o_19po8js951tvs1r0t1r8s4bb1vpla.pdf

Flaviano Celaschi, Dijon De Moraes
presents itself as a possible model of intervention in a scenario that is established in
a world that is everyday more complex and full of disciplinary inter-relations. In this
sense, it becomes imperative the capacity of the designers of also interpreting the
local lifestyle (local culture and local life style) so it can be inserted as a differential
component of the products that compete, nowadays, in a global level.
The simple objective and linear projectual approach, practiced then for the
conception of the industrial products in the past, is no longer enough to guarantee
the success of a company, not even to attend the expectations of the current user.
The existing complexity generated a disarticulation between the disciplines and
the instruments that oriented the process of conception and of development of
the products during the modern solidity.
The meta-projectual model (MORAES, 2010) is consolidated through the
formatting and theoretical prospecting that precedes the projectual phase, by
elaborating one or more projectual possibilities throughout new conceptual proposals.
The meta-project, due to its creative, extensive and holistic character, explores all the
potentialities of design in all its phases of the project, but it does not produce output
as an unique projectual model, nor pre-established technical solutions. It presents
itself as an articulated and complex system of previous knowledge, that serves as
guide during the projectual process. In this sense, the product stops being seen as
an isolated element, starting to be part of a surrounding system. In this sense, the
meta-projectual concept gets closer to the system/product and it is also similar to the
concepts of strategical design, where design is not seen only as a projectual activity,
but it is considered in a dynamic and complex way, throughout the close interaction
between product, communication, market and service.
The challenge of the designers producers, currently, since they act in mutant
and complex scenarios, stops being the technicist and linear ambit and goes to
the still unknown decoded arena of the intangible and immaterial attributes of the
industrial goods of production. All that makes the design interact in a transversal
way with the disciplines each time less objective and exact. This way, occurs the
confluence with other disciplinary areas that compound the ambit of the human
behavior, such as the one of the aesthetic and psychological factors, until then very
little considered in the conception of the industrial artifacts.
118
Cadernos de Estudos Avançados em Design - design e humanismo - 2013 - p. 105-130