Integrating Sustainability into Contemporary Art and Design: An Interdisciplinary Approach

Abstract

This study confronts the ambiguous concept of sustainability within contemporary art and design, seeking to define and operationalize it through an interdisciplinary lens. By synthesizing philosophical, technological, and artistic methodologies, this research utilizes qualitative analysis and detailed case studies to evaluate the sustainable attributes of modern decorative arts. Focusing on the integration of nature and technology, the investigation spans various artistic disciplines, critically assessing their contributions to sustainable practices. The results indicate that an innovative use of materials and avant-garde design approaches significantly advance sustainability, highlighting the role of contemporary art in promoting environmental consciousness and sustainability in policy-making. Conclusively, in this paper, a paradigm shift in art and design education and policy is argued for, advocating for a proactive engagement with sustainability that extends beyond traditional artistic boundaries, thus providing a framework for future sustainable development strategies in the arts. This study offers a comprehensive model for understanding and implementing sustainability that could influence future artistic and educational practices globally.

1. Introduction

Understanding sustainability presents a significant challenge in the field of implementation science. Numerous studies often fail to define sustainability clearly, even when they claim to evaluate it [1]. In the humanities, art and design typically involve the application of technology in various forms to enhance daily life convenience. However, this traditional approach, mainly focused on reactive problem-solving, often lags behind the evolving principles of sustainable development.

In response to these shortcomings, leading art and design institutions, as well as general education institutions in the UK, have advanced their pedagogical methods. They have developed critical categories of design that transcend traditional methods by integrating philosophical theories such as phenomenology and post-structuralism with contemporary concepts like speculative design and sustainable development. This integration is evident in the works of Anthony Dunne and Fiona Raby, who utilize speculative design to explore future possibilities and the impact of technology on society [2]. This methodology addresses current issues while considering future implications, not merely as hypothetical scenarios but as proactive visions of art and design that contemplate potential future challenges.

This innovative approach inspires artists and designers towards long-term, high-level thinking. While incorporating elements of speculative thought, this method remains grounded in a logical analysis of the present rather than delving into fantasy or virtual reality [2]. Such a paradigm shift in art and design thinking aligns closely with sustainable development principles, encouraging artists and designers to envisage a broad array of future possibilities for humanity.

The primary aim of this paper is to develop a clear, open framework for sustainable strategies in contemporary decorative arts, guided by the foremost concepts of art and design leaders as well as prominent works and research findings. This framework will not only facilitate the expansion of creative horizons for art and design practitioners but also break free from traditional artistic and design constraints. Furthermore, this paper seeks to critique and reconstruct contemporary thinking regarding critical issues such as the relationship between humans and nature, humans and technology, and socio-political and economic themes, thereby addressing significant global challenges.

Utilizing contemporary art and design as a focal point for analysis, this paper integrates traditional design elements, interdisciplinary approaches, and material studies. It aims to explore and establish a coherent logical framework and development strategies for sustainable development, ensuring that the methodologies proposed are innovative and applicable across various contexts.

2. Literature Review

2.1. Macro-Conceptual Framework and Sustainability in Art

In this study, the sustainable characteristics of contemporary decorative arts and their development strategies are examined from two analytical perspectives. The initial perspective explores a macro-conceptual framework, which also serves as a taxonomy for this subject area. It evaluates the current literature on the concept of sustainability in contemporary art as lacking in representativeness and comprehensiveness, attributing these shortcomings to an unclear initial classification [3,4]. This paper proposes a dual categorization: reality-oriented, which integrates technology and nature with contemporary decorative arts, and non-reality-oriented, combining political and economic aspects with the arts [5,6]. Through methodical case studies, this approach will elucidate the sustainability characteristics and strategies pertinent to contemporary decorative arts [7].

2.2. Mesoscopic Analysis of Sustainability in Art and Design

The second analytical perspective is mesoscopic, merging technology, nature, politics, and economics with art [8,9]. This perspective is grounded in an examination of avant-garde art and design concepts, as well as globally recognized artworks, with a particular focus on material utilization and specific conceptual frameworks [10,11]. Nonetheless, the literature supporting this mesoscopic concept suffers from geographical and temporal limitations in its representativeness [12]. Additionally, a gap exists in the micro-level analysis within the sustainable scope of contemporary art [13]. Sustainability assessment, recently conceptualized within impact assessment frameworks, emphasizes generating positive net sustainability gains both in the present and for the future [14]. This approach is adaptable to various types of decision-making, encompasses multiple forms, and inherently supports pluralism [15].

2.3. Interdisciplinary Insights and Global Case Studies in Artistic Sustainability

The discourse on sustainability has predominantly occurred within natural and technical sciences, with significant recent contributions from social and political sciences [16,17]. In this study, the sustainability characteristics of the arts are primarily approached from an interdisciplinary perspective, rather than focusing solely on the developmental strategies of the arts in various disciplines [18]. From the vantage point of contemporary art, this analysis critically evaluates the shortcomings of most disciplines and suggests future development directions to enhance the integration of artistic thought across multiple fields and address current unsustainable practices [15,19,20,21].

In the study by Paul et al. [22], sustainability strategies are developed through the application of art, art-based approaches, and aesthetics. This article concentrates on the environmental impact on the planet and how this can be addressed through a synergy of art and science. The authors argue that in today’s global context, art is deeply intertwined with science, facilitating a broader understanding and acceptance of scientific concepts through artistic integration, thereby influencing public perceptions and actions.

The article “Arctic Arts with Pride: Discourses on Arctic Arts, Culture and Sustainability” focuses on lesser-known Arctic cultures and arts, discussing their global impact and potential for economic development. Maria et al. [23] analyzed various sources to explore sustainability discussions centered around the following five themes: (1) global politics and ecological crises; (2) the interaction of indigenous and non-indigenous art and culture in the Arctic; (3) ‘handicraft’ and Arctic material culture; (4) place-making, revitalization, and regional development; and (5) the interplay between the economy and sustainability. These interrelated themes have significant implications for policy development, arts funding principles, arts practice, and research. Furthermore, the resources of educational institutions are deemed crucial for a sustainable future in the Arctic, highlighting the potential of arts, culture, and education to empower local populations, enhance cultural pride, and provide global education and awareness.

2.4. Integration of Art, Science, and Economics

Cultural sustainability, as discussed in reference [24], focuses on the interplay between political culture and the natural environment in the arts, based on the UN’s concept of sustainability. However, this approach is critiqued for its lack of concrete case studies and detailed solutions to political and environmental crises. Cathy, H and Phyllida, S, from a meso perspective, discussed the future trajectory of art at a commercial level, yet the interaction between art and the economy, and whether art can continually inspire innovative economic ideas, remains underexplored [25]. Heras et al. [26] argued that contemporary art as a practical discipline does not sufficiently integrate art, science, and socio-economics, despite a strong theoretical foundation, and thus fails to achieve a comprehensive concept of sustainability in contemporary art based on practical aspects.

This research attempts to address the lack of clarity in the current studies and the absence of a comprehensive theoretical framework for analyzing the sustainable characteristics of contemporary decorative arts. By combining leading global art and design theories with representative case studies, this study explores a multi-level research framework across various fields. It adopts a discursive approach to design concerning the environment, politics, economics, and technology, as described in “speculative everything” and “adversarial design”, examining strategies for sustainable development within globally recognized case studies. The authors aim to delineate a clear, open framework for sustainable strategies in contemporary decorative arts, guided by the forefront concepts of art and design leaders, as well as prominent works and research findings. This framework encourages art and design practitioners to expand their creative horizons and break free from traditional artistic and design constraints.

3. Research Design

3.1. Methodology

This interdisciplinary study of sustainability within contemporary art and design broadens the scope of possibilities within the arts while also imparting valuable insights to other disciplines through preemptive critical thinking and novel cognitive approaches. The methodology employed integrates qualitative analysis with detailed case studies, focusing on representative or unique cases that highlight innovative approaches to sustainability in art and design. This article draws on the literature concerning contemporary art and design theory [2,27], sustainable strategies in art and design [22,26], and art-based interdisciplinary research [28], as well as globally influential art and design works such as ‘Feral Robotic Dogs’ by Natalie Jeremijenko and ‘In Love With The World’ by Anicka Yi [29,30].

Case Selection Criteria: The cases chosen for this study are either representative of broader trends in sustainable art and design or showcase unique features that emphasize innovative sustainability practices. These cases were selected because of their potential to significantly contribute to the discourse on sustainability in art and design, impacting both policy and educational practices.

3.2. Development Strategies

This section begins with a comprehensive review of existing development strategies related to the concept of sustainability across various artistic fields. It draws extensively on a diverse array of sources, including scholarly articles, books, and case studies, to evaluate the integration of sustainability in art and design.

Categories Analyzed: The central inquiry of this paper—‘Sustainable development strategies in contemporary decorative arts’—is subdivided into three primary categories:

(a)

Costume Design: Investigates how sustainable practices are incorporated into costume design, examining materials, production processes, and the lifecycle of costumes in theatrical and film productions. This category explores the dynamic interaction between fabric and form, reflecting both traditional crafts and modern technological innovations.

(b)

Jewelry Design: Focuses on the use of sustainable materials and techniques in jewelry production, including the sourcing of ethically mined or recycled materials and innovative design practices that reduce waste. This category examines how artistic expression and environmental responsibility can coexist in the creation of wearable art.

(c)

Interior Design: Evaluates the integration of sustainable practices in the design of living and commercial spaces, emphasizing the use of environmentally friendly materials, energy efficiency, and the creation of healthful environments. This category addresses the broader socio-economic impacts of design choices, contributing to sustainable living practices.

Each category is thoroughly analyzed, detailing contemporary works and the characteristics of innovative practices within these fields. The integration of theoretical frameworks—such as “Philosophy of Art”, “Less But Better”, “Speculative Everything”, and “Adversarial Design”—into these practical domains facilitates a deeper understanding of the implications of art and design on sustainable practices.

3.3. Technical Terminologies and Processes

Sustainable Attributes: this refers to the characteristics of art and design that minimize environmental impact, utilize resources efficiently, and create products that are viable over a long term.

Interdisciplinary Approaches: this involves combining multiple disciplines such as technology, science, and the humanities to enhance sustainability in artistic practices.

Material Studies: this focuses on the investigation of both traditional and innovative materials for their environmental impacts, usability, and potential for reuse or recycling.

The objective of this study is to critique and reconstruct contemporary thinking about major global challenges, such as the relationship between humans and nature, humans and technology, and socio-political and economic themes. By examining sustainable development strategies in art and design, this study assesses both the shortcomings and enduring values of traditional art concepts to identify theoretical frameworks that can be adapted for contemporary use.

In addition to categorizing materials and technologies into marketable and non-marketable segments, this study analyzes state-of-the-art technologies and materials, including case studies that feature innovative uses of materials that extend beyond traditional recyclables. These examples represent critical experimental efforts by designers and artists aimed at promoting environmental and economic sustainability.

From developing the analytical plan to summarizing findings, this study employs visual aids like charts to articulate the macro, meso, and micro aspects of each field, along with the interdisciplinary nature of contemporary decorative arts, as illustrated in Figure 1.

4. Sustainable Decorative Arts—Case Studies

4.1. E-Textiles and Smart Textiles in Costume Design

Although the prevailing notion of sustainable contemporary decorative arts in apparel design does not specify a clear direction for artists and designers, it provides an open-ended framework that encourages the exploration of new possibilities in apparel through an interdisciplinary approach. Fashion design, a subset of contemporary decorative arts, seeks to innovate beyond traditional clothing design by incorporating futuristic and modern elements. Contemporary art offers a unique and personal lens through which to view the world, driving fashion design to adopt science and technology, thereby exploring realms beyond the reach of traditional clothing. To date, the functions of textiles have been confined to skin protection, body temperature regulation, decoration, and aesthetics. However, advancements in materials science and chemistry are transforming traditional textiles into ‘smart’ textiles, capable of energy harvesting from the human body and its environment [31]. This integration of textile technology and science in the clothing industry preserves traditional aesthetics and comfort while opening new possibilities for the textile and clothing industry’s future. Electronic textiles (e-textiles) incorporate electronics and connections within the fabric, offering physical flexibility and a scale unachievable with other electronic manufacturing techniques. These components are integral to the fabric, making them less visible and less likely to become tangled or snagged by surrounding objects. E-textiles can adapt swiftly to the changing computational and sensing demands of applications, which is advantageous for power management and context awareness. The vision of wearable computing envisions future electronic systems as an integral part of everyday clothing [32].

The market share of e-textiles in developing countries is growing. The global smart fabrics market is projected to expand from USD 943 million in 2015 to USD 5369 million by 2022, driven by diverse applications across different sectors. Fashion and technology firms worldwide are pioneering the “clothing and fabrics of the future”, introducing functional garments that transcend traditional industry offerings while globalizing the conceptual aesthetic of clothing. For instance, Wearable X launched Nadi X, activated yoga clothes, in May 2017, which enhance yoga practices through integrated sensors and haptic feedback. Nadi X is ideal for home or on-the-go workouts [33]. CuteCircuit introduced the world’s first haptic communication wearables in 2002, recognized by Time Magazine as one of the Best Inventions of the Year in 2006. The HugShirt allows users to send hugs over long distances, with sensors recording the strength, duration, and location of the contact, and actuators recreating the hug’s sensation [34]. In 2016, CuteCircuit released the SoundShirt, allowing deaf individuals to feel music through integrated haptics, enhancing both virtual and augmented reality experiences with additional haptic modules [35]. These examples illustrate the versatility of smart fabrics in the contemporary apparel industry, employing a flexible, human-centered design approach. Despite their high market prices, these smart garments serve as benchmarks for art and design practitioners.

4.2. Smart Jewelry

Contemporary jewelry often challenges traditional aesthetics, appearing grotesque and unconventional. However, sustainable contemporary jewelry design abstractly portrays a logical, interdisciplinary worldview free from traditional constraints. Emerging in the 1960s, contemporary jewelry saw artists and designers eschewing the ornateness associated with gemstones, precious metals, and conventional craftsmanship to explore broader relationships, such as those between jewelry and the body, self-identity, and the technological future. This transformation redefines jewelry from a mere aesthetic object to a medium for exploring personal identity and broader worldly connections. As an emerging field, smart jewelry has garnered significant attention from developers and consumers alike, though it remains in the nascent stages of development, facing significant challenges [36]. Current research at the China University of Geosciences, akin to recent developments like smart bracelets from Apple, Huawei, and Xiaomi, focuses on health-monitoring jewelry. Unlike traditional jewelry, which primarily serves as ornamentation and a status symbol, this new wave of interactive jewelry, such as a project exploring jewelry’s potential in managing avoidant personality disorder (AVPD), pushes the boundaries of interdisciplinary applications without relying on IT knowledge, aiming for breakthroughs in jewelry design.

Vanessa et al. [37] discussed Fibo—a wearable pregnancy device for men and non-pregnant partners that allows them to feel the movements of their unborn child through a device equipped with motorized pearls simulating fetal movements. This project offers a novel experience beyond traditional medical and art and design sectors. Sustainable design in the decorative arts fundamentally prioritizes human experiences, continually pushing boundaries to bring new experiences to humanity, thus justifying the existence of art and design. In particular, in an era of fragmented information, art and design act as a bridge between humans and technology, making interdisciplinary research almost essential for introducing new experiences and exploring scientific and technological possibilities. The Kino, a wearable piece of interactive jewelry that moves around the body via an internal motor, considers both aesthetic and technical aspects. This exploration of kinetic wearable accessories reimagines how jewelry and accessories can interact with individual style [38].

4.3. Environmental and Interior Design

The concept of sustainable environmental and interior design transcends the traditional focus on spatial aesthetics to reconsider how environmental perceptions deeply impact individuals. As a contemporary interpretation of interior design, techno-ism propels the field into uncharted territories [39]. Designers critique the environmental shortcomings of traditional interior design, including pollution and the inadequacy of traditional methods to meet contemporary aspirations for better living spaces. The conventional interior design process adversely impacts the environment due to the extensive use of natural resources during production and installation [40]. As the largest energy consumer globally, the building industry must address pollution concerns, focusing on global climate, soil, and water quality, alongside human health. These concerns, while interconnected, require distinct discussions. The Intergovernmental Panel on Climate Change has identified the buildings sector as responsible for 40% of global energy consumption and 25% of carbon dioxide emissions, largely due to improper material and adhesive use [41]. Harmful chemicals such as formaldehyde, benzene, TVOC, ammonia, and radon significantly affect human health, with surveys linking 80% of childhood leukemia cases to indoor decoration pollution, severely impacting vulnerable groups including infants, the elderly, and pregnant women [42,43]. Interior designers must assess the level of toxic emissions, whether from production or use. While natural materials like stone and wood are recommended for their health benefits, their overuse leads to environmental issues like desertification and vegetation degradation. Resolving this conflict is a pressing challenge for designers. Biodegradable products, which decompose naturally without leaving harmful residues, offer a solution. The Biodegradable Products Institute certifies products that break down into water and biomass, support plant growth, and introduce minimal metal levels into the soil, including items like food service products, packaging, and compostable resins [44,45]. However, biodegradable technology is not the sole solution; reducing material waste, developing non-polluting recyclable materials, and innovating energy-efficient waste processing technologies are also vital.

The British Standards Institute defines a smart city as “the effective integration of physical-digital systems and human systems in the built environment to deliver a sustainable, prosperous, and inclusive future” [46]. The last decade’s technological advancements have facilitated smart interior design solutions, significantly enhancing building sustainability and conserving global resources while creating healthier and more comfortable living environments. This approach also aligns with the progression of technological lifestyles [47]. Smart interior design significantly benefits the elderly by improving their health, cognitive abilities, and security, and preventing home accidents [48,49]. Smart homes cater to the specific needs of each demographic, offering flexibility unlike traditional renovation methods, particularly benefiting elderly individuals without familial support.

5. Sustainable Decorative Arts—Case Studies

5.1. Analyzing Art with a Scientific Approach—Taine

The concept of sustainable contemporary decorative art transcends metaphysical art, with fields such as jewelry design, costume design, interior design, and environmental design evolving beyond the traditional artistic aesthetics of color, form, and structure. Its sustainability is primarily expressed through scientific research methods and practices, continually pioneering new aesthetic territories grounded in logical reasoning, transforming abstract thoughts into tangible objects or virtual works. At the conceptual level, contemporary decorative art adopts a critical worldview and a forward-looking perspective. People aim to establish a sustainable lineage rooted in traditional art, necessitating an understanding of traditional art’s historical roles and its essence. Art, as a manifestation of humanity’s spiritual dimension, amalgamates religion, social culture, specific historical circumstances, and the artist’s ideology and perceptions. Throughout centuries, art, primarily owned by nobility or royalty—like the Italian and French royal families—has been highly esteemed, sometimes even prioritized over politics and military concerns, leading to political corruption and military ineptitude but also fostering unparalleled artistic flourishing [15]. From a scientific standpoint, traditional art exhibits the following six main characteristics: (1) recognizability without prior information, enabling collectors, art critics, and gallery owners to identify the work’s origin, era, and occasionally the artist; (2) a distinctive character in each artist’s work, maintaining a ‘lineage’; (3) leadership ability in influential artists, such as Shakespeare, Leonardo da Vinci, and Raphael, who shaped the artistic style of their times and future art directions; (4) the correlation of art forms with their environments, mirroring the fifth point, with artworks reflecting messages from their times; (5) resonance with viewers, where effective artworks communicate their messages and inspire thoughts about the future or present; and (6) a space for imagination in traditional art, where artworks actively engage with viewer emotions, such as providing comfort post-war, differing from the harshness of reality [50].

Art’s response to societal nature remains consistent over time. Historically, society was highly interconnected with information two hundred years ago, but in today’s fragmented information age, the relevance of traditional artistic principles is questioned. Yuval posited that as art evolves, it should retain its foundational principles—reacting proactively to the zeitgeist—and adopt a heightened sense of purpose and responsibility among contemporary artists and designers. Previously, nations and societies were crafted from narratives, but outdated narratives are insufficient for addressing today’s complex international and technological landscapes. Artists and designers, alongside politicians, scientists, and philosophers, play crucial roles in addressing global challenges [51].

5.2. Speculative Everything—Anthony Dunne and Fiona Raby

The primary goal of sustainable contemporary decorative arts is to stay abreast of all disciplines, identifying and highlighting the shortcomings of various fields and the need for reflection, thereby stimulating debate, imagination, or the design of new approaches. In particular, the decorative arts—encompassing jewelry, costume, environment, and interior design—subtly influence thought processes, whereas traditional contemporary art primarily satisfies aesthetic desires without fostering philosophical thinking. “Speculative Everything” is a text detailing contemporary design and art methodologies prevalent in European art and design schools. Anthony Dunne and Fiona Raby developed the concept of critical design in the 1990s, initially as a critique of unchecked optimism about technology. Critical design questions the additional possibilities technology offers humanity beyond aesthetic enhancements and examines how technology reshapes living. Speculative design focuses more on future possibilities rather than present realities [52]. The concept comprises two elements, ‘speculative,’ which is abstract and focuses on thought, and ‘design,’ which is concrete and implemented in practice [52]. The Quantum Parallelograph, an exploratory public engagement project, delves into the scientific and philosophical concepts of quantum physics and multiple universes. This device simulates experiences of users glimpsing their “parallel lives”, showcasing alternate realities. It finds and prints online information about the user’s “parallel life”, supporting exploration of quantum physics and multiverse theories with an abstract, generically technological device that, while clearly a prop, swiftly ignites viewers’ imaginations. Aesthetically, the piece is fresh and eccentric, signaling a conceptual design approach that reflects the era’s technological and informational context. The rapid pace of technological development creates a ‘vacuum’ that political policies cannot bridge, necessitating reflection through art and design rather than mere aestheticism. Today, the role of aestheticism must be scrutinized; historically, aestheticism significantly influenced economic development and national soft power through lavish cultural displays. However, in modern conditions drastically different from the past, skepticism about relying solely on aestheticism is essential, especially considering the relative economic stagnation before the Industrial Revolution [53].

Another innovative project, the “New Kitchen Systems”, reflects on everyday life through the lens of alternative energy utilization, specifically solar energy. It is not widely known that the technical parameters of solar kitchens alter food processing methods by applying heat uniformly rather than just from below, offering a novel culinary experience. The Lapin Kulta Solar Kitchen Restaurant, driven by nature, emphasizes flexibility and immediacy, encouraging the contemplation of the future of kitchens, cooking, and food from 2011. The project rethinks the environmental impact of excessive natural energy exploitation, which has led to global warming, ozone layer depletion, acid rain, and land desertification. It prompts audiences to consider the human–nature relationship more thoughtfully [54].

In conclusion, design and art require more than just imagination; they necessitate a keen observational skill, essential for artists and designers who transform inspiration into tangible, reflective contemporary art designs. Practitioners must transcend simple problem-solving to meet consumer and market needs, learning to project further by constructing models and props, virtualizing various environments, and testing them. This experimental approach does not merely predict but reflects on future possibilities based on current societal conditions, engaging audiences in exhibitions or shows to stimulate perception and debate, ultimately fostering a “Utopian” society optimized for human existence.

5.3. Adversarial Design

Sustainability assessment is broadly defined as any process guiding decision-making toward sustainability, encompassing various forms from individual daily choices to broader projects, plans, programs, or policies typically seen in impact assessment fields [2]. In the text “Adversarial Design”, two concepts are discussed, the design for politics and political design. While similar in wording, their interplay is distinctively independent. The former is often understood as supplementing and enhancing current political needs and deficiencies, while the latter uses design as a catalyst to disrupt, subvert, and transform the established political system, challenging its structure and relationships and altering how political issues are communicated to the public. Adversarial design, embodying contestability, promotes a multifaceted perspective where humans, often confined to the ‘prison’ of the known and depleted in their thinking, are liberated by such subversive thought [55].

Natalie Jeremijenko’s ‘Feral Robotic Dogs’ project exemplifies popular adversarial design ideas, challenging conventional assumptions about science and engineering. This open-source robotics project enables lay participants to upgrade low-end commercial toys with chemical sensing equipment and additional microprocessors for environmental data collection and coordinated behavior. The adapted robots detect environmental toxins by ‘sniffing out’ concentration gradients, resembling a dog’s natural behavior. Unlike typical robot wars, this project involves releasing ‘packs’ of modified robotic dogs into community-relevant locations like public parks and school grounds, creating media-friendly events and discussions about local environmental contaminants [29]. This project exemplifies adversarial design by challenging expert authority through layperson-modified toy robots, drawing attention to everyday environmental toxin detection and awareness, and advocating for the questioning attitude necessary to address and explore pressing human issues with a proactive and positive approach.

6. Sustainable Decorative Arts—Case Studies

6.1. Art and Design—Sustainable Brief

This section of the article examines several sub-disciplines within art installation, including jewelry, costume, and environmental design, to explore how these fields should consider sustainability in today’s global context. It assesses the traditional roles of jewelry and costume in human society and their new meanings and functions in the contemporary environment. The analysis focuses on materials, cross-disciplinary technological applications, and forms. For traditional art, the discussion involves evaluating the historical role of art and design, extracting relevant aspects for redevelopment, and discarding elements not aligned with contemporary progress, which is seen as restructuring for the contemporary context. Analyzing the history of art and design provides a macro perspective on the nature of these fields and reveals additional possibilities within contemporary design concepts. The discussion on contemporary art and design (the main concepts applied in this paper) centers on how these fields can lead the development of an era both formally and conceptually, alter entrenched patterns of human thought, influence actions, and thus transform outdated artistic and design thinking. The third section explores how the insights from the first two sections can be integrated to transition from abstract conceptual analysis to a practical logical framework conducive to future development models. This involves a broad collaboration in contemporary art and design. Within this developmental strategy framework, this paper begins with the practical and theoretical necessity for artists and designers to initially discard misconceptions, such as a sole focus on aesthetics at the expense of a work’s comprehensive nature, which includes brainstorming, research, experimentation, and conceptual, critical, aesthetic, technical, or technological elements. The development of creativity is a complex, multi-step process involving image perception, material sensitivity, interdisciplinary insights, and logical connections among disparate elements. Material research is utilized as a case study for sustainable analysis and guidance in educational sessions, as material properties provide a continuous source of inspiration and perspective for art and design practitioners or students.

6.2. Beyond Recyclable and Environmentally Friendly Materials

In the sustainability research field, materials are often regarded as highly adaptable by scientists and experts, and artists and designers are no exception. However, while scientists focus on the costs of material production, recyclability, and environmental impact, defining sustainability based on the physical and chemical properties of materials, designers and artists also consider potential enhancements to materials on logical and cognitive levels, contemplating sustainability not just as a scientific issue but as a cognitive one. Material researcher and designer Sanne Visser views human hair as a highly practical design resource, using it to create utilitarian products like rope, bungee cords, and netting. Annually, approximately 6,500,000 kg of hair is discarded in the UK, typically relegated to landfill disposal. Due to its tensile properties, hair is specially knotted and braided to function similarly to conventional rope. The designer is exploring further applications for hair as a primary material for mass production [56,57]. In science, such materials are rarely the focus of research, which typically targets complex molecular composites. Using underappreciated waste—like hair—as a new material offsets the use of traditional, energy-intensive materials, enhancing economic efficiency and promoting industrial diversification. The concept of materialism still plays a critical role in how different perspectives view various objects. Icelandic designer Ágústa Sveinsdóttir’s ‘Dust’ jewelry collection utilizes mundane matter in transformative processes, revealing new material forms. Inspired by early 17th-century vanitas paintings, which symbolize the inevitability of death and the transience of worldly achievements, the project reflects on material values and the transitory nature of substances. “Dust is everywhere and always present, composed of tiny particles from organic and inorganic sources”, notes the designer. The project challenges traditional material uses, giving value to what is typically considered worthless dust by transforming it with a biodegradable adhesive into decorative coatings for jewelry, thereby highlighting the ephemeral beauty of materials [57]. When capitalist values infiltrate all aspects of life, it prompts the question: can new values emerge independent of capitalist ideology? It is crucial to recognize that sustainable development is not solely a capitalist agenda but a universal goal for human civilization’s progress, where monetary value is not the sole criterion for valuing objects.

6.3. Culture as the Complete Context

The term “culture” encompasses a broad scope, and in this context, it serves as a summary of strategies for the development of sustainable decorative arts. Culture represents the content of human communities, including symbolic patterns, norms, and rules that distinguish humans from nature [58]. Broadly, culture refers to the aggregate of material and spiritual production capacities and the wealth created by humans through social practices. More narrowly, it pertains to spiritual production capacities and products, encompassing all forms of social consciousness such as natural and technical sciences, social ideologies, and specifically the knowledge and facilities of education, science, art, etc. The impetus for sustainable development in art and design is rooted in the sustainability of culture, viewed here as a summary of art and design sustainability. Culture is broadly inclusive and, in the realm of art and design, acts as a crucial cog in the cultural machinery. Described as the civilized society of humanity, culture covers all recognizably human endeavors, including science, nature, politics, economics, education, and art and design. The subsequent section will organize and categorize the content previously discussed within the context of human culture, forming a comprehensive diagram of the characteristics and development strategies of sustainable decorative arts.

7. Sustainable Decorative Arts—Case Studies

7.1. Brief Concept of the Chart

This chart serves as the culmination of the analysis on sustainable characteristics and development strategies within contemporary decorative arts, delineating two principal categories: reality-oriented (technology and nature) and non-reality-oriented (politics and economy). Using materials as a pivotal medium, the chart is founded on the characteristics of various fields to generate novel ideas within these four realms, adopting a contemporary art perspective (see Figure 2). In describing the economic dimension, the focus is not merely on the literal economic concepts of markets and global operations but also extends to how art and design critique and foster development. “Design and the Creation of Value” illustrates the integral relationship between design and economics, highlighting how design, as a human endeavor to create meaningful objects, intersects with economic disciplines. Decades of research in this area have bridged design with economics, showing how design theory simplifies economic complexities and provides clear, logical frameworks for audience understanding [59]. Politically, art and design can serve as a source of inspiration within the political domain, identifying solutions and addressing issues. Exploring political themes through physical materials offers a novel approach not only to examine the materiality but also to reconsider traditional political paradigms. In science and technology, contemporary decorative arts enhance visual impact and encourage reflection on technology’s effects on society and its optimal future applications. Many artists explore themes of humanity and nature, whether by redefining human–nature relationships or discovering new aesthetics derived from natural elements. For instance, the “New Kitchen System” project continuously refreshes perceptions through art and nature, challenging traditional notions and introducing innovative perspectives on human engagement with nature. Artistic and design reflections on human–environment interactions provoke thoughts on nature and our treatment of it, a crucial theme within sustainable contemporary decorative arts focused on the theme of nature.

7.2. Non-Reality-Oriented Thinking and Development Strategies—Economy and Politics

From an economic standpoint, the analysis begins with industrial and product design, considering the object’s form before addressing details such as shape, color, material, trend, and significance. This process incorporates not just the core design principles but also the economic sustainability of the market. To deepen the exploration of design’s role in economics, the studies apply a design mindset to assess economic viability models. As a quantitative breakdown, ‘industrial design and product design’ along with ‘design tools’ are divided into the following four main goals: form (shape, color, material, trend, and meaning); function (use, functionality, human–machine interactions, environment, and lifestyle); manufacturability (materials, production processes, technology, durability, and reliability); and marketability (price, positioning, competitiveness, channels, and branding). Additionally, the following four classifications of design tools are considered: 1. aesthetics, form, and decoration; 2. interaction, user-centeredness, and human–machine relations; 3. engineering, economy, and recycling; 4. strategic design, system design, and cultural factors [59]. This comprehensive breakdown integrates design and economic concepts into a sustainable development strategy for art and design within the economic realm, offering not only a development blueprint but also reflecting the intrinsic value of art and design in economic contexts.

Similarly, in the political domain, the “Million Dollars Blocks” project critically examines and challenges urban structural norms while fostering debate and introducing new design practices in cartography and urban planning. This project, a spatial diagram, reveals the hidden narratives behind traditional incarceration perceptions in the United States by shifting the focus from crime locations to the origins of the incarcerated population, thus reorienting discussions toward underlying risk factors for crime. This method reveals a deeper connection between inmates’ origins and the financial costs of incarceration, presenting a critical political narrative based on historical data that have not previously been correlated [60]. In 2004, the “Exxon Secrets” project, sponsored by Greenpeace USA, utilized a social networking application to expose and document Exxon-Mobil Oil’s influence on the climate change debate. This project explored the contentious issue of climate change and its exacerbation by fossil fuel production, providing a database for researching Exxon-Mobil’s funding of climate change skeptics and the broader anti-environmental movement [61]. Art’s diverse approach to political topics not only raises pertinent questions but also inspires new ways of thinking and solutions, essential for forward-thinking political discourse. This is not about predicting outcomes but about stimulating active thought and debate on future political issues.

7.3. Reality-Oriented Thinking and Development Strategies—Science and Nature

In the realm of art and design, technology is pivotal, especially as artists and designers contemplate the future and critique current technological impacts. The ‘Quantum Parallelograph’ exemplifies the ongoing exploration and support for quantum physics, and although it serves as a prop, it effectively stimulates thought and reshapes perceptions about specific phenomena. This novel approach alters conventional thinking about the surrounding world. Artist Simon Weckert’s real-life experiment involving a cart with 99 smartphones, all running Google Maps, created a virtual traffic jam, illustrating how virtual representations can impact real-world perceptions and questioning the accuracy of technology in mirroring reality [62]. In the British TV series “Black Mirror”, futuristic concepts were used to construct virtual scenarios that provoke thought about potential technological impacts on humanity, with each episode prompting viewers to consider both future and current societal implications. The integration of artificial intelligence (AI) in art pushes the boundaries of technology and art, with AI art emerging as a new genre. AI art exists between natural beauty and human-created art, involving symbolic and connectivist methods and various levels of human–machine interaction, ultimately participating in the artistic process and redefining traditional artistic boundaries [63]. Developments in electronics, computing, and telecommunications, particularly the advent of the internet, have enabled artists to challenge traditional art object materiality and semiotics, highlighting the need for critical discourses to reconcile the dual alignment of art with technology and conceptual themes [27].

The ‘new kitchen systems’ project reflects an artistic breakthrough in our perception of human–nature relationships, using the kitchen as a metaphorical tool. Although commercially oriented, the project promotes a nature-aligned, fictional approach that respects the natural world. Artist Naoko Ito’s “Urban Nature” series documents contemporary scenes to explore subtle interactions between nature and human-made objects, challenging traditional categorizations and fostering new aesthetic inquiries. Ito uses material properties to create environments that offer philosophical insights, focusing on the dynamic interplay between nature and human constructs [64].

Another innovative project, Anicka Yi’s “In Love With The World”, reimagines our ecological connections, merging technology with biology to blur the lines between plants, animals, microbes, and machines. This installation uses AI algorithms to adapt jellyfish trajectories based on environmental data within the exhibit, presenting a novel ecological perspective [30].

In summary, art liberates the traditional notions of human–nature interactions, urging exploration and embracing new experiences. Whether critiquing real-life flaws or probing societal development, sustainable contemporary decorative art necessitates meticulous consideration of every life detail. Especially pertinent in natural sciences, where the environmental impact on human habitation is increasingly critical, art prompts respect and appreciation for nature and rethinks coexistence models, epitomizing the essence of sustainable contemporary decorative art.

8. Discussion—Comparative Analysis of Case Studies

This section synthesizes insights from the detailed case studies presented in Section 4, Section 5, Section 6 and Section 7, applying a systematic comparative analysis. This analysis aims to deepen understanding of how different approaches within the sustainable decorative arts contribute to broader sustainability goals, and how they vary across different implementations and impacts.

8.1. Comparative Framework

8.1.1. Similarities

Interdisciplinary Integration: All case studies demonstrate an interdisciplinary approach, integrating technology, design, and sustainability. This integration is crucial for fostering innovation beyond traditional boundaries, enabling novel solutions to sustainability challenges.

Human-Centered Design: Each study emphasizes human-centered design, whether through wearable technology that integrates user feedback or through spatial designs that consider human well-being. This focus ensures that the sustainability efforts enhance user experience and engagement.

Sustainability Focus: All projects share a strong commitment to sustainability, albeit executed in diverse contexts—from textile innovation to interior design. This commitment underpins the core objectives of each case study, aiming to reduce environmental impact and promote sustainable practices.

8.1.2. Differences

Scope and Application: The scope of application varies significantly among the case studies. For example, e-textiles focus on personal wearable technology, while interior design projects address larger environmental impacts and space usability.

Technological Sophistication: The level of technological integration and sophistication also varies. E-textiles and smart jewelry incorporate cutting-edge technologies directly into wearable items, whereas environmental and interior design often rely more on material innovations and efficient resource use.

Market Readiness and Commercial Impact: There is a notable difference in market readiness. E-textiles and certain smart jewelry designs are closer to market implementation, potentially offering immediate sustainability benefits. In contrast, some of the more innovative interior design solutions may require further development to become commercially viable.

8.2. Thematic Insights

Innovation as a Catalyst for Sustainability: Across the case studies, innovation—whether in materials, technology, or design methods—serves as a catalyst for enhancing sustainability. These innovations not only improve the environmental footprint but also push the boundaries of what is traditionally expected in decorative arts.

Cultural and Social Implications: The case studies also reveal the cultural and social implications of integrating sustainability into art and design. Sustainable practices are shown to influence societal norms and expectations regarding consumption, lifestyle, and aesthetics.

Significance of Clothing Reuse: This section discusses the importance of reusing clothing to mitigate the environmental impacts of consumerism. The challenges and opportunities within the fashion industry to implement sustainable practices that reduce clothing waste are explored, highlighting how clothing reuse can significantly lower the ecological footprint of the fashion industry.

Environmental Implications of Electronic Devices: The expanded discussion includes the environmental implications of increased electricity use from electronic devices and automation systems. The revised section now references studies on alternative energy sources that could be integrated into home automation systems to reduce their ecological footprint, addressing gaps in our original manuscript regarding the energy consumption of modern technological applications.

8.3. Challenges and Future Directions

Barriers to Adoption: Despite promising developments, several barriers to broader adoption of these sustainable innovations remain, such as cost, consumer acceptance, and the need for infrastructural changes in manufacturing and distribution.

Future Research and Development: Future directions involve addressing these barriers through continued research and development, policy support, and fostering consumer awareness and education on the benefits of sustainable decorative arts.

Expanding the Scope: Future research should also explore how these sustainable innovations can be applied in other areas of decorative arts and beyond, potentially influencing larger sectors of design and manufacturing.

The comparative analysis highlights both the diversity and commonality in approaches to integrating sustainability into decorative arts. By understanding these dynamics, stakeholders can better strategize and innovate within their fields, pushing forward the agenda of sustainable development in art and design. This chapter not only reflects on the current state of sustainable decorative arts but also sets the stage for future explorations and innovations in the field.

9. Conclusions and Future Directions

9.1. Study Findings and Conclusions

This paper synthesizes case studies and theoretical frameworks to articulate a concept of sustainable characteristics and development strategies for contemporary decorative art. Recognized as an interdisciplinary field that encompasses technology, nature, economy, and policy, this study addresses a significant gap in understanding the sustainable characteristics and strategic development of contemporary decorative art. The advocated theory promotes an interdisciplinary and multidisciplinary research approach, fostering collaboration between various disciplines and contemporary decorative arts. This synergy aims to drive innovation and promote new directions for the future, moving beyond mere aesthetic ornamentation. Contemporary decorative art is thus repositioned as a transformative force, capable of challenging conventional human thought and altering behaviors to shape a new world.

Policymakers are encouraged to support frameworks that foster interdisciplinary collaborations, integrating arts with technology, environmental sciences, and social sciences to enhance sustainable development. Enhanced funding for projects that explore and implement sustainable practices in the arts can drive significant social and environmental benefits. Educational policies should promote curricula that integrate arts and sustainability, preparing the next generation of artists and designers with a deep understanding of sustainable practices.

9.2. Future Directions

Future efforts in sustainable development planning within the decorative arts should specifically target developing and underdeveloped countries to enhance the field’s global reach. Moreover, galleries, curatorial organizations, artists, and designers are encouraged to align with contemporary global trends while developing innovative art concepts and sustainable development strategies that are tailored to the unique challenges and opportunities in underdeveloped regions. This approach will not only expand the influence of contemporary decorative arts but also ensure its relevance and responsiveness to global sustainability goals.

Throughout this multidisciplinary study, the integration of sustainability strategies in contemporary decorative arts with broader sustainable development strategies has remained largely theoretical and lacks extensive practical implementation. This discourse has predominantly involved leading experts and scholars from Europe, the United States, and other developed regions, resulting in a lack of a globally diverse, geographically specific sustainable development plan for decorative arts. As noted by Kagan [24], the integration of arts in sustainable development often overlooks the contributions from less represented regions, which can provide unique insights and strategies for sustainability.

To address these gaps, it is crucial to engage with local communities, especially in underrepresented regions, to co-create art projects that reflect and address local sustainability challenges. Such engagement can enhance the relevance and impact of contemporary decorative arts, ensuring that the arts play a pivotal role in advancing global sustainability initiatives.

An essential focus for future research should be on evaluating the real pollution effects of the projects discussed in this paper. This new subsection encourages comprehensive environmental impact studies, contributing to a deeper understanding of the practical implications of sustainability in contemporary decorative arts. By systematically assessing the environmental footprint of these projects, researchers and practitioners can better understand the true sustainability of their practices and make informed decisions that lead to more effective and impactful sustainable art practices. This critical evaluation is fundamental to advancing our understanding of sustainability not just as a theoretical concept but as a practical, impactful endeavor in the realm of decorative arts.