” B:Respect for natural laws, acting accordingly C:Natural lighting and ventilation planning, eco-adaptive design
A:Chapter 48: “To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction” B:Simplification, subtractive aesthetics C:Minimalist design, material and process reduction, purified form expression
A:Chapter 35: “Holding the Great Image, the World Will Follow” B:Holism, ethics, macro perspective C:System integration, holistic and harmonious design strategies
A:Chapter 16: “Reach utmost emptiness, maintain profound stillness” B:Aesthetics of stillness and emptiness C:Spatial white space strategy, creation of tranquil atmosphere
3.3Empirical Analysis: Interpretation of A’ Design Award Winning Works
In order to verify how the philosophical thoughts of the Tao Te Ching can be transformed into specific spatial vocabulary and design strategies, this study selected two design works that won the A’ Design Award as case studies. Both works were designed by the researcher and responded to the core concepts of different chapters, showing the translation and practice of Taoist philosophy in design practice.
3.3.1 Empirical Case 1: Beauty of Nordic Dawn – Clinic
• Award Category: A’ Design Award 2020–2021 (Runner-Up)
• Reference Chapter: Chapter 35: “Holding the Great Image, the World Will Follow”
• Design Derivative Principles: System Integration, Ethical Design, Macro Perspective
• Design Concept: Integrate functions, light sources, space and materials with system integration to create an orderly and stable atmosphere, highlighting the Taoist holistic view of “holding the great image”. Use wood grain, soft colors and curved structures to express the natural order of internal and external integration.
3.3.2Empirical Case 2: Colors and the Origin – Gym
• Award Category: A’ Design Award 2021–2022（Iron Award）
• Reference Chapter: Chapter 48: “To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction”
• Design Derivative Principles: Minimal Aesthetics, Subtractive Design, Pure Functional Form
• Design Concept: The space uses a large amount of original steel structures, exposing the real texture of the materials, eliminating decorativestacking and redundant structures, and showing “simplification” and “making something out of nothing”
3.4 Research Validity and Limitations
Research validity:
• This study integrates classical philosophy with contemporary international design practices to propose a design vocabulary with cultural depth.
• The selected design cases have been recognized by international review and have high reference value and credibility.
Research limitations:
•This study integrates classical philosophy with contemporary international design practices and proposes a design vocabulary with cultural depth.
•The selected design cases have been recognized by international review and have high reference value and reliability.
•Research Limitations:
•The case sampling is mainly based on the researcher's participation in the work, and the representativeness is slightly limited.
•The design interpretation process is subjective. Although there is text support, it still needs further cross-validation in subsequent research.
4 Discussion
The core original intention of this study is that in the process of long-term design practice, the author gradually discovered that the simple pursuit of formal innovation and functional efficiency can no longer respond to the environmental crisis and the absence of humanistic values faced by contemporary design. Authors began to think whether there is a deeper design concept that is closer to the essence of nature, which can become the ideological basis of modern sustainable design. The "Tao Te Ching" became the spiritual pillar and philosophical resource of the author's thinking process.
4.1 Transformation of design thinking: from “control” to “symbiosis”
In the past, when the we were designing space, mostly guided by "solving problems" and "creating focus", and his design thinking tended to actively control space and materials. But when the author came into contact with and read the "Tao Te Ching" in depth, we began to appreciate the design wisdom of "ruling by doing nothing" and "following the laws of nature". This idea allowed the designer team to readjust the positioning of the design role-no longer the master of space, but the observer of natural laws and the participant who goes with the flow. In practice, We gradually practiced integrating principles such as "subtraction", "white space", and "flexible integration" into design thinking, and learned to find answers from the environment itself, rather than simply imposing my will on the space. This transformation process made us realize that design is not only the accumulation of forms, but also a process of dialogue with nature.
4.2 Specific inspirations from the chapters and sentences of the Tao Te Ching in the creation
This study selected five chapters and sentences from the Tao Te Ching, not only because of their philosophical depth, but also because they brought a clear sense of direction and inspiration to the author's actual design process. Among them, Chapter 35 " Holding the Great Image, the World will Follow " has a profound impact on the author. When the author 1 participated in the design of the clinic space (see Figure 1), it was based on "overall coordination" and "system integration" as the main axis, and examined the relationship between functions, moving lines, light sources and materials from a macro perspective. The final sense of space presented was not only recognized by users, but also recognized by judges in international competitions.
The profound example is the fitness space in Figure 2, whose design was inspired by Chapter 48 " To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction ". During the conception process, the author kept asking: "What does this space really need? What can be subtracted?" Thus, complex decorations and unnecessary structures were abandoned, allowing the materials to speak for themselves and the functions to flow naturally. This kind of "subtractive design" allows me to truly appreciate the wisdom of "reducing and reducing until there is nothing left", and also allows users to feel the power of stability, purity and nature in the space.
4.3 Self-reconstruction of the design role and humanistic reflection
Through this study and practical comparison, the research team gradually realized that design should not only be a technical solution, but also a cultural practice and philosophical performance. In the past, people used to take user needs as the starting point, but the Tao Te Ching reminds us that the needs of all things come from the relationship of "following nature" rather than excessive human intervention. This realization makes the research team more inclined to retain the texture of natural materials, respect the relationship between buildings and sites, and even more humbly "let the space speak" in future designs. Our study believes that such an attitude not only allows design to return to its essence, but also allows designers to return to their original intentions. Designers are no longer forcers, but "guardians of the Tao"; no longer creators, but "people in the Tao" who coexist with nature.
4.4 Cultural Choices in the Face of Sustainability
When the global design community is looking for sustainable technical solutions, we try to respond to this issue from the perspective of cultural roots. The inspiration from the Tao Te Ching not only makes us rethink the language and value of design, but also makes us believe that cultural depth and philosophical depth are the foundation of whether design can be sustainable.
If technology provides the means of "how to do it", then the design spirit conveyed by Lao Tzu is the reason for "why to do it".
5 Conclusion and Suggestions
Our research is based on the Tao Te Ching and explores how its core philosophy can be transformed into the thinking and practice mode of contemporary sustainable design aesthetics. Through the textual interpretation of five Tao Te Ching chapters and the empirical comparison of the author's two A' Design Award-winning works, we attempt to respond to the following three research questions and put forward reflections and suggestions.
5.1 Research Conclusions
5.1.1 Which core philosophical ideas in the Tao Te Ching can be transformed into concepts that can be used to interpret sustainable aesthetics in design practice?
This study summarizes five core ideas with high translational potential, namely:
1.The highest good is like water (Chapter 8): Inspiring the flexibility, fluidity and inclusive aesthetics in design.
2.The Tao follows nature (Chapter 25): Providing design principles that conform to the environment and return to the essence of materials.
3.To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction (Chapter 48): Laying the philosophical basis for minimalism, subtraction and subtraction design.
4.Holding the Great Image, the World Will Follow (Chapter 35): Emphasizing the holistic, systematic and ethical integrated thinking.
5.Reach utmost emptiness, maintain profound stillness (Chapter 16): Guiding the practice of space blanking and static beauty.
These chapters can all be translated into design vocabulary and presented in shape, function, material selection, light arrangement and overall spatial atmosphere.
Guide the practice of space blankness and static beauty.
These chapters can all be translated into design vocabulary and presented in shape, function, material selection, light arrangement and overall spatial atmosphere.
5.1.2 How do these ideas affect designers’ understanding and interpretation of nature, materials and the creative process?
In the process of research and practice, the following three transformation paths are realized:
1.Reshaping the view of nature: no longer viewing nature as an object that can be used and manipulated, but as a co-creator, designers should follow the natural order and respect the ecological cycle.
2.Adjustment of the view of materials: from pursuing artificial performance to emphasizing the beauty of the essence of materials, such as texture, texture, touch, etc.; also pay attention to its source, processing energy consumption and recyclability.
3.Simplification of the creative view: regard the design process as a practice of "removing the redundant" rather than a competition of continuous stacking. Creation is no longer about expressing oneself, but listening to the voice of space and nature.
Such a transformation not only changes the logic of design thinking, but also reconstructs the positioning and responsibility of designers themselves.
5.1.3 In the context of modern design, how can we construct a sustainable design value based on "Tao follows nature"?
To construct such a design value, we should start from three aspects:
1.Cultural level: Incorporate Eastern philosophy into the design education system, so that future designers can understand that design comes not only from function and technology, but also from deep cultural values.
2.Practical level: Develop design guidelines and method tools to help designers transform the principle of "Tao follows nature" into spatial strategies and material selection basis.
3.Institutional level: Encourage domestic and international design awards and certifications to include "philosophical sustainability" evaluation items, and establish new standards for design ethics and environmental dialogue.
In summary, if "Tao" can be regarded as the starting point of design and "nature" as the basis of design, there will be an opportunity to construct a sustainable design value system with both cultural depth and environmental responsibility.
5.2 Suggestions
5.2.1 Suggestions for design education
• Encourage design schools to introduce philosophy and humanities courses to cultivate students' understanding of the possibility of design from "speculative aesthetics" and "cultural roots".
• Promote interdisciplinary cooperation, such as the design department cooperating with the philosophy and environmental science departments to offer courses to jointly explore the intersection of "design × nature × Tao".
5.2.2 Suggestions for design practice
• Designers can refer to the chapters of the "Tao Te Ching" as the design inspiration point at the beginning of the project and establish a nature-oriented design language.
• In space planning, unnecessary form and function interventions should be reduced to enhance the possibility of interaction between users and nature.
• The selection of materials should emphasize their original texture, environmental protection and life cycle management, and develop "real material aesthetics".
5.2.3 Suggestions for follow-up research
• It can be expanded to other oriental classics such as "Zhuangzi" and "I Ching" for philosophical design research to deepen the dialogue between culture and design.
• It is recommended to combine user feedback and space experience evaluation to conduct empirical verification and quantitative research on the application of design philosophy.
5.3 Research Contribution and Reflection
This study attempts to construct a sustainable design aesthetic thinking from Eastern philosophy. Through the author's practical experience, the chapters of the Tao Te Ching are transformed into practical design language and practical strategies. Although this study is limited by the number of samples and the subjectivity of the researchers, it also opens up the view that "design is practice" - design is not only a way to solve problems, but also a form of pursuing the way of heaven and earth.
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Abstrac
In response to the growing emphasis on environmental sustainability in contemporary design, Eastern philosophy offers an alternative framework to the dominant technocratic mindset. Laozi’s Daodejing, with its principles of “Dao follows nature,” wuwei (non-action), simplicity, and non-contention, emphasizes harmony with nature and minimal human interference—concepts deeply aligned with sustainable design thinking.
This qualitative study adopts textual hermeneutics and thematic content analysis to investigate the Daodejing’s relevance to modern sustainability aesthetics. Drawing from ten selected passages focused on nature, aesthetics, and material ethics, the research interprets their meanings in cultural context and correlates them with principles found in contemporary sustainable design practice.
The findings reveal that the Daoist view of “Nature is the Way” encourages a shift toward design approaches that emphasize reduction over complexity, respect for material integrity, and low-intervention creativity. Rather than solving purely functional problems, design is reframed as a philosophical practice rooted in ecological awareness and cultural humility. This paper proposes an alternative sustainability value framework grounded in Eastern philosophy, offering new insights into global design ethics and education. It contributes to cross-cultural design discourse by bridging ancient Daoist wisdom with contemporary creative practice in pursuit of ecological harmony.
Keywords: Tao Te Ching Daoism follows nature Wuwei (non-action)
environmental ethics Bionic design sustainable design
1 Introduction
1.1Research Background
In recent decades, the world has faced unprecedented challenges such as climate change, ecological imbalance and resource depletion. Sustainable development has become an important issue in the policies and industrial development of various countries(Klarin, 2018). As a bridge between people and the environment, the impact of design is not limited to form and function, but also involves ethics, values and ecological responsibility. In this context, how to rethink the "relationship between man and nature" and the "essence of design" has become a philosophical topic that cannot be ignored in the field of contemporary design(Stegall, 2006).
In recent years, sustainable design has been based on Western scientific rationality, technical efficiency and material substitution, forming a functional orientation model oriented towards "problem solving"(Sik-wah Fong, 1999). However, such models often ignore cultural context, spiritual level and the deep interaction between man and nature. In contrast, Eastern philosophy, especially Lao Tzu's Taoism, provides a completely different view from the West - advocating "following nature", "less is more", "doing nothing", emphasizing symbiosis with nature, inherent order and simple beauty(Peng et al., 2024). These concepts not only have cultural depth, but also contain rich sustainable values.
As the core classic of Taoist thought, the concepts advocated by Tao Te Ching, such as "Taoism follows nature", "non-action", "simplicity" and "non-contention", form a deep dialogue relationship with the "low intervention", "material ethics" and "simple design" emphasized in sustainable design. This article believes that through text interpretation and aesthetic analysis, it is helpful to construct a sustainable design concept rooted in Eastern thought, and then supplement the single discourse dominated by Western technical thinking in current design practice.
1.2Research Motivation
Our research team has always been interested in the dialogue between Eastern philosophy and design. In particular, Laozi's Tao Te Ching contains a strong resonance between the concept of nature, material and behavior emphasized by contemporary design, such as sustainability, simplicity and low intervention. When our team observed the development of the current design field, we found that most sustainable designs are still based on technology or system efficiency, and pay less attention to the level of cultural spirit and values. Therefore, this study hopes to conduct text analysis and philosophical interpretation through the original text of Tao Te Ching, and explore how the ideas in it are transformed into design language and practice. This study can not only enrich the connotation of contemporary design aesthetics, but also provide a sustainable thinking framework with more cultural depth and philosophical foundation.
1.3 Research Purpos
The main objectives of this study are as follows:
1. To explore the core ideas in the Tao Te Ching related to the view of nature, aesthetics, and material ethics.
2. To analyze how the above ideas inspire the values and aesthetic criteria of modern sustainable design.
3. To construct a sustainable aesthetic thinking framework with Eastern philosophy as the core, as a supplement and criticism of the current sustainable design discourse
1.4Research Questions
Based on the above background and purpose, this study focuses on the following research questions
1. What core philosophical ideas in the Tao Te Ching can be transformed into concepts that can be used to interpret sustainable aesthetics in design practice?
2. How do these ideas affect designers' understanding and interpretation of nature, materials and the creative process?
3. In the context of modern design, how is it possible to construct a sustainable design based on "Tao follows nature"?
2. Literature Review
2.1 Tao Te Ching
The Tao Te Ching, also known as Laozi, is a classic work of ancient Chinese Taoist thought. It is said to be written by Laozi (Li Er), a thinker in the Spring and Autumn Period. The book consists of 81 chapters(McFarlane, 2008), divided into two parts, the first part is the "Tao Jing" and the second part is the "Te Jing", which uses concise and profound language to express the way of universe generation, life wisdom and political governance. Laozi advocates that "Tao" is the root and operating law of all things in the world, and emphasizes that people should follow the laws of nature and not force it(Lin & Zhao, 2017).
According to ancient annotator, the ideological system of the Tao Te Ching includes the following three aspects(Chew, 2021; Hua, 2023; Koptseva & Kirko, 2015):
1. Cosmology: All things in the universe are born from "Tao", which is invisible and nameless, but omnipresent and all-encompassing
2. Ethical practice: It advocates the ideas of "ruling by inaction", "weakness overcomes strength", "not advocating virtue", and "not competing", and attaches importance to following nature, self-control and non-confrontation.
3. Political and social views: Oppose power struggles and excessive intervention, advocate returning to nature and governing by a small country with few people.
In recent years, Western academia has also paid much attention to the Tao Te Ching, and regards it as the foundation of East Asian ecological philosophy.(Takahashi, 2013) pointed out that Taoist thought can be integrated with environmental ethics, and its concepts of "harmonious nature", "intrinsic value", and "control of desire" are consistent with contemporary sustainable development values. In addition, (Kim & Kim, 2025)believes that the Taoist concepts of "inaction" and "nature" have high potential for system integration and can make up for the shortcomings of Western technocentrism.
2.2 Philosophical Thoughts and Design Inspirations in Tao Te Ching
The main idea of Tao Te Ching is to make people follow the laws of nature. This study selected five sentences from Tao Te Ching that are closely related to modern sustainable design, aesthetics and material ethics, and conducted a preliminary analysis, laying the foundation for the semantic interpretation and work demonstration in session 3.
2.2.1 "The Highest Good is Like Water"
The Highest Good is Like Water. Water is good for all things and does not compete. It stays where everyone hates, so it is close to Tao. Interpretation points: This chapter uses "water" as a metaphor to express the highest good deeds as gentle, beneficial and non-competitive as water. Design should be flexible to correspond to nature, and choose forms and materials that can blend with the environment. Design inspiration: Conform to the terrain, coexist with the environment, and low-intervention design.
Design inspiration: adapt to the terrain, coexist with the environment, and low-intervention design
2.2.2 "Man follows the earth, the earth follows the sky, the sky follows the Tao, and the Tao follows nature"
Man follows the earth, the earth follows the sky, the sky follows the Tao, and the Tao follows nature. Interpretation points: All things follow the laws of nature, revealing a cosmic cycle order. Design should conform to the laws of nature and attach importance to systematicity and integrity. Design inspiration: Bionic design, ecological simulation, material circulation
2.2.3 "To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction
To learn, one must reduce daily, and to be a Taoist, one must reduce again and again, until one reaches in action. Interpretation points: Learning is about accumulation, while Taoism is about subtraction, removing the dross and retaining the essence, and ultimately reaching "inaction". This echoes the "subtraction thinking" and minimalism in design. Design inspiration: simple design, subtractive design, pure functional form.
2.2.4 " Holding the Great Image, the World Will Follow "
Whoever has mastered the great "Tao", people from all over the world will come to him, yearn for him, and come to him without interfering with each other, so everyone will be peaceful, safe and tranquil. Music and delicious food make passers-by stop. Using words to describe the Tao is bland and tasteless. You can't see it when you look at it, and you can't hear it when you listen to it. However, its role is endless and unlimited. Interpretation points: "The great Tao" means integrity and principle, emphasizing that design should grasp the core as a whole, so as to guide group resonance without harm. Design inspiration: system integration, macro perspective, ethical design.
2.2.5 "Reach the utmost emptiness, and keep the stillness"
Reach the utmost emptiness, and keep the stillness. All things work together, and I observe their return. Interpretation points: Emphasizing the harmonious coexistence of inner tranquility and external things is the philosophical view of "observing movement through stillness". It can correspond to the aesthetics of "spatial tranquility" and "noise reduction design" in design. Design inspiration: Space blankness, static atmosphere, and user introspection experience.
2.3 The correspondence between contemporary architecture/interior design and sustainable ecological development
2.3.1 Academic Literature Review
Contemporary academia increasingly values the combination of interior design and sustainable concepts. (Ceschin & Gaziulusoy, 2016)pointed out in the Journal of Cleaner Production that design should shift from product logic to "system transformation", focusing on material life cycle, behavior guidance and cultural value.
(Chen et al., 2022)mentioned in the journal Building and Environment that interior decoration must pay attention to environmental comfort and material carbon footprint assessment, and advocated that design should include three aspects: "circular material indicators", "user health" and "multifunctional flexible space".
2.3.2 Material application and symbiosis with nature
In terms of material selection, studied the application effects of natural fibers and recycled materials in interior design in the journal Sustainability, (Oh et al., 2024)proving that they can effectively reduce building material emissions and long-term pollution risks.,(Papina & Crăciun, 2023) they proposed bionic structures and nature-oriented material processing methods to establish a "material dialogue" mechanism between design and nature.
2.3.3 Trends in the introduction of the practical world
The design practical world is also gradually implementing the Eastern view of nature(Rolston, 1987). For example, Taiwanese architect Huang Shengyuan's "natural landscape architecture" advocates that architecture is like "water flowing through mud", only intervening rather than controlling. International cases such as Elora Hardy's bamboo structure, which uses recycled materials and imitates natural forms, specifically embodies the aesthetics and structural logic of "Tao follows nature" and "soft overcomes hardness".
3. Methodology
3.1 Research Design and Method Selection
This study adopts a qualitative research strategy, combining text interpretation (Hermeneutic Analysis) and design case empirical analysis (Design-based Case Analysis). The research is divided into two core steps:
1. Philosophical text analysis: Taking the "Tao Te Ching" as the basic text, five chapters and sentences that are highly related to the view of nature, aesthetics, and material ethics are selected for semantic and conceptual interpretation.
2. Empirical design case analysis: Two winning works of the author that won the A’ Design Award in the Italian international design competition are selected, and the practical application analysis is carried out in comparison with Taoist thought.
The purpose of this research method is to connect classical oriental thought with contemporary interior design practice, and explore how philosophy is transformed into the aesthetic principles of sustainable design.
3.2 Text selection and semantic interpretation strategy
This study uses the original text of the Tao Te Ching as the textual basis, and selects five sentences that are highly related to the view of nature, aesthetics, and material ethics as the analysis object, and has made a preliminary interpretation in Chapter 2. This chapter will continue the interpretation strategy and conduct an in-depth analysis of semantics, philosophical implications, and transformable design vocabulary. In order to strengthen the connection between interpretation and design practice, the following table summarizes the design inspiration directions corresponding to the five sentences selected in this study:
Philosophical Concepts in the Daodejing and Their Design Applications
A:(Chapter & Quote from the Daodejing) B:(Core Philosophical Concept) C:(Design Interpretation and Practical Application)
A:Chapter 8: “The highest good is like water” B:Softness, nourishment, non-contention C:Spatial fluidity design, flexible use of materials
A:Chapter 25: “The Dao follows nature” B:Respect for natural laws, acting accordingly C:Natural lighting and ventilation planning, eco-adaptive design
A:Chapter 48: “To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction” B:Simplification, subtractive aesthetics C:Minimalist design, material and process reduction, purified form expression
A:Chapter 35: “Holding the Great Image, the World Will Follow” B:Holism, ethics, macro perspective C:System integration, holistic and harmonious design strategies
A:Chapter 16: “Reach utmost emptiness, maintain profound stillness” B:Aesthetics of stillness and emptiness C:Spatial white space strategy, creation of tranquil atmosphere
3.3Empirical Analysis: Interpretation of A’ Design Award Winning Works
In order to verify how the philosophical thoughts of the Tao Te Ching can be transformed into specific spatial vocabulary and design strategies, this study selected two design works that won the A’ Design Award as case studies. Both works were designed by the researcher and responded to the core concepts of different chapters, showing the translation and practice of Taoist philosophy in design practice.
3.3.1 Empirical Case 1: Beauty of Nordic Dawn – Clinic
• Award Category: A’ Design Award 2020–2021 (Runner-Up)
• Reference Chapter: Chapter 35: “Holding the Great Image, the World Will Follow”
• Design Derivative Principles: System Integration, Ethical Design, Macro Perspective
• Design Concept: Integrate functions, light sources, space and materials with system integration to create an orderly and stable atmosphere, highlighting the Taoist holistic view of “holding the great image”. Use wood grain, soft colors and curved structures to express the natural order of internal and external integration.
3.3.2Empirical Case 2: Colors and the Origin – Gym
• Award Category: A’ Design Award 2021–2022（Iron Award）
• Reference Chapter: Chapter 48: “To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction”
• Design Derivative Principles: Minimal Aesthetics, Subtractive Design, Pure Functional Form
• Design Concept: The space uses a large amount of original steel structures, exposing the real texture of the materials, eliminating decorativestacking and redundant structures, and showing “simplification” and “making something out of nothing”
3.4 Research Validity and Limitations
Research validity:
• This study integrates classical philosophy with contemporary international design practices to propose a design vocabulary with cultural depth.
• The selected design cases have been recognized by international review and have high reference value and credibility.
Research limitations:
•This study integrates classical philosophy with contemporary international design practices and proposes a design vocabulary with cultural depth.
•The selected design cases have been recognized by international review and have high reference value and reliability.
•Research Limitations:
•The case sampling is mainly based on the researcher's participation in the work, and the representativeness is slightly limited.
•The design interpretation process is subjective. Although there is text support, it still needs further cross-validation in subsequent research.
4 Discussion
The core original intention of this study is that in the process of long-term design practice, the author gradually discovered that the simple pursuit of formal innovation and functional efficiency can no longer respond to the environmental crisis and the absence of humanistic values faced by contemporary design. Authors began to think whether there is a deeper design concept that is closer to the essence of nature, which can become the ideological basis of modern sustainable design. The "Tao Te Ching" became the spiritual pillar and philosophical resource of the author's thinking process.
4.1 Transformation of design thinking: from “control” to “symbiosis”
In the past, when the we were designing space, mostly guided by "solving problems" and "creating focus", and his design thinking tended to actively control space and materials. But when the author came into contact with and read the "Tao Te Ching" in depth, we began to appreciate the design wisdom of "ruling by doing nothing" and "following the laws of nature". This idea allowed the designer team to readjust the positioning of the design role-no longer the master of space, but the observer of natural laws and the participant who goes with the flow. In practice, We gradually practiced integrating principles such as "subtraction", "white space", and "flexible integration" into design thinking, and learned to find answers from the environment itself, rather than simply imposing my will on the space. This transformation process made us realize that design is not only the accumulation of forms, but also a process of dialogue with nature.
4.2 Specific inspirations from the chapters and sentences of the Tao Te Ching in the creation
This study selected five chapters and sentences from the Tao Te Ching, not only because of their philosophical depth, but also because they brought a clear sense of direction and inspiration to the author's actual design process. Among them, Chapter 35 " Holding the Great Image, the World will Follow " has a profound impact on the author. When the author 1 participated in the design of the clinic space (see Figure 1), it was based on "overall coordination" and "system integration" as the main axis, and examined the relationship between functions, moving lines, light sources and materials from a macro perspective. The final sense of space presented was not only recognized by users, but also recognized by judges in international competitions.
The profound example is the fitness space in Figure 2, whose design was inspired by Chapter 48 " To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction ". During the conception process, the author kept asking: "What does this space really need? What can be subtracted?" Thus, complex decorations and unnecessary structures were abandoned, allowing the materials to speak for themselves and the functions to flow naturally. This kind of "subtractive design" allows me to truly appreciate the wisdom of "reducing and reducing until there is nothing left", and also allows users to feel the power of stability, purity and nature in the space.
4.3 Self-reconstruction of the design role and humanistic reflection
Through this study and practical comparison, the research team gradually realized that design should not only be a technical solution, but also a cultural practice and philosophical performance. In the past, people used to take user needs as the starting point, but the Tao Te Ching reminds us that the needs of all things come from the relationship of "following nature" rather than excessive human intervention. This realization makes the research team more inclined to retain the texture of natural materials, respect the relationship between buildings and sites, and even more humbly "let the space speak" in future designs. Our study believes that such an attitude not only allows design to return to its essence, but also allows designers to return to their original intentions. Designers are no longer forcers, but "guardians of the Tao"; no longer creators, but "people in the Tao" who coexist with nature.
4.4 Cultural Choices in the Face of Sustainability
When the global design community is looking for sustainable technical solutions, we try to respond to this issue from the perspective of cultural roots. The inspiration from the Tao Te Ching not only makes us rethink the language and value of design, but also makes us believe that cultural depth and philosophical depth are the foundation of whether design can be sustainable.
If technology provides the means of "how to do it", then the design spirit conveyed by Lao Tzu is the reason for "why to do it".
5 Conclusion and Suggestions
Our research is based on the Tao Te Ching and explores how its core philosophy can be transformed into the thinking and practice mode of contemporary sustainable design aesthetics. Through the textual interpretation of five Tao Te Ching chapters and the empirical comparison of the author's two A' Design Award-winning works, we attempt to respond to the following three research questions and put forward reflections and suggestions.
5.1 Research Conclusions
5.1.1 Which core philosophical ideas in the Tao Te Ching can be transformed into concepts that can be used to interpret sustainable aesthetics in design practice?
This study summarizes five core ideas with high translational potential, namely:
1.The highest good is like water (Chapter 8): Inspiring the flexibility, fluidity and inclusive aesthetics in design.
2.The Tao follows nature (Chapter 25): Providing design principles that conform to the environment and return to the essence of materials.
3.To be a Taoist, one must reduce daily, reduce again and again, until one reaches inaction (Chapter 48): Laying the philosophical basis for minimalism, subtraction and subtraction design.
4.Holding the Great Image, the World Will Follow (Chapter 35): Emphasizing the holistic, systematic and ethical integrated thinking.
5.Reach utmost emptiness, maintain profound stillness (Chapter 16): Guiding the practice of space blanking and static beauty.
These chapters can all be translated into design vocabulary and presented in shape, function, material selection, light arrangement and overall spatial atmosphere.
Guide the practice of space blankness and static beauty.
These chapters can all be translated into design vocabulary and presented in shape, function, material selection, light arrangement and overall spatial atmosphere.
5.1.2 How do these ideas affect designers’ understanding and interpretation of nature, materials and the creative process?
In the process of research and practice, the following three transformation paths are realized:
1.Reshaping the view of nature: no longer viewing nature as an object that can be used and manipulated, but as a co-creator, designers should follow the natural order and respect the ecological cycle.
2.Adjustment of the view of materials: from pursuing artificial performance to emphasizing the beauty of the essence of materials, such as texture, texture, touch, etc.; also pay attention to its source, processing energy consumption and recyclability.
3.Simplification of the creative view: regard the design process as a practice of "removing the redundant" rather than a competition of continuous stacking. Creation is no longer about expressing oneself, but listening to the voice of space and nature.
Such a transformation not only changes the logic of design thinking, but also reconstructs the positioning and responsibility of designers themselves.
5.1.3 In the context of modern design, how can we construct a sustainable design value based on "Tao follows nature"?
To construct such a design value, we should start from three aspects:
1.Cultural level: Incorporate Eastern philosophy into the design education system, so that future designers can understand that design comes not only from function and technology, but also from deep cultural values.
2.Practical level: Develop design guidelines and method tools to help designers transform the principle of "Tao follows nature" into spatial strategies and material selection basis.
3.Institutional level: Encourage domestic and international design awards and certifications to include "philosophical sustainability" evaluation items, and establish new standards for design ethics and environmental dialogue.
In summary, if "Tao" can be regarded as the starting point of design and "nature" as the basis of design, there will be an opportunity to construct a sustainable design value system with both cultural depth and environmental responsibility.
5.2 Suggestions
5.2.1 Suggestions for design education
• Encourage design schools to introduce philosophy and humanities courses to cultivate students' understanding of the possibility of design from "speculative aesthetics" and "cultural roots".
• Promote interdisciplinary cooperation, such as the design department cooperating with the philosophy and environmental science departments to offer courses to jointly explore the intersection of "design × nature × Tao".
5.2.2 Suggestions for design practice
• Designers can refer to the chapters of the "Tao Te Ching" as the design inspiration point at the beginning of the project and establish a nature-oriented design language.
• In space planning, unnecessary form and function interventions should be reduced to enhance the possibility of interaction between users and nature.
• The selection of materials should emphasize their original texture, environmental protection and life cycle management, and develop "real material aesthetics".
5.2.3 Suggestions for follow-up research
• It can be expanded to other oriental classics such as "Zhuangzi" and "I Ching" for philosophical design research to deepen the dialogue between culture and design.
• It is recommended to combine user feedback and space experience evaluation to conduct empirical verification and quantitative research on the application of design philosophy.
5.3 Research Contribution and Reflection
This study attempts to construct a sustainable design aesthetic thinking from Eastern philosophy. Through the author's practical experience, the chapters of the Tao Te Ching are transformed into practical design language and practical strategies. Although this study is limited by the number of samples and the subjectivity of the researchers, it also opens up the view that "design is practice" - design is not only a way to solve problems, but also a form of pursuing the way of heaven and earth.
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