SOLARPUNK, THE AESTHETIC OF A SUSTAINABLE FUTURE

From cult-classic films like Blade Runner to more recent video games and young-adult franchises, the aesthetics of dystopia seem to have made a permanent mark on how the future of humanity is imagined in popular culture. This vision is often a mix of climate catastrophes and gritty realities of technocratic megacities which mirrors the anxieties of the modern age, including global warming, rising economic inequality and the ongoing pandemic. And yet, despite the connection to our fears it seems as if, even in a world where the future is more unforeseeable than ever, it is still difficult to turn away from our grim fascination with the dystopian aesthetic. However, as much as the concept of dystopia in fiction appeals to us, it would be truly odd to desire this kind of reality.

It is an appealing fantasy to many, as we tend to be entertained by the often action-filled plots and can identify with the main characters, which act as a pessimistic prediction of what the future may hold. However, with dystopia becoming an increasingly common aesthetic in fictional representations of the future, it is important to think about alternative ways in which we might imagine the human reality in 20, 50 or a 100 years’ time. This alternative could be an aspirational vision of the future; something which is not fascinating in its grimness but rather a vision of a prosperous society (no matter how realistic) that appeals to the majority.

Perhaps the best example would be the movement of ‘solarpunk’, an ethos in parallel with dystopic discourse. With a name inspired by the potential of solar power, it focuses on possible solutions to major contemporary issues such as climate change. Solarpunk imagines a future in which humanity has successfully combatted these issues and practices solely sustainable development. Hence, its most typical visualisation is an image of a futuristic city which appears to be perfectly integrated with its natural surroundings. The aesthetics of solarpunk have found a particular popularity in fiction. The positive — almost utopian — sentiments of solarpunk are perhaps most genuinely expressed in the animated films of the famous Japanese production company Studio Ghibli, such as Laputa: Castle in the Sky and Nausicaa of the Valley of the Wind. In these films, and in many others from the studio’s filmography, the coexistence of people and their natural surroundings plays a key part in the plot.

Nausicaa of the Valley of the Wind is a story of a future in which much of the planet’s ecosystem has been destroyed. The surviving people live in what becomes a ‘toxic jungle’ populated by massive insects. Nausicaa, the main character, is a young girl with the extraordinary ability to communicate with these insects, and whose goal is to find a way for humans to coexist with them. Aside from its futuristic visuals, the concept of solarpunk is present through its central message. Similarly to Nausicaa, the aim of the solarpunk movement as a whole is to find a balanced and sustainable way for people to coexist with their surroundings.

On the other hand, in the case of the 1986 animation Laputa: Castle in the Sky, the connection to solarpunk might be slightly more aesthetically inclined. The film tells the story of a girl with a mysterious past named Sheeta and a boy named Pazu who look for a lost city in the skies. This fantastical yet simple plot is set within a 19th century inspired setting. Despite this, certain aesthetic elements used in the film do reflect typical solarpunk imagery, including Laputa itself, a floating island home to earthly treasures and otherworldly technology. Although the main plotline does not revolve around the connection of humans and nature as in other Ghibli productions, it is still easy to notice the subtle aesthetic symbiosis between them that appears throughout the film.

Of course, the fantastical imagery of Studio Ghibli animations is not a viable goal for the future of humankind. However, the approaches to the relationship between people and nature presented in those films, and the essential role nature plays in world-building (and thus consequently in the plot) are some things which can be perceived as aspirational for ‘real-life’ architects and urban planners. Perhaps the most recognisable buildings reminiscent of the solarpunk aesthetic are those designed by the Italian architect Stefano Boeri. One of these projects is Bosco Verticale two residential towers in Milan, which are famously covered in greenery. This so-called ‘vertical forest’ taps into the solarpunk vision of connecting nature and hypermodernity.

Nonetheless, it should perhaps also be pointed out that the ultimate goals of solarpunk are of course much easier to achieve in fictional world-building than in reality. In fact, many contemporary architectural and landscaping projects have reached out to the solarpunk aesthetic only to be subsequently criticised for the disconnection between their ‘green’ image and their factual sustainability or impact on their surroundings. In the case of Boeri’s Bosco Verticale the main criticism revolved around the relation it had to the largely working class neighbourhood it is situated in, as the building process required demolition of abandoned industrial sites which have been occupied by local artists and artisans. And while the new project included a new facility for them, it is still an example of disconnection with the neighbourhood.

However, while this particular project may not be a perfect example of building sustainable futures, it still does something which is reminiscent of the solarpunk sentiment in Studio Ghibli films. It is an acknowledgement of the conflict that exists between humans and nature as a factor which necessitates change in urban life. After all, films like Laputa: Castle in the Sky and Nausicaa of the Valley of the Wind are centred around this conflict and, despite their seemingly utopian aesthetic, underline the difficulty of creating symbiotic relationships with natural surroundings. We might never be able to replicate the aesthetics of Studio Ghibli in the real world but the messages conveyed in their productions should tell us that in a world where human life often clashes with nature it is still worth seeking harmony.