The concept of degradation is inextricably linked to that of 'existence': life itself can be seen as a progression toward aging and culminating in the total dissolution, death. If you consider the example of thermodynamics, especially the second principle, and therefore the concept of entropy, it is easy to demonstrate this analogy as an irreversible system dissipates energy over time, so that the universe appears to be the 'living system of living systems' it tends to expand but also to the gradual loss of energy and its subsequent extinction. Think of life often involves the comparison with the animal kingdom and the beings that comprise it, However, it is easy to see even inanimate objects, and in particular architecture, such as real forms of life existing in itself. In this sense, then it is easy to approach the phenomenon of the degradation that occurs at the level of the architecture (and then I change the color and shape, and alterations to the deterioration of building materials, ...) as a true physiological aging.
The value of the old second Riegl is the so-called patina of time, positive and attractive characteristics typical of buildings built in the past. The concept of 'Alterswert' is then the positive value man who gives everything that is old. I think the strength of this concept is not accepting the degradation of the natural form of any old building, but that is to say in the next step in transforming the consideration of this decay in the absence of real resource (reasoning that this it sounds so anachronistic and far from modern consumption patterns and lifestyles offered by our Western civilization). From a certain point of view, this form of aging, typical of the building that has recognized 'the value of the old', is very similar to that of the degradation: in both cases occur a defacement the form of possible changes in the color and materials that compose it, .. The main difference between these two positions, however, lies in the thymus, in their 'sign' understood in the mathematical sense: in the first case, this lack is perceived in the negative, while in the second to the contrary is seen in a positive way.
I think the reason for this distinction between degraded and factory building characterized by an apparent 'value of the old' lies in the perception that the bystander has the object in question. An object is perceived to be degraded not only deficient in many parts, but in my opinion turns out to be unreadable in the eyes of an object: that is, it fails to realize the original function of the object, but not the roles for which it was designed. Then you will feel an ancient ruin, such as the Tholos at Delphi as a set of disconnected elements between them (ie an object simply degraded), but as a work characterized by a clear 'Alterswert': even in the eyes less prepared apparent in those columns that held up a cover and that these little cylinders fluted marble columns at one time had to be others. So if the viewer is confronted with anything but old can not read, the object in question will not recruit any person for the value of the antique, but is only an object degraded. Finally I see the heart of the relationship between environmental degradation and value in the ancient sense Riegle in the hands of the subject, the viewer, the viewer.
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