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Diseño sin FronterasDesign & Cultural Diversity:contributions of cross-cultural studies for the project ofproducts and services to a plural world.Maria Luiza ParanhosPUC - RioVera DamazioPUC - Riovdamazio@puc-rio.brRosa Marina MeyerPUC - RioWe are constantly in contact with other cultures. Forinstance: when reading the newspapers, when shoppingonline, when having a business or a vacation trip, whencontacting an international company, when dinning in anoriental restaurant (or occidental, depending on the homecountry of our reader), when watching movies, listening tomusic from other countries. The daily life is intercultural.We interact and coexist with “foreign” people, productsand services, all of the time. On the other hand, we are allguided by a determined and exclusive set of rules, values,behaviors, habits and conducts that identify us and, at thesame time, distinguish us from others. Cultural singularitiesshould not be considered worse or better, right or wrong.On the contrary, they must be valued and understood.Planning, developing and offering products and servicesfor users from different cultures requires attention, careand, above all, knowledge. In such context, it is crucial andurgent that Design expands its cultural horizons in orderto meet the necessities and desires of a society more andmore diverse each day.This paper aims at presenting Cross Cultural Studies as animportant field for design actions. It introduces the culturalcategorization models of Richard Lewis (2006) and GeertHofstede (2005) respectively and fundamental conceptsof cross-cultural and intercultural communication, such as“intercultural competence”.The main objective of this paper is to contribute to thedesign of cross-cultural products and services throughtheoretical and methodological data.Design and Cross-CulturalismIn 2002, AIGA – American Institute of Graphic Arts, - has establishedthe Center for Cross-Cultural Design 1 (AIGA|XCD),aiming to create, expand and exchange knowledgeabout the intersection between Culture & Design, Cross-Culturalism and its communication aspects. According toAIGA|XCD’s manifesto:Technology, mass media and a global economy have madethe world smaller, and the scope of cross-cultural audiencesbigger for the design profession. It is imperative for designersto think beyond their national and cultural borders inorder to create visual communication that is responsive tothe diversity of audiences today.In order to achieve its aims, the new AIGA chapter has beenguided by the following considerations 2 : All designers have a responsibility to investigate theunique characteristics of their audience including theones that reflect cultural differences. Design operates on a global scale and in many caseswill reach enormously diverse audiences (whether weintend it to or not). Design must address the needs of both local andglobal. Although design can easily be experienced ona global scale through communication technologyand travel, the designer must realize the impact localcommunities have on perception. The design community is well positioned to helpcompanies meet international marketing challenges.Unfortunately, however, many businesses are notlooking to the design profession for solutions to theseproblems. Designers must find a way to better communicatethe value they bring to global business. Learning about other cultures requires interaction withother cultures. Creating and connecting with venuesat home and abroad can increase this interaction.1 Look at http://xcd.aiga.org/2 Look at http://xcd.aiga.org/manifesto.html23