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Future, well-being, interdependence: key-words for contemporaneous design understood as continuous stimulation of the identity of the designer and devices for the liberation of his expressive creativity. The paradigm represented by the three key-words that we propose may be represented by an enclosure in which the two dimensions of the traditional design explode upwards and downwards, and the lateral dimension of the thought becomes the only one possible: the long term as horizon (FUTURE), the holistic dimension of the man as representative of the nature of the union of body and mind (WELL- BEING), the necessity of controlling systematically the dimension of the project, be it as process, be it as product, to manage the chain of repercussion that every action produces, in favor of the individual, in relation to the community, to nature, to the universal dimension of the local, to the personal dimension of the universal. 7. Conclusion The leveling of the productive capacity between the countries, summed to the free circulation of the raw-materials in the global market and to the easy technological dissemination have reaffirmed the establishment of this new and complex contemporaneous reality of global product, with everything that it brings about for the trilogy product, consume and discard. The challenge of the designers, currently, when acting in mutant and complex scenarios, stops being, therefore, the technicist and linear ambit and goes to the still little known and decoded arena of the intangible and immaterial attributes of the industrial goods of consumption. All that makes the design act in a transversal manner with disciplines that are less objective and exact. This way, occurs the confluence with other disciplinary areas that compound the ambit of the human behavior, like the one of social, sensorial and psychological factors, until then little considered in the conception of industrial artifacts. An even bigger challenge involves the world of design research: the dimension of the opportunities and the dimension of the new problems, that emerge from a more radical integration of the human sciences and of design, possess an incredible value. We may certainly announce that no phase of the design process can be forgotten, but that the intersection between research about the know how and about the Cadernos de Estudos Avançados em Design - design e humanismo - 2013 - p. 105-130 125
Flaviano Celaschi, Dijon De Moraes know what 4 takes the design from a technical dimension to an even superior dimension than the strategical one, to a dimension in which who is endowed with the design competences may interfere in the research of what problems to resolve and not only how to resolve them. A firm step towards an always greater need of ‘humanities’ and towards a constant greater consciousness about the necessity of opening our work to the proliferation of the design cultures. 4 Cf. Deserti, A. in AA.VV. Advancedesign. Deserti retakes a model of Senders (2008) and inserts it in the territory of the crossing between Know how and Know what, the territory of contemporaneous Advanced Design. 126 Cadernos de Estudos Avançados em Design - design e humanismo - 2013 - p. 105-130
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