Abstract
is paper will investigate the aesthetics of sustainable design by exploring di erent strategies of communicating products as being sustainable. It can be questioned how the sustainable element is present and detectable in design: Whether it is a principle of internal construction, operates as a strategy of emotional commitment and subsequent prolonged use through employing symbolic elements or is detectable through ‘external’ signs designating e.g. “eco design” through a speci c colour palette.
“Aesthetic coding” will be employed as a central concept to de- scribe the relationship between outer physical manifestation and inner idea of the object in the question of how the speci c meaning content can be physically manifested and re ected in a variety of ways. In this way, the expression and appearance of sustainability in design may be contested along with the notions of sustainability behind the design. On this basis, the paper will methodologically pose a double question: Which types of aesthetic coding are in play, and how do they relate
to historical notions (and visions) of sustainability in design? In so doing, the paper will propose both a typology of aesthetic strategies in sustainable design and connect it to its historical development.
Aesthetic strategies investigated are: 1) direct representation of the idea where the sustainable element of the design can be detected on the object surface in colour or material, which can be seen in the “nature aesthetics” and tendency to jute instead of plastic in the 1970s and 1980s, 2) indirect representation and critical-constructive re ec- tion of sustainability as a principle of the design as in newer explo- rations of materials, 3) avant-gardist explorations of the potential of sustainability and 4) the evocation of emotional attachment through elements which are not directly related to sustainability.
“Aesthetic coding” will be employed as a central concept to de- scribe the relationship between outer physical manifestation and inner idea of the object in the question of how the speci c meaning content can be physically manifested and re ected in a variety of ways. In this way, the expression and appearance of sustainability in design may be contested along with the notions of sustainability behind the design. On this basis, the paper will methodologically pose a double question: Which types of aesthetic coding are in play, and how do they relate
to historical notions (and visions) of sustainability in design? In so doing, the paper will propose both a typology of aesthetic strategies in sustainable design and connect it to its historical development.
Aesthetic strategies investigated are: 1) direct representation of the idea where the sustainable element of the design can be detected on the object surface in colour or material, which can be seen in the “nature aesthetics” and tendency to jute instead of plastic in the 1970s and 1980s, 2) indirect representation and critical-constructive re ec- tion of sustainability as a principle of the design as in newer explo- rations of materials, 3) avant-gardist explorations of the potential of sustainability and 4) the evocation of emotional attachment through elements which are not directly related to sustainability.
| Original language | English |
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| Publication date | 2017 |
| Number of pages | 14 |
| Publication status | Published - 2017 |
| Event | Making and Unmaking the Environment Design History Society Annual Conference 2017 - University of Oslo, Oslo, Norway Duration: 7 Sept 2017 → 9 Sept 2017 http://www.makingandunmaking.net |
Conference
| Conference | Making and Unmaking the Environment Design History Society Annual Conference 2017 |
|---|---|
| Location | University of Oslo |
| Country/Territory | Norway |
| City | Oslo |
| Period | 07/09/2017 → 09/09/2017 |
| Internet address |
Artistic research
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