The planetary preoccupation around the climate change questions, requires a new literacy of aesthetics taste that updates the codes of project, in order to safeguard the lived and built environment. Paradoxically,when climate change begins to take on an aesthetic connotation, it is precisely the theme of aesthetics that is largely absent from the debate on sustainability and training courses. The figure of the designer, also from a training point of view, needs other knowledge necessary for the implementation of the new environmental and technological requests. Even within a necessity multidisciplinarity process, he seems to be chasing skills distant from his fields of knowledge, losing the real contribution he is able to offer: designing devices capable of improving human living conditions on the basis of an aesthetic and cultural principle. Educating to a new aesthetic experience aimed at the sustainable world is a fundamental objective of the ecological-technological transition. Our aesthetic taste, about conservation and historical ‘patina’ as well as shared references of modernity, is contaminated with ‘probable devices of sustainability’ towards a newaesthetic sense. The sustainable city and its architecture must not be the poor sister of the unsustainable one: on the contrary it must be more beautiful, aesthetically stronger and more convincing. A work on the beauty of sustainability to keep together necessity and freedom of choice, ‘because, in the end, it will be aesthetics that will make sustainability sustainable’.

Recuperate the Existing. Technical Devices a Réaction Poétique

ludovico romagni
2024-01-01

Abstract

The planetary preoccupation around the climate change questions, requires a new literacy of aesthetics taste that updates the codes of project, in order to safeguard the lived and built environment. Paradoxically,when climate change begins to take on an aesthetic connotation, it is precisely the theme of aesthetics that is largely absent from the debate on sustainability and training courses. The figure of the designer, also from a training point of view, needs other knowledge necessary for the implementation of the new environmental and technological requests. Even within a necessity multidisciplinarity process, he seems to be chasing skills distant from his fields of knowledge, losing the real contribution he is able to offer: designing devices capable of improving human living conditions on the basis of an aesthetic and cultural principle. Educating to a new aesthetic experience aimed at the sustainable world is a fundamental objective of the ecological-technological transition. Our aesthetic taste, about conservation and historical ‘patina’ as well as shared references of modernity, is contaminated with ‘probable devices of sustainability’ towards a newaesthetic sense. The sustainable city and its architecture must not be the poor sister of the unsustainable one: on the contrary it must be more beautiful, aesthetically stronger and more convincing. A work on the beauty of sustainability to keep together necessity and freedom of choice, ‘because, in the end, it will be aesthetics that will make sustainability sustainable’.
2024
978-3-031-54095-0
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11581/480183
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