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Flaviano Celaschi, Dijon De Moraes
confronted the old dichotomy between Center-Periphery, now denominated North-
South axis (APPADURAI, 1990; BECK, 2000; FEATHERSTONE, 1990; HABERMAS,
1999). With this new scenario that pre-figures, the world stops being divided in
visibly delimited spaces between rich and poor, cult and ignorant, civilized and
barbarian, doctors and illiterate people. It is like if the containers, once rigid and
protected, had been opened and their contents mixed among themselves, as affirms
Manzini (2004). The world, consequently, stayed, rapidly, much more complex, like
the studies of Andrea Branzi (2006) and Zygmunt Bauman (2002) show us, in the
ambits of the culture of project and lifestyle, respectively.
It is necessary, therefore, to understand that we have passed from the technique
to the technological culture, from the production to the productive culture, and from
the project to the projectual culture. All that enhanced the scope of actuation of
the designers, at the same time it also enhanced the complexity of their actuation.
The complexity tends to be characterized by the recurrent inter-relation between
the abundance of information, nowadays easily available and disconnected. In the
same way, this complexity is characterized by the recurrent inter-relation between
company, market, product, consume and culture (this, by its time, acts in an
independent form in its environmental context). The complexity tends to generate
contradictory and unpredictable tensions and, throughout harsh transformations,
imposes continuous adaptations and reorganizations of the system in the levels
of production, sales and consumption in patterns already known.
Design, in this context, rethinks its trajectory and new challenges that are
given to it: the issue of the social-economical-environmental alignment, that is an
interest of the rich as well as of the poor countries; the issue of the local identity,
that starts to have a perceived value, for preserving lifestyles that are threatened by
the process of acculturation and by the global massification. The values, previously
seen as intangible and immaterial, gain new spaces together with the projectual
disciplines and even overcome the technical and objective values throughout the
cognitive relations and the sensory factors. New models emerge as guidelines for
the project culture, where the old briefing stops being a certainty, with precise
demands and exact responses, to give space to the meta-projectual model, which
may be found in the studies of Deserti (2007), Celaschi (2000) and Moraes (2010),
108
Cadernos de Estudos Avançados em Design - design e humanismo - 2013 - p. 105-130