The development of production models and more environmentally friendly materials is accompanied by an evolution in the aesthetic taste of consumers, who, thanks to new generation projects, learn to appreciate a different form of beauty in design

Recently, the project culture has taken important steps towards sustainability.

Of course, these are often soft, circumspect, even cautious steps, a cautious way of procedure counterpointed by a more direct vein, which takes the bull by the horns attacking the aesthetic taste of the 'user who is exposed in no uncertain terms to the visual grammar, more rough and less glossy, of objects in material recycled.

This is the case of an initiative such as the RoPlastic contest promoted by Galleria Rossana Orlandi, which beyond the concrete solutions identified is fostering aesthetic acceptance in the contemporary panorama , of recycled plastic granulates for what they are.

But there is also, it was said, a more reflective trend, carried out above all by furniture companies, both of those that have long been positioned on the market and of new, more agile entrepreneurial initiatives, engaged in a path of gentle transition to sustainability that does not disorient the customer, according to a more 'reformist' than 'revolutionary' approach.

A good example of this is the Soft Serve lamp designed, produced and sold by Créme Atelier in Stockholm, made of rPLA, an extracted organic plastic from corn starch and recycled food packaging that is 3D printed.

Equally 'harmonious' is the aesthetic approach of the Vis-à-vis stool designed by Marco Carini for Agape, in natural or biscuit cork, whose characterizing sign, a missing wedge, makes it juxtaposed with other similar elements to form more articulated, even circular compositions, such as the economy from which the material comes.

It is symptomatic that in the same presentation of 'material microarchitectures' the Mantuan company has also included pieces such as the Cenote washbasin by Patrizia Urquiola which, while not directly addressing the issue of sustainability, however, it resonates with the general visual mood of the catalog, of which it interprets the attention to what could be defined as 'creative sustainability' as it combines artisanal methods and industrial processes.

Speaking of production innovation, the marble processing process developed by Budri with the Budri Slim Marble™ technology ( Sustainable Light Innovative Marble), which allows marble to be transformed into a sort of 2 or 3 mm 'fabric', helping to preserve the ecosystems and the geomorphological balance of the territory and thus extending the concept of luxury from the product to the ecosystem that generates it , as illustrated by the Fragment project of Gwenael Nicolas of Curiosity Tokyo.

Instead, real fabrics are those produced by Christian Fischbacher, a brand that has been using recycled materials for over ten years and which recently presented a new series of plastic carpets post-consumer navy made with the innovative Upcycling Monsilk yarn.

Promoting the user's aesthetic education to the beauty of sustainable design, different from but not inferior to that of unsustainable objects, is a vitally important task.

The duo Formafantasma is well aware of this, with the traveling exhibition Cambio , originally commissioned by the Serpentine Galleries of London and by the Centro Pecci of Prato, investigated how the wood industry has undergone a sprawling expansion that has made it virtually impossible to regulate.

The semantic research on the aesthetic sense of the product has always been a constitutive element of the design culture.

Magis works in this direction, with the new Alpina chair by Edward Barber and Jay Osgerby, a fully recyclable object inspired by a classic model of the Alpine furniture tradition that was obtained by combining a FSC-certified solid ash structure with an injection-molded backrest in bioplastic derived from waste cooking oils.

While Cocoon Dining by Danish Kevin Hviid for ATBO looks to the organic modernism of the 60s to create an iconic object that resists the flow of time and fashions.

Finally, the Across lamp by the Pio & Tito Toso studio for Luceplan, in addition to allowing the creation of compositions of different appearance and complexity, presents an easily removable and replaceable LED linear source so as to favor the diffusion of new 'luminous' habits in in line with the circular economy.

To complete a global strategy of transition towards more sustainable life models that must include not only visual materials and grammars but also a new way of the product to enter into people's gestures and lives, as well as to get out of them correctly.