PUBLISHERS/EDITORES Lisiane Ilha Librelotto, Dra. (UFSC) Paulo Cesar Machado Ferroli, Dr. (UFSC) EDITORIAL BOARD/CONSELHO EDITORIAL Aguinaldo dos Santos, PhD (UFPR) Amilton José Vieira de Arruda, PhD (UFPE) Carlo Franzato, Dr. (UNISINOS) Cristine do Nascimento Mutti, PhD (UFSC) Giovanni Maria Arrigone, PhD (SENAI) Lisiane Ilha Librelotto, Dra. (UFSC) Marcelo Gitirana Gomes Ferreira, Dr. (UDESC) Paulo Cesar Machado Ferroli, Dr. (UFSC) Rachel Faverzani Magnago, Dra. (UNISUL) Tomás Queiroz Ferreira Barata, Dr. (UNESP) Vicente de Paulo Cerqueira, Dr. (UFRJ) EDITORIAL TEAM/EQUIPE EDITORIAL Andrea Salomé Jaramillo Benavides, M.Sc (UFSC) Laila Nuic, M.Sc. (UFSC) Luana Toralles Carbonari, M.Sc (UFSC) DESIGN Guilherme Behling (UFSC) João Luiz Martins (UFSC) FREQUENCY/PERIODICIDADE Publicação semestral CONTACT/CONTATO lisiane.librelotto@ufsc.br ferroli@cce.ufsc.br PUBLICATION RIGHTS/DIREITOS DE PUBLICAÇÃO Lisiane Ilha Librelotto, Dra. (UFSC) Paulo Cesar Machado Ferroli, Dr. (UFSC)
UFSC | Universidade Federal de Santa Catarina CTC | Centro Tecnológico CCE | Centro de Comunicação e Expressão VirtuHab Campus Reitor João David Ferreira Lima Florianópolis - SC | CEP 88040-900 Fones: (48) 3721-2540 (48) 3721-4971
EVALUATORS/AVALIADORES Adriano Heemann, Dr. (UFPR) Aguinaldo dos Santos, PhD (UFPR) Albertina Pereira Medeiros, Dra. (UDESC) Amilton José Vieira de Arruda, PhD (UFPE) Almir Barros da Silva Santos Neto, Dr. (UFSM) Alexandre de Avila Leripio, Dr. (UNIVALI) Alice Theresinha Cybis Pereira, Dra. (UFSC) Ana Veronica Pazmino, Dra. (UFSC) Arnoldo Debatin Neto, Dr. (UFSC) Carla Arcoverde de Aguiar Neves, Dra. (IFSC) Carla Martins Cipolla, PhD (UFRJ) Carlo Franzato, Dr. (UNISINOS) Carlos Humberto Martins, Dr. (UEM) Celso Salamon, Dr. (UTFPR) Cristine do Nascimento Mutti, PhD (UFSC) Eduardo Rizzatti, Dr. (UFSM) Elvis Carissimi, Dr. (UFSM) Fabiano Ostapiv, Dr. (UTFPR) Fábio Gonçalves Teixeira, Dr. (UFRGS) Flávio Anthero Nunes Vianna dos Santos, Dr. (UDESC) Fernanda Hansch Beuren, Dra. (UDESC) Fernando Antônio Forcellini, Dr. (UFSC) Giovanni Maria Arrigone, PhD (SENAI) Graeme Larsen, PhD (University of Reading, England) Gregório Jean Varvakis Rados, PhD (UFSC) Ignacio Guillén Guillamón, PhD (CTF - UPV) Issao Minami, Dr. (USP - FAU) João Cândido Fernandes, Dr. (UNESP) Joel Dias da Silva, Dr. (FURB) Lisiane Ilha Librelotto, Dra. (UFSC) Luciana de Figueiredo Lopes Lucena, Dra. (UFRN) Luiz Fernando Mahlmann Heineck, PhD (UECE) Marcelo de Mattos Bezerra, Dr. (PUC-Rio) Marcelo Gitirana Gomes Ferreira, Dr. (UDESC) Marco Antonio Rossi, Dr. (UNESP) Marcos Paulo Cereto, Mestre (UFAM) Michele Carvalho, Dra. (UNB) Normando Perazzo Barbosa, Dr. (UFPB) Paula Schlemper de Oliveira, Dra. (IFB) Paulo Cesar Machado Ferroli, Dr. (UFSC) Regiane Trevisan Pupo, Dra. (UFSC) Ronaldo Martins Glufke, MSc (UFSM) Sérgio Ivan dos Santos, Dr. (UNIPAMPA) Sérgio Manuel Oliveira Tavares, Dr. (UP-PT) Silvio Burrattino Melhado, Dr. (USP) Sydney Fernandes de Freitas, Dr. (UERJ) Tomás Queiroz Ferreira Barata, Dr. (UNESP) Vicente de Paulo Cerqueira, Dr. (UFRJ)
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
ABOUT MIX SUSTENTÁVEL JOURNAL Mix Sustentável Journal was born from the premise that the project encompassing the precepts of sustainability is the only possible solution to bring about a union between the philosophy of continuous improvement with an increasing need to preserve natural resources and increment of life quality. Sustainability needs a deep discussion to disseminate research and actions of the academic community, which has created less degrading technologies in the environmental dimension; more economical and that help to take away social injustices long established. The journal Mix Sustentável proposes the publication of project and research achievements, in a virtual and printed form, focused on sustainability. Seeking the information exchange among researchers of the area linked to postgraduate programs, it also opens space for the dissemination of professionals inserted in the labor market, in addition to interviews with national and foreign researchers. Besides, it publishes abstracts of thesis, dissertations and final term papers considering the importance of project production and not only written. Given its interdisciplinary scope, it has as a target audience researchers and professionals in Architecture and Urbanism, Design and Engineering. According to CAPES (2013), the Interdisciplinary area in the context of postgraduate studies was the result of the need to solve new problems that emerge in the contemporary world, of different natures and with varying levels of complexity, often resulting from the advancement of knowledge scientific and technological. The complex nature of such problems requires dialogue not only between similar subjects, within the same area of knowledge, but among different areas, as well as between disciplinary and non-disciplinary knowledge. It results from this, the relevance of new ways of knowledge production and training human resources that take as object of investigation phenomena that are placed between disciplinary boundaries. Theoretical and methodological challenges are presented for different fields of knowledge. New ways of knowledge production enrich and extend the science fields by requiring the incorporation of a broader rationality that goes beyond strictly disciplinary thinking and its methodology of fragmentation and reduction objects. If
disciplinary thinking, on the one hand, confers advances to science and technology, on the other, developments resulting from diverse fields of knowledge generate different levels of complexity and require broader dialogues, between and beyond the subjects. Therefore, Mix Sustentável Journal is inserted in the Interdisciplinary Area (area 45), having as secondary areas Architecture, Urbanism and Design (area 29), Civil Engineering (area 10) and engineering in general. The journal is divided in sections, which are: a) Scientific section - containing at least 12 scientific articles to socialize academic production, seeking a valorization of research, teaching and extension. b) Section graduation, scientific initiation and post-graduation: reporting thesis, dissertations and final term papers in expanded abstracts form and in a way of encouraging the dissemination of scholarly-scientific works aimed at the project for sustainability. c) Marketing section: space for reviews and interviews (dialogue spaces). It presents interviews with professionals working in the market, showing practical projects that have applications in the sustainability sphere. It should also make available conversations with specialists in sustainability and/or other fields of knowledge.
QUALIS CLASSIFICATION In the QUALIS / Capes 2015 classification, the journal was evaluated with: B5 in the areas: Architecture and Urbanism; Engineering I, Engineering III and Environmental Sciences. B4 in the area: Public Administration and Business, Accounting and Tourism.
MISSION Publish results of research and projects, in a virtual and printed form, focusing on sustainability, seeking the dissemination of knowledge and exchange of information among academics, professionals and researchers in the area linked to postgraduate programs.
OBJECTIVE Disseminate knowledge about sustainability applied to engineering, architecture and design projects.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
SECTION AND SUBMISSION POLICIES a) Scientific Section Contains scientific articles to socialize the academic production seeking the valorization of research, teaching and extension. It brings together 12 scientific articles that present the interrelationship of sustainability in projects in an interdisciplinary way, encompassing the areas of design, engineering and architecture. Submissions are performed in continuous flow in a peer review process. The journal is indexed in sumarios. org and in Google Scholar. b) Summary Section of Undergraduate Conclusion Works and works of Scientific Initiation and Post-graduation. It aims to disseminate Thesis, Dissertations and Conclusion Works in the form of expanded abstracts and as a means to stimulate the dissemination of scholarly-scientific works related to the project for sustainability. c) Marketing Section It is a space for reviews and interviews (spaces for dialogue). It presents at least two interviews with professionals working in the market or renowned researchers, showing practical projects that have applications focused on sustainability. It should also make available conversations with specialists in sustainability and / or other fields of knowledge.
PEER REVIEW PROCESS The journal has a group of expert evaluators on the theme of sustainability, doctors in their fields. There are 48 reviewers, coming from 21 Brazilian institutions and 3 International Institutions. The originals will be submitted to the evaluation and approval of the evaluators (double and blind). The works are sent for evaluation without identification of authorship. The evaluation consists of the issuing of opinions, as follows: - approved; - approved with modifications (approval depends on the execution of the requested corrections); - disapproved.
PUBLICATION FREQUENCY Semiannual publication with special editions. Two regular editions are published in the periods from October to March and then from April to September. It also has at least one special annual edition.
OPEN ACCESS POLICY This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.
ARCHIVING This journal utilizes the LOCKSS system to create a distributed archiving system among participating libraries and permits those libraries to create permanent archives of the journal for purposes of preservation and restoration.
ACCESS Access can be made through the following addresses: http://mixsustentavel.paginas.ufsc.br/ or directly on the platform SEER/OJS in: ttp://www.nexos.ufsc.br/index. php/mixsustentavel/. It is necessary to access the registration page and register in the system. Subsequently the access is made through a login and password, mandatory for submission of works, as well as for follow-up of the ongoing editorial process.
AUTHORS GUIDELINES The submission template is available at: http://mixsustentavel.paginas.ufsc.br/submissoes/. All articles must be submitted without the authors’ identification for the review process.
REQUIREMENTS FOR SUBMISSION As part of the submission process, authors are required to verify compliance of the submission with respect to all items listed below. Submissions that do not conform to the standards will be returned to the authors. The contribution must be original and unpublished, and should not be evaluated for publication by another journal; otherwise, it should be justified in “Comments to the editor”. The submission file must be in Microsoft Word, OpenOice or RTF format. URLs for references should be reported in references. The text should be with simple space; use a 12-point font; use italic instead of underlining (except URL addresses); the figures and tables must be inserted in the text and not in the end of the document in the form of attachments. Send all figures and images separately in good resolution. The text should follow the style standards and bibliographic requirements described in Authors Guidelines on page: http://mixsustentavel.paginas.ufsc.br/submissoes
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
PRIVACY POLICY The names and addresses informed in this journal are used exclusively for the purposes of publication and are not made available to third parties.
EDITORS, EDITORIAL EDITORING TEAM
BOARD
AND
The editors are PhD professors at the Federal University of Santa Catarina and leaders of the VirtuHab Research Group. They are linked to the CTC - Technological Center, through the Department of Architecture and Urbanism and Postgraduate Program in Architecture and Urbanism - PosARQ and the CCE - Communication and Expression Center, through the Department of Graphic Expression, Design Course. The current Editorial Board is composed of eleven researchers, three of them linked to UFSC - Federal University of Santa Catarina and the other belonging to eight other Institutions, namely: UFPR, UFPE, UNISINOS, SENAI, UDESC, UNISUL, UNESP e UFRJ. Thus, eighty-two percent (82%) of the members belong to different institutions of the publisher. The publishing counts with the support of masters and doctoral students of the Graduate Program in Architecture and Urbanism - PosARQ / UFSC, members of the Virtuhab Research Group. The graphic works are carried out by students of the UFSC design course. The journal reviewers body is composed of forty-eight doctorate professors whose knowledge is distributed throughout the areas of coverage of the journal. Of these, eight are UFSC research professors (17%) and the other eighty-three percent (83%) belong to the 24 other Brazilian institutions and 3 foreign institutions.
EDITION COMPOSITION CRITERIA The editorial board defined a maximum limit of participation for authors belonging to the editorial board. This limit shall not exceed, for any edition, the percentage of thirty percent (30%) of authors coming from UFSC. Thus, at least seventy percent of the authors will be external to the publishing entity.
Mix Sustentรกvel | Florianรณpolis | v.3 | n.4 | p.1-198 | nov. | 2017
SOBRE O PERIÓDICO MIX SUSTENTÁVEL de uma racionalidade mais ampla, que extrapola o pensamento estritamente disciplinar e sua metodologia de compartimentação e redução de objetos. Se o pensamento disciplinar, por um lado, confere avanços à ciência e tecnologia, por outro, os desdobramentos oriundos dos diversos campos do conhecimento são geradores de diferentes níveis de complexidade e requerem diálogos mais amplos, entre e além das disciplinas. A Revista Mix Sustentável se insere, portanto, na Área Interdisciplinar (área 45), tendo como áreas do conhecimento secundárias a Arquitetura, Urbanismo e Design (área 29), a Engenharia Civil (área 10) e, ainda, as engenharias em geral. O periódico está dividido em seções, quais sejam: a) Seção científica – contendo pelo menos 12 artigos científicos para socializar a produção acadêmica, buscando a valorização da pesquisa, do ensino e da extensão. b) Seção graduação, iniciação científica e pós-graduação: divulgação de Teses, Dissertações e Trabalhos de Conclusão de Curso na forma de resumos expandidos e como forma de estimular a divulgação de trabalhos acadêmico-científicos voltados ao projeto para a sustentabilidade. c) Seção mercadológica: espaço para Resenhas e Entrevistas (Espaços de Diálogo). Apresenta entrevistas com profissionais atuantes no mercado, mostrando projetos práticos que tenham aplicações na esfera da sustentabilidade. Deverá ainda disponibilizar conversas com especialistas em sustentabilidade e/ou outros campos do saber.
CLASSIFICAÇÃO QUALIS Na classificação QUALIS/Capes 2015, a revista Mix Sustentável foi avaliada com: B5 nas áreas: Arquitetura e Urbanismo; Engenharias I, Engenharias III e Ciências Ambientais. B4 na área: Administração Pública e de Empresas, Ciências Contábeis e Turismo.
MISSÃO Publicar resultados de pesquisas e projetos, de forma virtual e impressa, com enfoque no tema sustentabilidade, buscando a disseminação do conhecimento e a troca de informações entre acadêmicos, profissionais e pesquisadores da área vinculados a programas de pós-graduação.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
PORTUGUÊS
O Periódico Mix Sustentável nasceu da premissa de que o projeto englobando os preceitos da sustentabilidade é a única solução possível para que ocorra a união entre a filosofia da melhoria contínua com a necessidade cada vez maior de preservação dos recursos naturais e incremento na qualidade de vida do homem. A sustentabilidade carece de uma discussão profunda para difundir pesquisas e ações da comunidade acadêmica, que tem criado tecnologias menos degradantes na dimensão ambiental; mais econômicas e que ajudam a demover injustiças sociais a muito estabelecidas. O periódico Mix Sustentável apresenta como proposta a publicação de resultados de pesquisas e projetos, de forma virtual e impressa, com enfoque no tema sustentabilidade. Buscando a troca de informações entre pesquisadores da área vinculados a programas de pós-graduação, abre espaço, ainda, para a divulgação de profissionais inseridos no mercado de trabalho, além de entrevistas com pesquisadores nacionais e estrangeiros. Além disso publica resumos de teses, dissertações e trabalhos de conclusão de curso defendidos, tendo em vista a importância da produção projetual e não apenas textual. De cunho essencialmente interdisciplinar, a Mix tem como público-alvo pesquisadores e profissionais da Arquitetura e Urbanismo, Design e Engenharias. De acordo com a CAPES (2013), a área Interdisciplinar no contexto da pós-graduação, decorreu da necessidade de solucionar novos problemas que emergem no mundo contemporâneo, de diferentes naturezas e com variados níveis de complexidade, muitas vezes decorrentes do próprio avanço dos conhecimentos científicos e tecnológicos. A natureza complexa de tais problemas requer diálogos não só entre disciplinas próximas, dentro da mesma área do conhecimento, mas entre disciplinas de áreas diferentes, bem como entre saberes disciplinares e não disciplinares. Decorre daí a relevância de novas formas de produção de conhecimento e formação de recursos humanos, que assumam como objeto de investigação fenômenos que se colocam entre fronteiras disciplinares. Desafios teóricos e metodológicos se apresentam para diferentes campos de saber. Novas formas de produção produção de conhecimento enriquecem e ampliam o campo das ciências pela exigência da incorporação
OBJETIVO Disseminar o conhecimento sobre sustentabilidade aplicada à projetos de engenharia, arquitetura e design.
POLÍTICAS DE SEÇÃO E SUBMISSÃO a) Seção Científica Contém artigos científicos para socializar a produção acadêmica buscando a valorização da pesquisa, do ensino e da extensão. Reúne 12 artigos científicos que apresentam o inter-relacionamento do tema sustentabilidade em projetos de forma interdisciplinar, englobando as áreas do design, engenharia e arquitetura. As submissões são realizadas em fluxo contínuo em processo de revisão por pares. A revista é indexada em sumários.org e no google acadêmico.
b) Seção Resumo de Trabalhos de Conclusão de Curso de Graduação, Iniciação Científica e Pós-graduação Tem como objetivo a divulgação de Teses, Dissertações e Trabalhos de Conclusão de Curso na forma de resumos expandidos e como forma de estimular a divulgação de trabalhos acadêmico-científicos voltados ao projeto para a sustentabilidade.
c) Seção Mercadológica É um espaço para resenhas e entrevistas (espaços de diálogo). Apresenta pelo menos duas entrevistas com profissionais atuantes no mercado ou pesquisadores de renome, mostrando projetos práticos que tenham aplicações na esfera da sustentabilidade. Deverá ainda disponibilizar conversas com especialistas em sustentabilidade e/ ou outros campos do saber. Todas os números possuem o Editorial, um espaço reservado para a apresentação das edições e comunicação com os editores.
PORTUGUÊS
PROCESSO DE AVALIAÇÃO PELOS PARES A revista conta com um grupo de avaliadores especialistas no tema da sustentabilidade, doutores em suas áreas de atuação. São 48 revisores, oriundos de 21 instituições de ensino Brasileiras e 3 Instituições Internacionais. Os originais serão submetidos à avaliação e aprovação dos avaliadores (dupla e cega). Os trabalhos são enviados para avaliação sem identificação de autoria. A avaliação consiste na emissão de pareceres, da seguinte forma:
- aprovado - aprovado com modificações (a aprovação dependerá da realização das correções solicitadas) - reprovado
PERIODICIDADE Publicação Semestral com edições especiais. São publicadas duas edições regulares nos períodos de Outubro a Março e posteriormente de Abril a Setembro. Conta ainda com pelo menos uma edição especial anual.
POLÍTICA DE ACESSO LIVRE Esta revista oferece acesso livre imediato ao seu conteúdo, seguindo o princípio de que disponibilizar gratuitamente o conhecimento científico ao público proporciona maior democratização mundial do conhecimento.
ARQUIVAMENTO Esta revista utiliza o sistema LOCKSS para criar um sistema de arquivo distribuído entre as bibliotecas participantes e permite às mesmas criar arquivos permanentes da revista para a preservação e restauração.
ACESSO O Acesso pode ser feito pelos endereços: http://mixsustentavel.paginas.ufsc.br/ ou diretamente na plataforma SEER/OJS em: ttp://www.nexos.ufsc.br/index.php/mixsustentavel/. É necessário acessar a página de cadastro, fazer o seu cadastro no sistema. Posteriormente o acesso, é realizado por meio de login e senha, de forma obrigatória para a submissão de trabalhos, bem como para acompanhamento do processo editorial em curso.
DIRETRIZES PARA AUTORES O template para submissão está disponível em: http://mixsustentavel.paginas.ufsc.br/submissoes/. Todos os artigos devem ser submetidos sem a identificação dos autores para o processo de revisão.
CONDIÇÕES PARA SUBMISSÃO Como parte do processo de submissão, os autores são obrigados a verificar a conformidade da submissão em relação a todos os itens listados a seguir. As submissões que não estiverem de acordo com as normas serão devolvidas aos autores. A contribuição deve ser original e inédita, e não estar sendo avaliada para publicação por outra revista; caso contrário, deve-se justificar em “Comentários ao editor”. O arquivo da submissão deve estar em formato Microsoft Word, OpenOffice ou RTF.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
As URLs para as referências devem ser informadas nas referências. O texto deve está em espaço simples; usa uma fonte de 12 pontos; emprega itálico em vez de sublinhado (exceto em endereços URL); as figuras e tabelas estão inseridas no texto, não no final do documento na forma de anexos. Envie separadamente todas as figuras e imagens em boa resolução. O texto segue os padrões de estilo e requisitos bibliográficos descritos em Diretrizes para Autores e na página http://mixsustentavel.paginas.ufsc.br/submissoes/.
edição, o percentual de trinta por cento (30%) de autores oriundos da UFSC. Assim, pelo menos setenta por cento dos autores serão externos a entidade editora.
POLÍTICA DE PRIVACIDADE Os nomes e endereços informados nesta revista serão usados exclusivamente para os serviços prestados por esta publicação, não sendo disponibilizados para outras finalidades ou a terceiros.
EDITORES, CONSELHO EQUIPE DE EDITORAÇÃO
EDITORIAL
E
Os editores são professores doutores da Universidade Federal de Santa Catarina e líderes do Grupo de Pesquisa VirtuHab. Estão ligados ao CTC – Centro Tecnológico, através do Departamento de Arquitetura e Urbanismo e Programa de Pós-graduação em Arquitetura e Urbanismo – PósARQ e ao CCE – Centro de Comunicação e Expressão, através do Departamento de Expressão Gráfica, Curso de Design. O Conselho Editorial atual é composto por onze pesquisadores, três deles vinculados à UFSC – Universidade Federal de Santa Catarina e os demais pertencentes a outras oito Instituições à saber: UFPR, UFPE, UNISINOS, SENAI, UDESC, UNISUL, UNESP e UFRJ. Desta forma, oitenta e dois por cento (82%) dos membros pertencem a instituições diferentes que não a editora. A editoração conta com o apoio de mestrandos e doutorandos do Programa de Pós-graduação em Arquitetura e Urbanismo – PósARQ/ UFSC, membros do Grupo de Pesquisa Virtuhab. Os trabalhos gráficos são realizados por estudantes do curso de design da UFSC. O corpo de revisores do periódico é composto por quarenta e oito professores doutores cujos saberes estão distribuídos pelas áreas de abrangência do periódico. Destes, oito são professores pesquisadores da UFSC (17%) e o restante, oitenta e três por cento (83 %) pertencem ao quadro de outras 24 instituições Brasileiras e 3 instituições estrangeiras.
CRITÉRIOS DE COMPOSIÇÃO DA EDIÇÃO
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
PORTUGUÊS
O conselho editorial definiu um limite máximo de participação para autores pertencentes ao quadro da instituição editora. Esse limite não excederá, para qualquer
FLORIANร POLIS VIRTUHAB | CCE | CTC
ISSN (IMPRESSA) 2447-0899 ISSN (ONLINE) 2447-3073
Mix Sustentรกvel | Florianรณpolis | v.3 | n.4 | p.1-198 | nov. | 2017
COPYRIGHT INFORMATION/INFORMAÇÕES DE DIREITO AUTORAL This work is licensed under a Creative Commons Attribution 4.0 International License.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
SUMARY/SUMÁRIO ARTICLES/ARTIGOS
21
DISTRIBUTED ECONOMIES THROUGH OPEN DESIGN AND DIGITAL MANUFACTURING Iana Uliana Perez (UFPR) Aguinaldo dos Santos, Dr. (UFPR)
29
BIOMIMETICS ECO MATERIALS, AN EFFICIENT WAY TO SUSTAINABILITY ECOMATERIAIS BIOMIMÉTICOS, UM CAMINHO EFICIENTE PARA A SUSTENTABILIDADE Theska Soares, M.Sc. (UFPE) Amilton Arruda, PhD (UFPE)
47
MUTIRÃO IN COB HOUSES BUILDING PROCESS: ADVANTAGES AND LIMITATIONS O MUTIRÃO NO PROCESSO CONSTRUTIVO DE CASAS DE BARRO: VANTAGENS E LIMITAÇÕES Juliano Moreira Coimbra (UFPEL)
63
STRATEGIES TO PROMOTE SUSTAINABLE BEHAVIOUR IN RELATION TO WATER USE: PROPOSALS AND CLASSIFICATIONS ESTRATÉGIAS PARA PROMOVER COMPORTAMENTOS SUSTENTÁVEIS EM RELAÇÃO AO USO DE ÁGUA: PROPOSTAS E CLASSIFICAÇÕES Luis Oliveira, Dr. (University of Warwick) Andrea Franco Pereira, Dra. (UFMG) Marilia Lyra Bergamo, Dra. (UFMG)
85
DESIGN AND ART PROMOTING SOCIALLY RESPONSIBLE RECYCLING: THE ANALYSIS OF A COLLABORATIVE ACTION TO SUPPORT WASTE PICKERS IN NEW YORK CITY Silvia Resende Xavier, M.Sc. (Parsons The New School for Design) Luciana dos Santos Duarte, M.Sc. (UFMG)
93
THE NATURAL DYES EXTRACTED IN SÃO JOÃO DE CÔRTES, ALCÂNTARA, MARANHÃO: AN APPROACH ORIENTED TO SUSTAINABLE DESIGN OS CORANTES NATURAIS EXTRAÍDOS EM SÃO JOÃO DE CÔRTES, ALCÂNTARA, MARANHÃO: UMA ABORDAGEM ORIENTADA PARA O DESIGN SUSTENTÁVEL Cláudia do Rosário Matos Nogueira, (UFMA) Raquel Gomes Noronha, PhD (UFMA) Denilson Moreira Santos, PhD (UFMA)
FOR SOCIAL INNOVATION BETWEEN 109 DESIGN UNIVERSITY AND THE BROADER SOCIETY: A MUTUAL LEARNING PROCESS
Carla Cipolla, Dra. (UFRJ) Bibiana de Oliveira Serpa, M.Sc. (UERJ) Rita Afonso, Dra. (UFRJ)
REGIONAL AND ORGANIC 119 COOPERATIVISM, PRODUCTS: THE DESIGN PERSPECTIVE FOR THE
VALORIZATION OF THE BRAZILIAN FOOD SECTOR
COOPERATIVISMO, PRODUTOS REGIONAIS E ORGÂNICOS: A PERSPECTIVA DO DESIGN PARA A VALORIZAÇÃO DO SETOR ALIMENTÍCIO BRASILEIRO Victória Carolina Pinheiro Lopes Dias (UEMG) Daniel de Souza Gamarano (UEMG) Davi Neiva Alves (UEMG)
APPROACHES TO ENGAGE 135 DESIGN-BASED YOUTH IN THE TRANSITION TO SUSTAINABILITY ABORDAGENS DE DESIGN PARA ENGAJAR OS JOVENS NA TRANSIÇÃO PARA SUSTENTABILIDADE Najla Mouchrek, PhD (Virginia Tech)
PRODUCT SERVICE SYSTEMS 149 SUSTAINABLE DESIGN: TOOLS FOR STRATEGIC ANALYSIS Aguinaldo dos Santos, Dr. (UFPR) Naotake Fukushima, M.Sc. (UFPR)
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
FASHION STRATEGIES: A 157 SUSTAINABLE STUDY APPLIED TO THE DEVELOPMENT OF CLOTHING PRODUCTS
ESTRATÉGIAS SUSTENTÁVEIS DE MODA: UM ESTUDO APLICADO AO DESENVOLVIMENTO DE PRODUTOS DE VESTUÁRIO Larissa Aparecida Wachholz (UEM) Eliane Pinheiro, M.Sc. (UEM)
AND SOCIAL INNOVATION: RESEARCH ON 173 DESIGN THE INTERACTIONS BETWEEN SOCIAL ACTORS AND
FINAL PAPERS/TCCs OF PERVIOUS CONCRETE 195 PERFORMANCE REINFORCED WITH POLYPROPYLENE FIBERS Jorge Luiz Almeida Mussado, Eng. (UEL) Berenice Martins Toralles, Dra. (UEL) Gersson F. B. Sandoval, PhD Student (UEL)
OBJECTS DESIGNED IN EMANCIPATOR PROCESS TO GENERATE AUTONOMOUS KNOWLEDGE IN DESIGN
Beany Guimarães Monteiro, Dra. (UFRJ)
INTERVIEWS/ENTREVISTAS COM: 179 ENTREVISTA SHARMISTHA BANERJEE COM: 185 ENTREVISTA EPHIAS RUHODE
THESES/TESES PERCEPTION AS A TOOL FOR THE 187 CONSUMER STRATEGIC DEVELOPMENT OF ECOLOGICALLYORIENTED PRODUCTS
Thamyres Oliveira Clementino, (UFPE); Amilton José Vieira de Arruda, PhD.
DISSERTATIONS/DISSERTAÇÕES ON PRODUCT DEVELOPMENT 189 CROWD-DESIGN IN BUSINESS Alexandre Antonio de Oliveira, M.Sc. (UFPR) Aguinaldo dos Santos, PhD. (UFPR)
OBSOLESCENCE, CONSUMER 191 PLANNED PRACTICES AND DESIGN: A SURVEY ON CONSUMER GOODS
Denise Dantas, Dra. (FAU - USP) Lia Assumpção (FAU - USP)
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
EDITORIAL TWO YEARS OF MIX SUSTENTÁVEL This edition of the Sustainable Mix is special. Doubly special! Firstly because it brings updated versions of the best articles originally presented in SBDS (Brazilian Symposium on Sustainable Design) and ISSD (International Symposium on Sustainable Design). Secondly because this is the first bilingual edition (Portuguese and English) of our periodical. This new format, with internationalization goals, we intend to carry out with regularity. The scientific community continually deals with statistics. In sustainability it is no different and their studies have subsidized the emergence of a new science - the science of sustainability, which must also consider the qualitative issues. Almost every day, if we keep up to date, new data is released on issues that deeply impact us, whether as researchers or as citizens of planet Earth. It is up to us to filter this data, using the mildest among the pessimists and the least exaggerated among the optimists. Thomas Robert Malthus, an Anglican demographer and pastor, later consecrated economist and criticized for his pessimistic view in proposing a mathematical model for predicting population growth, as early as 1798 warned of the dangers of the disparity between the exponential increase in population and the arithmetical increase of production of food, anticipating a catastrophic future for English workers because of food shortages. This study was published in its first edition, anonymously with the title An Essay on the Principle of Population as it Affects the Future Improvement of Society, with Remarks on the Speculation of Mr. Godwin, Mr. Condorcet, and Other Writers among other publications with similar content as Population: The First Essay in 1959. Malthus' studies proved to be misleading over the years, as his theory dismissed a number of variables as food production technology and was widely criticized for being biased and discriminatory. It erred on both sides, both in predicting population growth based on US estimates and predicting food production capacity in England by disregarding the impact of technological developments. In counterpoint we bring to light, from Greek mythology, the Cornucopia. The cornucopia was represented by a horn, a horn from which fruits and food came out (left image). This horn-shaped vessel can be seen supported
by several gods as Thêmis, one of the images representing justice (figure on the right). It brings the symbolism with the meaning of abundance, of abundance and had its origin established by two stories. In the versions of these stories, associated with the birth of the Greek god Zeus, there always appears a goat that either feeds the boy or his horn serves as a place to store fruit and flowers to satisfy the hunger of the infant. The mother of Zeus, Rhea, to hide him from the voracity of his father Cronus, leaves the baby in the care of others who use the services of the goat in one form or another. Also called the horn of Amalthea or Amalthea (name of the goddess owner of the goat or name of the goat itself, depending on the version of the story) the artifact came to represent an inexhaustible source of resources. From the myth comes the symbol, which gives the name to a group of researchers who believe in science, technology and human capacity to overcome the constraints imposed by nature, in an always positive and extremely optimistic view - the cornucopians - within the vision of technocracy This group includes researchers who deny the existence of the environmental crisis and the limits to growth (like Adam Smith in the classic The Wealth of Nations).
The fact is that as Sustainability Science researchers we have to balance the pessimistic and optimistic visions, quantitative and qualitative variables, complexity and reductionism, global and local, taking care not to overlap distinct realities in the obstinate search for data and results , generalizing what is specific or specifying what is general.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
We learned in the gym to work with quantitative and qualitative variables. For a long time the engineering work practically ignored the qualitative variables. On the other hand, in architectural and design works they relegated the quantitative variables to a second plane. As issues related to sustainability, especially its known three dimensions (economic, social and environmental) become the object of research, the need for balance is perceived, and the research in the area begins to consider the quantitative and qualitative variables in the search representative results and full of meanings. However statistics remains a science that demands accountability. Its results can be manipulated: 20% environmental improvement in a region of 100,000 inhabitants may seem fantastic to the general public, and can be used, for example, to conceal a 0.5% increase in pollution in a region of 10 million people. The articles of this issue were presented at a sustainability event. The importance of these events grows every day, because only with the exchange of knowledge and mutual help will we be able to give the answer that our problems demand. What can we do, from the environmental point of view, with a chair, a building, a bridge or a car when its useful life ends? And what to do so that the life of the planet does not end? The usual answers like recycling, reuse, reuse, among others. are nothing new. These actions are obviously important and necessary, and they are part of the policy of continuous improvement that has been incorporated into every successful human action for some time. However, these actions are being adopted as palliatives, only delaying the final result. Population growth, accelerated urbanization, deforestation, pollution of the sea, soil, air, global changes in our climate, growing need for energy generation, food production, housing, clothing, utensils, among others, are problems that must be solved in their origin, that is, in the project. This is why the Sustainable Mix has this focus. In the same way we can mention the ENSUS event, which was the forerunner of the magazine. Both, event and magazine, are innovative actions, which aim to fill a gap between the periodicals and events, providing a space for discussion of the theme of sustainability with the main focus being the project. In explaining this, we often realize that little can be done on the theme of "sustainability" with respect to the paradox complexity versus reductionism. There is no way today to separate the environmental, social, and economic question of projectual. At the moment of designing,
we are invariably projecting both the amount of energy that will be expended, the amount of by-products that will be generated, the social and financial implications in the regions where the raw materials will be extracted for manufacturing, as well as where the products will be marketed. In this edition a broad spectrum of articles that demonstrate this paradox well with its diversity of subjects: distributed economy, biomimetics, construction with earth, water use, recycling, natural dyes, collaborative learning, cooperativism, motivation strategies for sustainability, product systems -services, sustainable fashion design and social innovation. An attentive reading of the articles of this edition will mark this, where one can perceive the diversity of themes, geographical regions and the formation of the researchers gathered here. We wish you a good reading. Lisiane Ilha Librelotto and Paulo CĂŠsar Ferroli
Mix SustentĂĄvel | FlorianĂłpolis | v.3 | n.4 | p.1-198 | nov. | 2017
EDITORIAL DOIS ANOS DE MIX SUSTENTÁVEL
O fato é que, como pesquisadores da Ciência da Sustentabilidade temos que equilibrar as visões pessimistas e otimistas, variáveis quantitativas e qualitativas, a complexidade e o reducionismo, o global e o local,
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
PORTUGUÊS
Essa edição da Mix Sustentável é especial. Duplamente especial! Primeiro porque traz versões atualizadas dos melhores artigos originalmente apresentados no SBDS (Simpósio Brasileiro de Design Sustentável) e ISSD (International Symposium on Sustainable Design). Segundo porque esta é a primeira edição bilíngue (português e inglês) de nosso periódico. Este novo formato, com objetivos de internacionalização, pretendemos levar adiante com regularidade. A comunidade científica lida continuamente com a estatística. Na sustentabilidade não é diferente e seus estudos tem subsidiado o surgimento de uma nova ciência – a ciência da sustentabilidade, que também deve considerar as questões qualitativas. Quase todo dia, se nos mantivermos atualizados, novos dados são divulgados sobre questões que nos impactam profundamente, seja como pesquisadores, seja como cidadãos do planeta Terra. Cabe a nós filtrarmos esses dados, utilizando dos mais brandos entre os pessimistas e dos menos exagerados dentre os otimistas. Thomas Robert Malthus, demógrafo e pastor anglicano, posteriormente consagrado economista e criticado pela sua visão pessimista ao propor um modelo matemático para previsão do crescimento demográfico, já em 1798 alertava para os perigos da disparidade entre o aumento exponencial da população e o aumento aritmético da produção de alimentos, antevendo um futuro catastrófico para os trabalhadores ingleses pela escassez de alimentos. Este estudo foi publicado, em sua primeira edição, anonimamente com o título An Essay on the Principle of Population as it Affects the Future Improvement of Society, with Remarks on the Speculation of Mr. Godwin, Mr. Condorcet, and Other Writers entre outras publicações com o teor semelhante como Population: The First Essay em 1959. Os estudos de Malthus mostraram-se equivocados com o passar dos anos, pois sua teoria desconsiderou uma série de variáveis como a tecnologia de produção de alimentos e foi muito criticada por ser tendenciosa e discriminatória. Errou em ambos os lados, tanto na previsão do crescimento da população baseando-se em estimativas americanas quanto na previsão da capacidade de produção de alimentos na Inglaterra pela desconsideração do impacto da evolução tecnológica.
Em contraponto trazemos à luz, a partir da mitologia grega, a Cornucópia. A cornucópia era representada por um chifre, um corno de onde saiam frutas e alimentos (imagem da esquerda). Este vaso em forma de chifre pode ser visto sustentado por diversos deuses como Têmis, uma das imagens que representa a justiça (figura da direita). Traz a simbologia com o significado de fartura, de abundância e teve sua origem estabelecida por duas histórias. Nas versões destas histórias, associadas ao nascimento do deus grego Zeus, sempre surge uma cabra que ou alimenta o menino ou seu chifre serve de local para deposito de frutas e flores para saciar a fome do infante. A mãe de Zeus, Réia, pra escondê-lo da voracidade de Cronos seu pai, deixa o bebé aos cuidados de outros que utilizam dos serviços da cabra de uma forma ou de outra. Também denominado de chifre de Amaltéia ou Amalthea (nome da Deusa dona da cabra ou nome da própria cabra, conforme a versão da história) o artefato passou a representar uma fonte inesgotável de recursos. Do mito surge o símbolo, que dá nome para um grupo de pesquisadores que acredita na ciência, na tecnologia e na capacidade do ser humano em superar as restrições impostas pela natureza, numa visão sempre positiva e extremamente otimista – os cornucopianos – dentro da visão da tecnocracia. Fazem parte deste grupo pesquisadores que negam a existência da crise ambiental e dos limites para o crescimento (a exemplo de Adam Smith no clássico A Riqueza das Nações).
PORTUGUÊS
cuidando para não sobrepor realidades distintas na busca obstinada por dados e resultados, generalizando o que é especifico ou especificando o que é geral. Aprendemos na academia a trabalhar com variáveis quantitativas e qualitativas. Durante muito tempo os trabalhos de engenharia praticamente ignoraram as variáveis qualitativas. Por outro lado, em trabalhos de arquitetura e design relegaram as variáveis quantitativas a um segundo plano. À medida que a questões referentes à sustentabilidade, especialmente suas conhecidas três dimensões (econômica, social e ambiental) passam a ser objeto de pesquisa, percebe-se a necessidade do equilíbrio e as pesquisas na área passam a considerar as variáveis quantitativas e qualitativas na busca de resultados representativos e repletos de significados. No entanto a estatística continua sendo uma ciência que exige responsabilidade. Seus resultados podem ser manipulados: 20% de melhoria ambiental em uma região de 100.000 habitantes podem parecer fantásticos para o grande público, e podem ser usados, por exemplo, para esconder 0,5% de aumento na poluição em uma região de 10 milhões de pessoas. Os artigos desta edição foram apresentados em um evento de sustentabilidade. A importância destes eventos cresce a cada dia, pois somente com a troca de conhecimentos e ajuda mútua conseguiremos dar a resposta de que nossos problemas exigem. O que podemos fazer, do ponto de vista ambiental, com uma cadeira, uma edificação, uma ponte ou um carro quando sua vida útil termina? E o que fazer para que a vida útil do planeta não termine? As respostas usuais como reciclagem, reaproveitamento, reuso, entre outras. não são mais novidade. Essas ações são, obviamente, importantes e necessárias, e fazem parte da política de melhoria contínua que já há algum tempo foi incorporada em toda ação humana de sucesso. Entretanto estas ações estão sendo adotadas como paliativas, apenas retardando o resultado final. O crescimento demográfico, a urbanização acelerada, desmatamento, poluição do mar, do solo, do ar, as alterações globais de nosso clima, a necessidade crescente de geração de energia, da produção de alimentos, de moradia, vestuário, utensílios, entre outros, são problemas que devem ser resolvidos em sua origem, ou seja, no projeto. É por isso que a Mix Sustentável tem esse foco. Da mesma forma pode-se citar o evento ENSUS, que foi precursor da revista. Ambos, evento e revista, são ações inovadoras, que objetam preencher uma lacuna existente entre os periódicos e eventos, proporcionando um espaço para discussão do tema sustentabilidade tendo por foco principal o projeto.
Ao explicar isso, muitas vezes percebemos que pouco ainda pode ser feito sobre o tema “sustentabilidade” no que se refere ao paradoxo complexidade versus reducionismo. Não há nos dias de hoje como separar a questão ambiental, social e econômica da projetual. No momento em que se está projetando, invariavelmente está-se projetando também o tanto de energia que será gasto, a quantidade de subprodutos que serão gerados, as implicações sociais e financeiras nas regiões onde serão extraídas as matérias-primas para a fabricação, bem como nas regiões onde os produtos serão comercializados. Nesta edição um amplo espectro de artigos que demonstram bem este paradoxo com sua diversidade de temas: economia distribuída, biomimética, construção com terra, uso da água, reciclagem, corantes naturais, aprendizagem colaborativa, cooperativismo, estratégias de motivação para a sustentabilidade, sistemas produto-serviços, design de moda sustentável e inovação social. Uma leitura atenta aos artigos desta edição chancela isso, onde se percebe a diversidade dos temas, de regiões geográficas e de formação dos pesquisadores aqui reunidos. Desejamos uma boa leitura. Lisiane Ilha Librelotto e Paulo César Ferroli
Mix Sustentável | Florianópolis | v.3 | n.4 | p.1-198 | nov. | 2017
ARTICLES
DISTRIBUTED ECONOMIES THROUGH OPEN DESIGN AND DIGITAL MANUFACTURING ECONOMIAS DISTRIBUÍDAS POR MEIO DO OPEN DESIGN E DA FABRICAÇÃO DIGITAL Iana Uliana Perez (UFPR) Aguinaldo dos Santos, Dr. (UFPR) Key Words Clothing Sector; Design for Sustainability; Fashion Design
Palavras Chave Setor de Vestuário; Design para Sustentabilidade; Design de Moda
ABSTRACT The purpose of this paper is 1) to analyze the potential digital manufacturing technologies and open design have to achieve a distributed economy and 2) to identify the limits and possibilities of digital manufacturing and open design in relation to the principles of Design for Sustainability applied to the clothing sector. The method used was bibliographic review. This paper emphasizes the benefits of distributed economies on attending design for sustainability principles. Then, it discusses the relation between open design and digital manufacturing with distributed economies. We argue that open design and digital manufacturing have the potential to reduce the impacts caused by the clothing sector, but we emphasize that both strategies per se do not lead to a more sustainable scenario.
RESUMO O objetivo deste artigo é 1) analisar o potencial das tecnologias de fabricação digital e do open design para alcançar uma economia distribuída e 2) identificar os limites e as possibilidades da fabricação digital e do open design em relação aos princípios de Design para Sustentabilidade aplicados ao setor de vestuário. O método utilizado foi a revisão bibliográfica. Este artigo enfatiza os benefícios das economias distribuídas no atendimento dos princípios do Design para Sustentabilidade. Em seguida, discute a relação entre open design e fabricação digital com economias distribuídas. Argumenta-se que o open design e a fabricação digital têm o potencial de reduzir os impactos causados pelo setor de vestuário, mas enfatiza-se que ambas as estratégias, por si só, não conduzem a um cenário mais sustentável.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
21
Distributed economies through open design and digital manufacturing
1. INTRODUCTION
22
According to several authors (e.g. FLETCHER and GROSE 2011; NIINIMÄKI and HASSI 2011; HIRSCHER 2013b; HIRSCHER and FUAD-LUKE 2013), the clothing sector currently adopts approaches to sustainability which focus on specific and limited issues, without sufficiently questioning the current production system. Although these contributions are important to reduce impacts, it is necessary to adopt systemic solutions (SANTOS 2009; PEREZ and SANTOS 2016). It is also important to consider not only the principles of the environmental dimension of sustainability, but also those of the socio-ethical and economic dimensions, in order to adopt a holistic approach to sustainability (VEZZOLI 2010; GWILT 2014). Clark (2008) presents an approach with the potential to promote systemic changes in the clothing sector and reduce impacts on the three sustainability dimensions: distributed economies. According to the author, this is a global-local approach that can be leveraged by the internet, which allows users, producers and designers to be directly connected, making the production system more transparent and creating opportunities for collaboration among the various actors. Two strategies for adopting this approach are open design and digital manufacturing. The term “open design” was first used in 1999 through the establishment of the Open Design Foundation (ABEL et al. 2011; INSTITUTO FABER-LUDENS 2012). Although the origin of the open design practice is much older than that, the concept itself emerged from the open source software movement (BALKA et al. 2009; TROXLER 2011; NEVES and ROSSI 2011; INSTITUTO FABER-LUDENS 2012). Open Design Foundation defines open design as the “design whose creators allow its free distribution and documentation, as well as modifications and derivations” (OPEN DESIGN FOUNDATION 2000; ABEL et al. 2011; INSTITUTO FABER-LUDENS 2012, p. 27, our translation). Its main objective is to allow users to be involved in the development process. For this, open design projects provide “all the necessary information for anyone to be able to manufacture an object”, which enables local and customized production (NEVES and ROSSI 2011; CABEZA et al. 2015, p. 9, our translation). The materialization of open design products can occur through digital manufacturing technologies. The term “digital manufacturing” refers to processes that use computer controlled machines descended from the numerically controlled milling machine created in 1952 at the Massachusetts Institute of Technology (MIT)
(GERSHLENFELD 2012). Digital manufacturing technologies are computer numeric control (CNC) machines capable of interpreting CAD files, translating them into coordinates for the object manufacturing (NEVES 2014). Currently, digital manufacturing technology has been exploited for personal manufacturing. This reveals its potential for local on-demand production and for product customization, combining technology with artisanal production (BALKA et al. 2009; NEVES and ROSSI 2011; TROXLER 2011; ANDERSON 2012; GERSHENFELD 2012). As Gershenfeld (2012) points out, the goal “is not to make what you can buy in stores but to make what you cannot buy”. The aim of this article is to analyze the potential of digital manufacturing technologies and open design to achieve a distributed economy, based on parameters of the environmental, social and economic dimensions of Design for Sustainability. Through this analysis, we intend to identify the limits and possibilities of digital manufacturing and open design in relation to the principles of Design for Sustainability applied to the clothing sector. The research method adopted was qualitative and exploratory basic research, whose delineation was the bibliographic review. We consulted books, journal articles, conference proceedings, technical reports, theses and dissertations that addressed clothing sector, design for sustainability, distributed economies, open design and/ or digital manufacturing. We also carried out a systematic search on the “Portal de Periódicos da CAPES” database.
2. DISTRIBUTED ECONOMIES 2.1 The distributed economies concept According to Vezzoli (2012, p. 41, our translation), several authors point out distributed economies as a “favorable economic model to unite the ethical-social dimensions with the environmental dimensions of sustainability”. The LeNSin project (2016, p. 5) defines distributed economies as follows: small-scale production units (structure), at or near the point of use, where the users are the producers – whether individuals, small businesses and/or local communities. These production units could be standalone or could be connected to each other through a network to share various forms of resources (physical and/ or knowledge-based ones; e.g. to share the energy surplus).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
Iana Uliana Perez e Aguinaldo dos Santos
A distributed economic system differs from centralized and decentralized systems (Figure 1). The centralized system is characterized by large productive units that deliver their products through large distribution networks, usually distant from the point of use. The decentralized system is composed of small production units that deliver their goods to users (LeNSin, 2016). Figure 01 - Centralized, decentralized and distributed systems
benefits of this model to some of the design for sustainability principles (Table 1). Table 01: Distributed economy contributions to sustainability
DESIGN FOR SUSTAINTABILITY
DISTRIBUTED ECONOMIES
PRINCIPLES
BENEFITS
ENVIRONMENTAL DIMENSION Reduces transport between the Minimizing resource use
production sites and the point of use of the product
Optimizing product lifespan
Prioritizes quality over productive efficiency
SOCIO-ETHICAL DIMENSION Approaches different actors, Improving working conditions
favoring the supervision of working conditions.
Increasing equity and fairness in Source: adapted from LeNSin (2016) and Menichinelli (2016)
relation to actors
Allows local community to have greater power over productive means Opens the processes of innova-
The model currently adopted in the fashion industry is centralized, as it is composed of large-scale production units and large distribution networks with global reach. This model is characterized by fast fashion, which focuses on the low cost of production and strategies of constantly updating the apparel design (SALCEDO 2014; TANJI 2016). To ensure the low cost, production is large-scale and displaced from the consumption points and the regions where products are designed (RISSARDI 2015, TANJI 2016). This centralized economic model has several impacts, pointed out by Johansson et al. (2005) and Vezzoli (2012): • transport over long distances; • distance between consumers and producers, causing consumers to be unaware of the environmental and social impacts of production, while producers face difficulties in meeting the true needs of consumers; • vulnerability and inflexibility to respond to a rapid demand for change; • outsourcing to countries with low production costs; • compromised quality to keep prices low; • diversity limitation of regional economic activities; • weakening of local cultural identities. The productive system of the fast fashion model presents all these characteristics, which shows the need for distributed approaches for the clothing sector. Based on the literature review, it is possible to relate the direct
Empowering / promoting sustainable and responsible consumption
tion and product development for the participation of external actors, allowing individuals to become aware of social and environmental issues.
Promoting social cohesion
Provides collaboration between actors
Strengthening / valuing local
Uses and values local resources,
resources
both human and cultural ECONOMIC DIMENSION
Strengthening and valuing local
Uses and enhances local materi-
material resources
al resources
Valuing waste reintegration
Allows the use of local waste
Respecting and valuing local culture Promoting network organization Promoting local economy
Promotes diversity Allows local productive units to network with each other Promotes local small-scale production Allows greater flexibility to
Being competitive
respond to a rapid demand for change
Source: based on Johansson et al. (2005), Clark (2008), Manzini and Vezzoli (2008), Vezzoli (2010, 2012), Ertekin and Atik (2015)
The LeNSin project (2016) presents a classification of distributed economies, we highlight, for this publication,
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
23
Distributed economies through open design and digital manufacturing
Distributed Production of products (DP) and Distributed Design (DD), which are discussed below.
2.2 Distributed production
24
design
and
distributed
The LeNSin project (2016, p. 8) defines a distributed design system as “an open design project where small-scale design units (e.g. one person/computer), whether individuals, small businesses and/or local communities, are connected with others”. According to the project, open innovation, crowd-design and open design approaches are related to distributed design. There is no consensus about the relationship between open design, open innovation and crowd-design (ESTELLÉS-AROLAS and GONZÁLEZ-LADRÓN-DEGUEVARA 2012). In this work, crowd-design is considered as an open innovation modality, more specifically distributed co-creation, based on Avital (2011), Bauwens et al. (2012), Trentini et al. (2012), Mesacasa, Kistmann and Schmid (2015). Crowd-design may or may not be related to open design. The central idea of distributed design is that a number of networked actors can participate in the product development process. This connection is driven by the development and popularization of the internet and communication technologies, which allows the rapid sharing of ideas and design blueprints (TROXLER 2011; MENICHINELLI 2016). From the perspective of open design, Kostakis et al. (2015, 2016) propose the concept of “design global, manufacture local”, which refers to processes in which design is developed globally, through sharing and improving ideas and design blueprints, while the manufacturing processes occur locally. Open design, therefore, is a distributed design approach that can favor distributed production. Avital (2011) reinforces this. According to him, the users, geographically distributed, are the main actors, because they engage in manufacturing of open design artifacts. A distributed production system is defined by the LeNSin project (2016, p. 7) as follows: “small-scale production units, at or near the point of use, where the users are the producers – whether individuals, small businesses and/or a local community.” According to Kohtala (2015), distributed production represents a change in consumption and production patterns. In this approach, users have a greater ability to affect what is produced, either through personalization or through personal manufacturing (KOHTALA 2015; RAUCH et al. 2016). One of the distributed production characteristics most emphasized by researchers is the possibility for the
user to personalize the products by digital means and to influence what is produced, characteristics that indicate an approximation between distributed production and co-creation (Ibidem). Therefore, open design is an approach that can be related to both distributed design and production. One approach to distributed production is the use of digital manufacturing technologies, which facilitate on-demand production (KOSTAKIS et al. 2015, 2016; RAUCH et al. 2016). It is understood that open design and digital manufacturing technologies are strategies that can complement each other when open design blueprints are used to materialize artifacts through digital manufacturing in a distributed production context (NEVES and ROSSI 2011; CABEZA et al. 2014, 2015). Figure 2 summarizes the relationship proposed by this paper between open design and other approaches of distributed design and between open design and distributed production, with emphasis on digital manufacturing strategies. Figure 02 - Relationship between open design and digital manufacuring with DD and DP
Source: Own (2017)
The goal of design blueprints sharing, in open design, is the artifact production, which occurs locally in a distributed way, feature that can be enhanced by the use of digital manufacturing technologies (BALKA et al. 2009; AVITAL 2011, BAUWENS et al., 2012; INSTITUTO FABERLUDENS 2012). As Gershenfeld (2012) reinforces, it is the ability to globally distribute digital project files and then manufacture products locally, on demand, using digital manufacturing technologies, that brings revolutionary implications for the industry.
3. OPEN DESIGN SUSTAINABILITY
IMPLICATIONS
FOR
A question pointed by most of the consulted authors (e.g. NIINIMÄKI and HASSI 2011; INSTITUTO FABER-LUDENS
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
Iana Uliana Perez e Aguinaldo dos Santos
2012; HIRSCHER 2013; HIRSCHER and FUAD-LUKE 2013; FERRONATO and FRANZATO 2015; HIRSCHER and NORONHA 2015; KOHTALA 2015) is the possibility of extending the product life cycle due to the emotional connection that the user establishes with the artifact when it is customized or when the user is involved with its development process. Some authors (e.g. NIINIMÄKI and HASSI 2011; KOHTALA 2015; STRIEN and PONT, 2016) also argue that adopting a modular design approach, together with open design, contributes to the extension of the product life cycle because it facilitates their disassembly, allowing parts to be changed when worn or when the user wants to modify the clothing. However, there is no way to be sure whether open design actually extends the product life cycle and consequently reduces consumption (NIINIMÄKI and HASSI 2011; KOHTALA 2015). If the user does not have good experience with the development process, if there is a failure in the clothing production or if the process is very complicated, there is a possibility that the effect is the opposite and the product will have a reduced life cycle (HIRSCHER 2013). If, in fact, open design provides emotional connection between users and their products, this may actually have side effects. This may compromise the adoption of intensified product use strategies such as sharing and reuse (KOHTALA 2015). Another issue is the possibility of an unsustainable proliferation of artifacts due to the democratization of design and production processes (RICHARDSON 2015). Open design, therefore, does not imply in itself a decrease in environmental impact. Therefore, it is necessary to consider the design for sustainability principles from the planning of an open design project, in order to help users to behave more sustainably (NIINIMÄKI and HASSI 2011; THACKARA 2011; RICHARDSON 2015). Regarding this last point, it is important to consider that, if the garment is manufactured by the users themselves, they will have control over this stage and its impacts, which include the selection of materials, cutting and reuse of waste. To assist the user, one can plan the product and its instructions in order to reduce possible impacts and guide the user in the decision-making process. Although some issues need attention, open design as a distributed economy strategy can present the same benefits to sustainability of this approach. Furthermore, as the design process is documented and disseminated, as well as design blueprints, open design also enables more sustainable solutions to be improved or replicated
by others, increasing their potential for impact mitigation (KOSTAKIS et al. 2015).
4. DIGITAL MANUFACTURING IMPLICATIONS FOR SUSTAINABILITY Digital manufacturing technologies allow an on demand production, eliminating possible leftover stock (NIINIMÄKI and HASSI 2011; STRIEN and PONT 2016). Anderson (2012) emphasizes that with these technologies, it is possible to produce single products or small lots without being overtaxed for exclusivity, since there is no need to re-adjust the manufacturing structure for this product. On the other hand, mass production is still favored by traditional technologies, which allow economies of scale (ANDERSON 2012; BARROS and SILVEIRA 2015). However, some issues should be considered with regard to sustainability. Kohtala (2015) points out that personal production may lead to individuals becoming increasingly exposed to materials and processes whose toxicity is not yet known. She also points out that the production of new types of artifacts may compromise their suitability to current recycling systems. Kohtala and Hyysalo (2015) add that sustainability is not a goal in itself in makerspaces. According to the authors, the most considered aspects currently are repair, reduction, reuse and recycling of materials, power supply, electricity consumption and more sustainable materials. Users’ commitment to sustainability, therefore, is a fundamental issue. Technological approaches have limited effectiveness to reducing impacts, as they need to be accompanied by behavioral changes to ensure the long-term sustainability of new technologies (RICHARDSON 2015). Neves (2014, p. 49, our translation) emphasizes that digital manufacturing technologies can not be perceived as an end in itself. Their greatest potential is the creativity that is allowed to emerge. According to the author, “machines, when isolated, will continue to produce copies of what is already done in today’s industry.” It is therefore necessary to value the individuals behind the digital manufacturing and their use of it.
CONCLUSION Distributed economies are an approach able to attain design for sustainability principles. It is relevant especially for the clothing sector, whose production system is centralized and presents several social and environmental impacts. Open design and digital manufacturing, as argued in this paper, are distributed economy strategies related to
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
25
Distributed economies through open design and digital manufacturing
distributed design and production that can be adopted by the clothing sector. They have the potential to reduce the impacts caused by this sector, but both strategies in themselves do not lead to a more sustainable scenario, since they can lead to rebound effect or have impacts not yet considered. Therefore, it is necessary to consider and employ the design for sustainability principles from the beginning of an open design and digital manufacturing project, in order to explore all their potential to achieve environmental, socio-ethical and economic sustainability. For future works, it will be of particular interest a practical research with the application of open design and digital manufacturing technologies to clothing development. This kind of research would be important to explore how to address design for sustainability principles into open design and digital manufacturing clothing projects.
ACKNOWLEDGMENTS The research presented on this paper is supported by CAPES Foundation and is a result of a partnership with the LeNSin project, supported by ERASMUS+.
REFERENCES 26
ABEL, B. van; EVERS, L.; KLAASSEN, R. Preface. In: ABEL, B. van Abel; Klaassen, R.; Evers, L.; Troxler, P. (Eds.). Open Design Now: Why Design Cannot Remain Exclusive. Amsterdam, BIS publishers, 2011. Avaiable at: <http:// opendesignnow.org/index.html?p=38.html>. Acessed 19 November. 2016. ANDERSON, C. Makers: a nova revolução industrial. Translated by SERRA, A. C. C. Rio de Janeiro, Elsevier, 2012. Original title: Makers - the new industrial revolution. AVITAL, M. The generative bedrock of open design. In: ABEL, B. van; KLAASSEN, Roel; EVERS, Lucas; TROXLER, Peter (Eds.). Open Design Now: why design cannot remain exclusive. Amsterdam, BIS publishers, 2011. Available at: <http://opendesignnow.org/index.html?p=405.html>. Acessed 19 November 2017. BALKA, K.; RAASCH, C.; HERSTATT, C. Open source enters the world of atoms: a statistical analysis of open design. First Monday, 14 (11), 2009. BARROS, A. M. DE; SILVEIRA, N. S. A FÁBRICA MÍNIMA: tecnologias digitais para a produção local e customizada de artefatos físicos. Estudos em Design, Rio de Janeiro, 23 (1), pp. 61–73, 2015.
BAUWENS, M. et al. Synthetic overview of the collaborative economy. Amsterdam, P2P Foundation, 2012. Technical report. CABEZA, E. U. R; MOURA, M.; ROSSI, D. Design aberto: prática projetual para a transformação social. Strategic Design Research Journal, São Leopoldo, 7(2), pp. 56–65, 2014. CABEZA, E. U. R.; ROSSI, D. C.; MOURA, M. Ecossistema Open Design. In: CONFERENCE ON INTEGRATION OF DESIGN, ENGINEERING AND MANAGEMENT FOR INNOVATION, 4., 2015, Florianópolis. CLARK, H. Slow + fashion - an oxymoron - or a promise for the future...? Fashion Theory, 12(4), pp. 427–446, 2008. ERTEKIN, Z. O.; ATIK, D. Sustainable Markets: Motivating Factors, Barriers, and Remedies for Mobilization of Slow Fashion. Journal of Macromarketing, 1(1), pp. 53–69, 2015. ESTELLÉS-AROLAS, E.; GONZÁLEZ-LADRÓN-DEGUEVARA, F. Towards an integrated crowdsourcing definition. Journal of Information Science, 38(2), pp. 189–200, 2012. FERRONATO, P. B.; FRANZATO, C. Open Design e Slow Fashion para a Sustentabilidade do Sistema Moda. Modapalavra E-periódico, Florianópolis, year 9, special edition, pp. 104–115, 2015. FLETCHER, K.; GROSE, L. Moda & sustentabilidade: design para a mudança. Translated by MARCOANTONIO, Janaína. São Paulo, Editora Senac São Paulo, 2011. Original title: Fashion & sustainability: design for change. GERSHENFELD, N. How to Make Almost Anything: The Digital Fabrication Revolution. Foreign Affairs, Tampa, November/December 2012. Available at: <https:// www.foreignaffairs.com/articles/2012-09-27/how-makealmost-anything>. Acessed 19 November 2016. GWILT, A. Moda sustentável: um guia prático. Translated by LONGARÇO, M. São Paulo, Gustavo Gili, 2014. Original title: A practical guide to sustainable fashion. HIRSCHER, A.-L. Fashion Activism Evaluation and Application of Fashion Activism Strategies to
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
Iana Uliana Perez e Aguinaldo dos Santos
Ease Transition Towards Sustainable Consumption Behaviour. Research Journal of Textile and Apparel, 17(1), pp. 23–38, 2013.
P2P, diffuse, distributed and decentralized systems. Disegno – The Journal of Design Culture, 3( 1–2), pp. 44– 71, 2016.
____; FUAD-LUKE, Alastair. Open participatory designing for an alternative fashion economy. In: NIINIMÄKI, K. (Ed.). Sustainable fashion: new approaches. Helsinki, Aalto University, 2013. pp. 174-197.
MESACASA, A.; KISTMANN, V. S. DE C. B.; SCHMID, A. L. Inovação aberta como possibilidade de diversificação de agentes de cooperação junto aos processos de inovação na indústria do vestuário. Modapalavra E-periódico, Florianópolis, 8(16), pp. 145–162, 2015.
______; NORONHA, J. V. Open Ends: on Chance and Attachment in Clothing Design. In: MAKING RESEARCH, RESEARCH MAKING CONFERENCE, 2015, Aarhus, Dinamarca. INSTITUTO FABER-LUDENS. Design Livre. São Paulo, Clube dos Autores, 2012. JOHANSSON, A.; KISCH, P.; MIRATA, M. Distributed economies - A new engine for innovation. Journal of Cleaner Production, 13(10–11), pp. 971–979, 2005. KOHTALA, C. Addressing sustainability in research on distributed production: An integrated literature review. Journal of Cleaner Production, 106, pp. 654–668, 2015. ______; HYYSALO, S. Anticipated environmental sustainability of personal fabrication. Journal of Cleaner Production, 99, pp. 333–344, 2015. KOSTAKIS, Vasilis; NIAROS, Vasilis; DAFERMOS, George; BAUWENS, Michel. Design global, manufacture local: Exploring the contours of an emerging productive model. Futures, 73, pp. 126–135, 2015. KOSTAKIS, Vasilis; LATOUFIS, Kostas; LIAROKAPIS, Minas; BAUWENS, Michel. The convergence of digital commons with local manufacturing from a degrowth perspective: two illustrative cases. Journal of Cleaner Production, in press, pp. 1–10, 2016. LeNSin – INTERNATIONAL LEARNING NETWORK ON SUSTAINABILITY. The LeNSin research hypothesis: the design of S.PSS applied to DE: win-win offer model for a sustainable development for all. Milan, Politecnico di Milano - Design dept, 2016. Reserach report. MENICHINELLI, M. A framework for understanding the possible intersections of design with open,
NEVES, H.; ROSSI, D. Open Design. In: CONGRESSO BRASILEIRO DE GESTÃO DE DESENVOLVIMENTO DE PRODUTO, 8, 2011, Porto Alegre. NEVES, H. Maker Innovation: do Open Design e Fab Labs ... às estratégias inspiradas no movimento Maker. 261 pages. Thesis (PhD in Architecture and Urbanism) Faculdade de Arquitetura e Urbanismo, Universidade de São Paulo, 2014. NIINIMÄKI, K.; HASSI, L. Emerging design strategies in sustainable production and consumption of textiles and clothing. Journal of Cleaner Production, 19(16), pp. 1876–1883, 2011. OPEN DESIGN FOUNDATION. The Open Design Definition. V. 0.2. 2000. Available at: <http://www. opendesign.org/odd.html>. Acessed 06 February 2017. PEREZ, I.; SANTOS, A. Lacunas de pesquisa em design de moda para a sustentabilidade em sua dimensão ambiental. In: CONGRESSO BRASILEIRO DE PESQUISA E DESENVOLVIMENTO EM DESIGN, 12., 2016, Belo Horizonte. Blucher Design Proceedings. São Paulo: Editora Blucher, 2016. pp. 1987-1998. RAUCH, E.; DALLASEGA, P.; MATT, D. T. Sustainable production in emerging markets through Distributed Manufacturing Systems (DMS). Journal of Cleaner Production, 135, pp. 127–138, 2016. RICHARDSON, M. Pre-hacked: Open Design and the democratisation of product development. New Media and Society, 18(4), pp. 653–666, 2015. RISSARDI, L. O poder da moda: cenários, desafios e perspectivas. São Paulo, Associação Brasileira da Indústria Têxtil e de Confecção, 2015. Technical report.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
27
Distributed economies through open design and digital manufacturing
SALCEDO, E. Moda ética para um future sustentável. Translated by FRACALOSSI, Denis. São Paulo, Gustavo Gili, 2014. Original title: Moda ética para un futuro sostenible. SANTOS, A. Níveis de maturidade do design sustentável na dimensão ambiental. In: MORAES, Dijon de; KRUCKEN, Lia (Org.). Design e sustentabilidade. Barbacena, EdUEMG, pp. 13-26, 2009. STRIEN, M. Van; PONT, V. de. Open Source Fashion Manifesto. Rotterdam, Het Nieuwe Instituut, 2016. TANJI, T. Escravos da moda: os bastidores nada bonitos da indústria fashion. Galileu, 23 June 2016. Available at: <http://revistagalileu.globo.com/Revista/noticia/2016/06/escravos-da-moda-os-bastidores-nada-bonitos-da-industria-fashion.html>. Acessed 15 February 2017. THACKARA, J. Into the open. In: ABEL, B. van Abel; Klaassen, R.; Evers, L.; Troxler, P. (Eds.). Open Design Now: Why Design Cannot Remain Exclusive. Amsterdam, BIS publishers, 2011. Available at: <http://opendesignnow. org/index.html?p=403.html>. Acessed 19 November 2016.
28
TRENTINI, A.; FURTADO, I.; DERGINT, Dario Eduardo Amaral; REIS, Dalcio Roberto dos; CARVALHO, Helio Gomes. Inovação Aberta e Inovação Distribuída, Modelos Diferentes de Inovação? Open Innovation and Distributed Innovation Differents Models of Innovation? Estratégia & Negócios, Florianópolis, 5(1), pp. 88–109, 2012. TROXLER, P. Libraries of the Peer Production Era. In: ABEL, B. van Abel; Klaassen, R.; Evers, L.; Troxler, P. (Eds.). Open Design Now: Why Design Cannot Remain Exclusive. Amsterdam, BIS publishers, 2011. Available at: <http:// opendesignnow.org/index.html?p=411.html>. Acessed 19 November 2016. VEZZOLI, C. Design de sistemas para a sustentabilidade: teoria, métodos e ferramentas para o design sustentável de “sistemas de satisfação”. Translated by: REGO, M. A. Salvador, EDUFBA, 2010. ______. Design e sistema de inovação para a sustentabilidade. In: DE CARLI, Ana Mery Sehbe; VENZON, Bernardete Lenita Susin (Org.). Moda, sustentabilidade e emergências. Caxias do Sul, Educs, pp. 23-66, 2012.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.21-28 | nov. | 2017
ARTICLES
BIOMIMETICS ECO MATERIALS, AN EFFICIENT WAY TO SUSTAINABILITY ECOMATERIAIS BIOMIMÉTICOS, UM CAMINHO EFICIENTE PARA A SUSTENTABILIDADE Theska Soares, M.Sc. (UFPE) Amilton Arruda, PhD (UFPE) Key Words Biomimicry; Eco Materials; Design; Sustainability
Palavras Chave Biomimética; Ecomateriais; Design; Sustentabilidade
ABSTRACT This paper aims to demonstrate how Biomimicry collaborates in the creation of new eco-efficient and innovative materials through the analysis of some examples, such as the hydrophobic and self-cleaning materials based on the Lotus plant, giving rise to paints and coatings that do not They do not wet or get dirty; Hydrodynamic materials based on the skin of the shark that gave rise to tissues that diminish the friction and increase the performance of swimming athletes; Adhesive materials based on the gecko gowns, which allow super adhering surfaces of carpet fastening without the need for glues; Water abstraction materials based Namibian beetle, that enable products such as Warka Water to store water from atmospheric air in regions of scarcity; And finally, self-cleaning and de-polluting materials based on the photosynthesis of the leaves, which allow the coating of constructive modules on facades capable of helping to decontaminate high-flow pathways of cars. This approach highlights the use of nature as a source of inspiration for the creation of these new materials and demonstrates the great potential for their application in Design and Architecture projects, evidenced in these examples that are in great harmony with the sustainability scenario.
RESUMO Este artigo tem o intuito de demonstrar como a Biomimética colabora na criação de novos materiais eco-eficientes e inovadores através da análise de alguns exemplos, tais como: os materiais hidrofóbicos e autolimpantes baseados na planta Lótus, dando origem a tintas e revestimentos que não se molham nem se sujam; materiais hidrodinâmicos baseados na pele do tubarão que deram origem a tecidos que diminuem o atrito e aumentam o desempenho de atletas de natação; materiais aderentes baseados nas batas da lagartixa, que possibilitam superfícies super aderentes de fixação de carpete sem necessidade de colas; materiais para captação de água baseados no besouro da Namíbia, que possibilitam produtos como o Warka Water capaz de armazenar água do ar atmosférico em regiões de escassez; e por fim, materiais despoluentes e autolimpantes baseado na fotossíntese das folhas, que permitem o revestimento de módulos construtivos em fachadas capaz de ajudar a despoluir vias de grande fluxo de passagem de carros. Tal enfoque coloca em evidência a utilização da natureza como fonte de inspiração para criação destes novos materiais e demonstra o grande potencial de aplicação destes em projetos de Design e Arquitetura, evidenciados nestes exemplos que estão em grande consonância com o cenário de sustentabilidade.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
29
Biomimetics eco materials, an efficient way to sustainability
1. INTRODUCTION
30
2. BIOMIMICRY AND ECO MATERIALS
Throughout the history of Humanity, it is possible to verify the application of biological solutions in different periods, and in many areas such as science, technology, architecture, art, design, engineering, medicine, as well as material engineering, among other areas. This inspiration in nature has generated a growing number of inventions that have made possible many innovations and resources over time. To get an idea of the learning potential with this multitude of organisms in nature, Benyus (1997) recalls that it is enough to observe the incredible feats of: bioluminescent algae, which combine substances to supply their organic lanterns; Fish, and frogs of Arctic regions that freeze and re-emerge into life without ice damage to their organs; Brown bears that hibernate in whole winters without being poisoned with their own urea; Polar bears that protect themselves from the cold through a layer of transparent hairs that function like the glazing of a greenhouse; Bees, turtles and birds that move without maps; Whales and penguins that plunge to the bottom of the waters without diving equipment; Dragonflies that exceed the maneuverability of the best helicopters; Ants that can carry the equivalent of hundreds of pounds; Hummingbirds that cross the Gulf of Mexico with the equivalent of 3ml of fuel, etc. Although all this knowledge has existed throughout the evolution of life on Earth, only a small portion of this has been seized, and a great part of it is still unknown and neglected to be unleashed. Through a focused look at nature’s solutions, there are a variety of good examples of eco-efficiency, through organisms that build without much waste of materials and energy, and which still coexist in harmony with the biosphere. To Evidence of this new way of perceiving nature is quite different from the idea of exploration to which man is generally associated. Therefore, observing how nature operates in the creation of its species, be they plants, animals or minerals, it is possible to transpose this same method in the development of products, systems, constructions and even services, because the “criteria” observed in living beings, can serve as a basis for the development of more efficient solutions. (BENYUS, 1997) Some recent research on the universe of Biomimetics has generated knowledge and new materials that are based on analogies with the natural world and are being applied to innovative products, as will be shown in the example of Lotusan ink, FastSkin fabric, Prossolve370e constructional modules, in the TacTiles adhesive modules, in the water capture screen of the Warka project.
A great enthusiast and disseminator of these strategies today is the biologist and American researcher Janine Benyus, who for almost 20 years have sought to spread the principles of Biomimicry, defined by her as a new science that studies the models, principles and processes of Nature and imitate or inspire them to solve human problems. (BENYUS, 1997) Although using Nature as a reference for creations is not something new, just remember the inventions of Leonardo da Vinci, the Art Noveau movement, or even the architectural inspirations of Gaudí. Throughout history, many are the cases of inspiration in nature, since the beginning, man has always observed and learned from it. But during this process of “evolution” of knowledge, technological development and financial systems, this learning became more and more distant reality and gave way to a more devastating action, the exploration, and this has triggered a series of other problems that interfere not only in the well-being of man, but in that of the whole ecosystem, which is included and dependent on it. Manzini and Vezzoli (2002) point to environmental education as a pillar of sustainable development, as it contributes to integrate humanity into the environment and awakens in individuals and organized social groups the desire to participate in the construction of their citizenship. The good news is that recently, many voices have joined in this cause of rescuing this conscious look for the genius of life, seeking parsimony in the use of resources and being inspired by nature for its innovations. As Benyus (1997) would say, it is the rediscovery and liberation of a forgotten source that gives rise to new hopes about problems that were previously considered insoluble. This context has many relationships with the production of eco materials, as seen in the investigations developed by the School of Architecture of Barcelona of the International University of Catalunia, which has produced a series of researches focused on the issue of eco materials under the tutelage of the architect Ignasi Perez Arnal. In his book: “Eco Productos, en la arquitectura y el deseo” he outlines the 10 items that allow a good framing of the problem of eco materials: (ARNAL, SAUER et al., 2008) • CO² Absorbent Material: The choice of a material that actively participates in solving one of the most complicated current problems. Global warming mitigation is the best choice that construction can make to the environment.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Theska Soares e Amilton Arruda
• Sustainable Material: Using raw materials that nature offers us inexhaustible means not conditioning the future of the planet’s reserves. • Recyclable Materials: The destination of a recyclable material found in the reuse does not end up in the landfill. • Recycled Material: It avoids the contamination and the energy consumption necessary for the new manufacture of the same material, consequently reduces the amount of waste. • Compositional Purity: The rawer materials are used in the same product, the more complicated its separation and recycling becomes. • Embedded energy: In addition to the initial energy costs (extraction, transportation, manufacturing ...), it is important to understand the energy dependence of the material throughout its life cycle (thermal inertia; maintenance, ruptures and wear; possibility of being recycled or reused). • Degree of Industrialization: Just very small scale projects justify the use of a handcrafted material that requires a lot of labor and the intensive use of resources at work (water and energy). In all other projects, it is necessary to use industrial materials where there is a controlled consumption of resources and energy. • Healthy materials: Avoid the use of products that could affect the health of the manufacturer, the user and the worker in the recycling process. Particularly in the case of toxic or carcinogenic particles. • Maintenance requirements: Low maintenance materials promote user comfort and reduce the use of paints, lubricants and varnishes. • Ecologically certified materials: Few materials are certified to ensure a good use of resources, and those that have it deserve a privileged treatment.
3. BIOMIMICRY IN THE GENERATION OF NEW MATERIALS AND THEIR EXAMPLES OF SUSTAINABLE DESIGN Soares (2016) highlights the most recurrent types of analogy with the natural world used in the process of Biomimicry, where the easiest to understand is the Morphological Analogy, defined by Bonsiepe (1982) as the experimental search of elaborated models of the translation of structural characteristics and formal to transpose into projects. Thus, this type of analogy seeks to study and analyze why the natural form, the interrelations of its geometry, observing and understanding its textures, shape characteristics, parts and components, details of some
part at the macro or microscopic level, as well as for its structural forms. In this sense, Versos (2010) provides a good example of Morphological Analogy with the Shinkansen-Bullet Train developed by engineer Eiji Nakatsu (Figure 1). The project has as reference the shape of the elongated beak of the Martim-Fisherman bird, which facilitates the diving without splashing water in search of his meal. In order to solve one of the great problems of the bullet train, which was the vibration and the noise, the engineer sought inspiration in the shape of this bird’s beak, resulting in a significant improvement with gain of 10% faster, consuming 15% less energy, and reducing the air pressure by 30% compared to the previous model. Figure 1: SHINKANSEN (Japan), the world’s fastest high-speed bullet train, redesigned based on the beak of a Martin-Fisherman bird.
31
Source: Soares, 2016
Functional Analogy, however, seeks to study the functioning of the natural physical and mechanical system; Tries to understand which functions play both in the whole, and in its parts and components, in which the functional attributes, specific (non-morphological) qualities that can mimic the natural structure analyzed, are evidenced, since natural organisms have developed complex and highly adaptable, one can identify these functional aptitudes and apply them to artificial artifacts. While morphological analogies are limited, functionally they can be multiple. (SOARES, 2016)
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Biomimetics eco materials, an efficient way to sustainability
So, much research has been generated through partnerships with biology departments to acquire information specific to the natural world, an example is the work of Liua & Jiang (2011), which presents in Table 1 the functions of some living organisms that can guide the generation of ideas for the solution of design problems by analogy in design. The great advantage of Functional Analogy is that the identification of these functions allows the application of the strategy found in more than one type of artifact, generating more solutions of the same study. Some examples of biomimetic eco materials and their respective references to the natural world will be presented below.
This functional analogy generated some materials, applied commercially in products such as Lotusan ink (Figure 2) and also through sprays (BASF Lotus Spray) for the textile, wood and glass industries, simulating the same effect of the plant. In paint, when creating micro ridges, it repels water, self-cleaning and resisting stains for decades. Thus, despite the replication of these microstructures, the generated artifacts do not refer to the shape of the leaves themselves, but to the identified function of hydrophobia and self-cleaning. (VERSOS, 2010) Figure 2: LOTUSAN (Germany), water-repellent and stain resistant ink, inspired by the microstructures of lotus leaves.
Table 1: Table of natural organisms and their respective functions.
32
Source: Soares, 2016
3.1 Hydrophobic and self-cleaning eco materials In the study of the Lotus plant, the researcher Barthlott identified the functions of water repellency and self-cleaning of their surfaces. This happens due to the angle formed by its micro and waxy nanostructures, which prevent contact with the water, causing it to roll and form drops that collect the dirt along the way. Through this, it has been found that nanoscale rough surfaces are more hydrophobic than smoother surfaces. In the Lotus leaf, the actual contact area is only 2-3% of the surface of the drops.
Source: Soares, 2016
3.2 Hydrodynamic eco materials Another example of eco material came from shark skin scales research, responsible for the performance of their agility in the water. According to experts, water slides through the micro grooves of the animal’s skin
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Theska Soares e Amilton Arruda
reducing friction. The result of this study gave rise to a fabric called Fastskin (from the company Speedo), now used in swimming apparel of the Olympic champions (Figure 3). The texture of these garments is based on the “denticles” of the shark’s skin. This format the advantages of passive resistance reduction by about 4% and also of muscle vibration, increasing the speed and performance of athletes. (VERSOS, 2010) In sharks, these micro-scales also prevent small crustaceans and algae from being attached, an inspiration for synthetic coatings that can be applied to ship hulls in order to reduce friction, saving energy and also this biological inconvenience that causes maintenance, which proves Once again that the functional analogy can generate application in several artifacts and is not limited only in the form of the investigated animal, but in the function that has been identified and that one wishes to replicate. Figure 3: FASTSKIN (Speedo), swimsuit for swimming competition that mimics the hydrodynamic efficiency function of the shark skin, resulting in reduced friction and consequent speed increase.
3.3 Adhesive eco materials Another example of a biomimetic eco material is the paw of the gecko. An intriguing feature of this animal is its effortless walking on walls and ceilings. This is due to the extraordinary adhesion function found in the hairs of their paws, caused by the intermolecular force found in the micro and nanopoles that bind the molecules of these to the molecules of the surface on which they rest, allowing them to stick even on smooth surfaces such as glass. (Figure 4) From this study, the company Interface created the TacTiles, an adhesive material that is used in a carpet installation system that uses these glue-free adhesive connectors to attach instead of gluing to the floor. Other applications are used as stickers for smartphones, allowing adhesion on glass and car panels, for example. Figure 4: TacTiles, adhesive material resulting from the study of the adhesion function of the paw of the gecko.
33
Source: SOARES, 2016
3.4 Eco materias for abstraction of water
Source: Soares, 2016
Another example, this time, inspired by the beetle of the desert or Namibiam beetle, an insect investigated by Andrew Parker (2001), University of Oxford, UK. The insect captures the water from the air through the pores of its shell, when the humid air passes through its protrusions and microscopic grooves, condense and are channeled towards its mouth, an adaptive feature that allows the survival of the same in the desert. This functional analogy
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Biomimetics eco materials, an efficient way to sustainability
34
is being transferred to various materials and artifact solutions, one of which is produced by QinetiQ in the United Kingdom where it developed a plastic film to collect water, mimicking the beetle shell, useful for capturing water in areas rich in mist. (FORNIÉS, 2012) A similar application of this same study was developed by the Italian architects Arturo Vittori and Andreas Vogler of the studio Architecture and Vision, called Warka Water. It is an incredible tower made of natural materials designed to collect moisture from the air by condensation and thus deposit the water in a container, capable of capturing about 100 liters of water per day (Figure 5). As air always contains a certain amount of water, regardless of the ambient temperature and the humidity condition, the design makes it possible to produce almost anywhere. The project website indicates that there are many biomimetic inspirations, such as the Namibian beetle already commented on, the leaves of the lotus flower, the spider web threads and the integrated system of collecting haze in cacti. All this has been translated into specific materials and coatings that can improve dew condensation and water flow as well as improve the storage capacity of the mesh. Another cited biological reference that influenced the external design of the product, improving the air flow, were the termite hives. Its structure is mainly based on bamboo, natural fiber strings and an inner lining that is a mesh made from recycled plastic with beetle technology to pick up the dew droplets that flow into a basin inside the tower. The bamboo braid provides lightness, strength and stability and is joined with metal and hemp pins. At the upper extremities are small mirrors that keep the birds away and do not contaminate the water. The whole structure is modular, composed of 5 parts, measures about 10 meters and weighs 60 kilos. It can be built from scratch by 10 people in 10 days or, if only the assembly with the pieces ready, in up to 2h by 10 people, without the need of scaffolding and with their own hands. It costs on average $ 1000. In addition to the more obvious benefits, the project incorporates local culture and vernacular architecture through traditional Ethiopian weaving techniques in the product. In addition to improving the living conditions of these people, it was also designed to create shade, a social space that generates public meetings of education and social interaction among community residents, an analogy also to the native tree of the region, symbolically much (The fig tree) which in the local African language is called Warka.
The project was first presented at the Venice Architecture Biennale in 2012 and is targeted at rural populations in developing countries where the infrastructure to provide access to safe drinking water is very precarious. Figure 5: Warka Water Project for water collection based on the Namibian beetle.
Source: Soares, 2016
3.5 De-polluting and self-cleaning materials This last example presents the modular architectural system for facades Prosolve370e, which can effectively reduce air pollution in cities. The system consists of modules that are coated with a super-thin layer of titanium dioxide (TiO²), a pollution-fighting technology that is activated by sunlight, a material known as pigment because of its self-cleansing and germicidal qualities. Small amounts of UV light and natural moisture to effectively reduce air pollutants in harmless amounts of carbon dioxide and water, breaking down and neutralizing the nitrogen oxides and volatile organic compounds in the environment. It can be used for various purposes, including clothing. (SOARES, 2016) In architecture, the german office Elegant Embellishments used the Prossolve370e on the facade of a new hospital in 2013, called Manuel Gea Gonzales Specialty Tower, in Mexico City. The facade has an area of
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Theska Soares e Amilton Arruda
2500m² with 100m in length and is helping to reduce an estimated pollution of 1000 cars per day. (Figure 6) The reference in the cellular pattern is clear on its configuration, although the company informs that it shapes refer to the pattern of organic growth inspired by fractals in nature. The fact is that these organic forms are not only aesthetically attractive, they are translated into an efficiency gain because their undulations maximize the surface area of the active coating to diffuse light, air turbulence and pollution, ie, they maximize the coating technology since surface complexity helps in capturing omnidirectional light where it is dense or scarce. (SOARES, 2016) The system is composed of only two replicate modules and their parts can be adapted to the needs of the project (sizes and formats). For the hospital, these parts were produced in a thermoforming fabric in Ulm/ Germany, where a 1: 1 scale prototype provided a pre-set-up time prior to assembly. The material used was thermoformed ABS plastic, joined with standard steel fasteners. Structural engineering was done by Buro Happold New York and the project’s technical consultant is the professor of physics at Duke University, Joshua Socolar. (SOARES, 2016) The modularity of the system allows complex architectural forms to be more accessible, since it facilitates the fabrication and assembly. As decoration, they have potential for indoor or outdoor use; Regeneration of aged or modernist facades; Being well indicated for parking lots, hospitals, buildings in general and especially places where there is great flow of car and pollution. Outside this hospital, the project has already expanded to several other countries, due to its great potential for use and innovation. (SOARES, 2016)
Figure 6: Prosolve370e modular system applied to the facade of the Manuel Gea Gonzales Hospital by the company Elegant Embellishments.
35
Source: SOARES, 2016
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Biomimetics eco materials, an efficient way to sustainability
4. CONCLUSION
36
The issue of ecomaterias goes beyond recycling and reuse. In the examples shown, has identified new materials based on the strategies of Nature that always promote an efficiency of resources and energy for their creations. In this way, biomimetics aims to collaborate so that more sustainable materials are produced in order to be applied in the creation of products more efficient for human activities while not damaging the ecosystem. To achieve this goal there are no quick answers or instant solutions. The reformulation of the linear production process into a circular model is achieved by the joining together of numerous and diversified efforts and it is therefore important to disseminate new paths such as those proposed by biomimicry to realize that in the midst of the current complexity there is a range of possibilities and potential solutions for materials within this biomimetic context. Analyzes of hydrophobic and self-cleaning materials based on the Lotus plant, which gave rise to paints and coatings that do not get wet or dirty; The hydrodynamic materials based on the shark’s skin, which gave rise to tissues that decrease friction and increase the performance of swimming athletes; Adhesive materials based on the gecko gowns, which allow super adhering surfaces of carpet fastening without the need for glues; Water abstraction materials based Namibian beetle, that enable products such as Warka Water to store water from atmospheric air in regions of scarcity; And finally, self-cleaning and de-polluting materials based on the photosynthesis of the leaves, which allow the coating of constructive modules on facades capable of helping to decontaminate high-flow pathways of cars, are just some of the beautiful examples that take up the hopes in a world with intelligent and eco-efficient materials that contribute to the fact that the Design can promote the resolution of problems in the world.
BONSIEPE, G. Diseño industrial. Madri: Alberto Corazón Editor, 1978. FORNIÉS, I. L. Modelo metodológico de Diseño conceptual con enfoque biomimético. 2012. 319p. Tese (Doutorado) – Universidad de Zaragoza, Zaragoza/España, Escuela de Ingeniería y Arquitectura, Departamento de Ingeniería de Diseño y Fabricación. LIUA, K., JIANG, L. Bio-inspired design of multiscale structures for function integration. Nano Today. n 6, p. 155—175. Elsiever, 2011. MACEDO, F. H. T. M. B. Qualidades expressivas dos eco-materiais. 114p. Dissertação de Mestrado em Arquitetura, Universidade Técnica de Lisboa - Faculdade de Arquitectura Lisboa, FAUTL, Dezembro, 2010. MANZINI, E.; VEZZOLI, C. O desenvolvimento de produtos sustentáveis: os requisitos ambientais dos produtos industriais. São Paulo: Edusp, 2002. SAUER, B. “Materializar la ecologia”. In Eco productos, en la arquitectura e el diseño, de Ignasi Perez Arnal, Bruno Sauer, Justo Garcia Navarro e Chris Lefteri, 13-14. Barcelona: Ed. Ignasi Pérez Arnal, 2008. SOARES, T. A Biomimética e a Geodésica de Buckminster Fuller: Uma Estratégia de Biodesign. 2016. 315 p. Dissertação (mestrado) – Universidade Federal de Pernambuco, Recife, Departamento de Design do Centro de Artes de Comunicação. VERSOS, C. A. M. Design biônico: A natureza como inspiração criativa. Dissertação (Mestrado). 2010. 186p Universidade da Beira Interior, Covilhã, Departamento de engenharia Eletromecânica.
REFERENCES ARNAL, I. P. Generación S - una nueva generacion de materiales sustenibles. Barcelona, Catalunha: Ed Ignasi Perez Arnal, 2008. ARNAL, I. P.; SAUER, B.; NAVARRO, J. G.; LEFTERY, C. Eco productos, en la arquitectura e el diseño. Barcelona, Catalunha: Ed Ignasi Perez Arnal, 2008. BENYUS, J. M. Biomimética: Inovação inspirada pela natureza. 6ª ed. São Paulo: Ed. Pensamento- Cultrix, 1997.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
ARTIGOS
ECOMATERIAIS BIOMIMÉTICOS, UM CAMINHO EFICIENTE PARA A SUSTENTABILIDADE BIOMIMETICS ECO MATERIALS, AN EFFICIENT WAY TO SUSTAINABILITY Theska Soares, M.Sc. (UFPE) Amilton Arruda, PhD (UFPE) Palavras Chave Biomimética; Ecomateriais; Design; Sustentabilidade
Key Words Biomimicry; Eco Materials; Design; Sustainability
RESUMO Este artigo tem o intuito de demonstrar como a Biomimética colabora na criação de novos materiais eco-eficientes e inovadores através da análise de alguns exemplos, tais como: os materiais hidrofóbicos e autolimpantes baseados na planta Lótus, dando origem a tintas e revestimentos que não se molham nem se sujam; materiais hidrodinâmicos baseados na pele do tubarão que deram origem a tecidos que diminuem o atrito e aumentam o desempenho de atletas de natação; materiais aderentes baseados nas batas da lagartixa, que possibilitam superfícies super aderentes de fixação de carpete sem necessidade de colas; materiais para captação de água baseados no besouro da Namíbia, que possibilitam produtos como o Warka Water capaz de armazenar água do ar atmosférico em regiões de escassez; e por fim, materiais despoluentes e autolimpantes baseado na fotossíntese das folhas, que permitem o revestimento de módulos construtivos em fachadas capaz de ajudar a despoluir vias de grande fluxo de passagem de carros. Tal enfoque coloca em evidência a utilização da natureza como fonte de inspiração para criação destes novos materiais e demonstra o grande potencial de aplicação destes em projetos de Design e Arquitetura, evidenciados nestes exemplos que estão em grande consonância com o cenário de sustentabilidade.
ABSTRACT This paper aims to demonstrate how Biomimicry collaborates in the creation of new eco-efficient and innovative materials through the analysis of some examples, such as the hydrophobic and self-cleaning materials based on the Lotus plant, giving rise to paints and coatings that do not They do not wet or get dirty; Hydrodynamic materials based on the skin of the shark that gave rise to tissues that diminish the friction and increase the performance of swimming athletes; Adhesive materials based on the gecko gowns, which allow super adhering surfaces of carpet fastening without the need for glues; Water abstraction materials based Namibian beetle, that enable products such as Warka Water to store water from atmospheric air in regions of scarcity; And finally, self-cleaning and de-polluting materials based on the photosynthesis of the leaves, which allow the coating of constructive modules on facades capable of helping to decontaminate high-flow pathways of cars. This approach highlights the use of nature as a source of inspiration for the creation of these new materials and demonstrates the great potential for their application in Design and Architecture projects, evidenced in these examples that are in great harmony with the sustainability scenario.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
37
Ecomateriais biomiméticos, um caminho eficiente para a sustentabilidade
1. INTRODUÇÃO
PORTUGUÊS
38
Ao longo da história da Humanidade é possível constatar a aplicação de soluções biológicas em diferentes períodos, e em diversas áreas tais como na ciência, tecnologia, arquitetura, arte, design, engenharia, medicina, e também na engenharia de materiais dentre outras áreas. Essa inspiração na natureza tem gerado uma série de invenções que tem possibilitado um grande número de inovações e de recursos no decorrer do tempo. Para se ter uma ideia do potencial de aprendizagem com essa multidão de organismos na natureza, Benyus (1997) relembra que basta observar os feitos incríveis de: algas bioluminescentes, que combinam substâncias para abastecer suas lanternas orgânicas; peixes e rãs das regiões árticas que se congelam e tornam a surgir para vida sem danos causados pelo gelo em seus órgãos; ursos pardos que hibernam em invernos inteiros sem se envenenarem com a própria ureia; ursos polares que se protegem do frio através de uma camada de pelos transparentes que funcionam como as vidraças de uma estufa; abelhas, tartarugas e pássaros que se locomovem sem mapas; baleias e pinguins que mergulham no fundo das águas sem equipamento de mergulho; libélulas que excedem a capacidade de manobra dos melhores helicópteros; formigas que conseguem carregar o equivalente a centenas de quilos; beija-flores que cruzam o golfo do México com o equivalente a 3ml de combustível, etc. Embora todo este conhecimento tenha existido ao longo da evolução da vida na Terra, apenas uma pequena parcela disso tem sido aproveitada, existindo uma grande parte ainda desconhecida e negligenciada a ser desbravada. Através de um olhar atento às soluções da natureza, existem uma infinidade de bons exemplos de eco eficiência, através de organismos que constroem com o mínimo de desperdício de materiais e energia, e que ainda coexistem em harmonia com a biosfera. Evidenciar esta nova forma de perceber a natureza é bem diferente da ideia de exploração a que geralmente o homem a tem associado. Portanto, observando como a natureza opera na criação das suas espécies, sejam vegetais, animais ou minerais, pode-se transpor este mesmo método no desenvolvimento de produtos, sistemas, construções e até mesmo serviços, pois os “critérios” observados nos seres vivos mais adaptados, podem servir de base para o desenvolvimento de soluções mais eficientes. (BENYUS, 1997) Algumas pesquisas recentes sobre o universo da Biomimética têm gerado conhecimento e novos materiais que se baseiam em analogias com o mundo natural e que estão sendo aplicados em produtos inovadores, como será
mostrado no exemplo da tinta Lotusan, no tecido FastSkin, nos módulos construtivos Prossolve, nos adesivos TacTiles, na tela de captação de água do projeto Warka.
2. BIOMIMÉTICA E ECOMATERIAS Uma grande entusiasta e disseminadora destas estratégias nos dias atuais é a bióloga e pesquisadora americana Janine Benyus que há quase 20 anos têm procurado difundir os princípios da Biomimética, definida por ela como uma nova ciência que estuda modelos, princípios e processos da Natureza e depois imita-os ou inspira-se neles para a resolução de problemas humanos. (BENYUS, 1997) Embora utilizar a Natureza como referência para as criações não é algo propriamente novo, basta lembrar das invenções de Leonardo da Vinci, o movimento do Art Noveau, ou mesmo das inspirações arquitetônicas de Gaudí. Ao longo da história, muitos são os casos de inspiração na natureza, desde os primórdios, o homem sempre a observou e aprendeu dela, mas durante esse processo de “evolução” de conhecimento, de desenvolvimento tecnológico e de sistemas financeiros, este aprendizado foi se tornando uma realidade cada vez mais distante e foi dando lugar a uma ação mais devastadora, a exploração, e isto tem desencadeado uma série de outros problemas que interferem não apenas no bem estar do homem, mas no de todo o ecossistema, o qual está incluído e dele é dependente. Manzini e Vezzoli (2002), apontam a educação ambiental como sendo um pilar do desenvolvimento sustentável, pois contribui para integrar a humanidade no ambiente e desperta nos indivíduos e grupos sociais organizados o desejo de participar na construção da sua cidadania. A boa notícia é que recentemente, muitas vozes têm se juntado à esta causa de resgatar este olhar consciente para a genialidade da vida, buscando parcimônia no uso dos recursos e se inspirando na natureza para suas inovações. Como diria Benyus (1997), é a redescoberta e a liberação de uma fonte esquecida que faz jorrar novas esperanças sobre problemas que antes eram até considerados insolúveis. Este contexto tem muitas relações com a produção de ecomaterias, como visto nas investigações desenvolvidas pela Escola d’Arquitetura de Barcelona da Universidade Internacional da Catalunia, que tem produzido uma série de pesquisas centradas na questão dos eco-materiais sob a tutela do Arquiteto Ignasi Perez Arnal. Em seu livro: “Eco Productos, en la arquitectura e el deseño” (ARNAL, SAUER et al., 2008) ele descreve em linhas gerais os 10 itens que permitem um bom enquadramento da problemática dos ecomateriais, são eles:
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Theska Soares e Amilton Arruda
• Material Absorvente de CO²: A escolha de um material que participe ativamente na solução de uns dos mais complicados problemas atuais. A mitigação do aquecimento global é a melhor opção que a construção pode dar ao meio ambiente. • Material Sustentável: Utilizar as matérias-primas que a natureza nos oferece de maneira inesgotável, não condicionamos o futuro das nossas reservas. • Materiais Recicláveis: O destino de um material reciclável encontrasse na reutilização, não acaba no aterro. • Material Reciclado: Evita a contaminação e o consumo de energia necessários para a nova fabricação do mesmo material, consequentemente se reduz a quantidade de resíduos. • A Pureza Compositiva: Quanto mais matérias-primas sejam necessárias para obter um material, mais complicada se torna a sua separação e a sua reciclagem. • Energia Incorporada: Para além dos custos energéticos iniciais (extração, transporte, fabricação…), é importante compreender a dependência energética do material ao longo do seu ciclo de vida (inércia térmica; manutenção, rupturas e desgaste; possibilidade de ser reciclado ou reutilizado). • Grau de Industrialização: Apenas para projetos de muito pequena escala se justifica a utilização de um material artesanal que exija muita mão-de-obra e a utilização intensiva de recursos em obra (água e energia). Em todos os demais projetos dever-se utilizar materiais industriais onde existe um consumo controlado de recursos e energia. • Materiais saudáveis: Evitar o uso de produtos que possam afetar a saúde do fabricante, do utilizador e do trabalhador no processo de reciclagem. Principalmente no que se refere a partículas tóxicas ou cancerígenas. • Exigências de manutenção: Materiais com baixa manutenção favorecem o conforto do utilizador e diminuem a utilização de pinturas, lubrificantes e vernizes. • Materiais com certificação ecológica: Poucos materiais têm certificação que garanta uma boa utilização dos recursos, os que a têm merecem um tratamento privilegiado.
Morfológica, definida por Bonsiepe (1982) como a busca experimental de modelos elaborados da tradução das características estruturais e formais para transpor em projetos. Sendo assim, este tipo de analogia procura estudar e analisar o porquê da forma natural, as inter-relações da sua geometria, observando e compreendendo suas texturas, características do Shape (forma externa), das partes e componentes, dos detalhes de alguma parte a nível macro ou microscópico, assim como, para as suas formas estruturais. Neste sentido Versos (2010) traz um bom exemplo de Analogia Morfológica com o Trem-bala Shinkansen desenvolvido pelo engenheiro Eiji Nakatsu (Figura 1). O projeto tem como referência a forma do bico alongado do pássaro Martim-Pescador, que facilita o mergulho sem espirrar água em busca de sua refeição. Visando solucionar um dos grandes problemas do trem bala que era a vibração e o barulho, o engenheiro buscou inspiração no formato do bico deste pássaro, resultando numa melhora significativa com ganho de 10% mais rapidez, consumindo 15% menos energia, e ainda, reduzindo a pressão do ar em 30% em relação ao modelo anterior. Figura 1: SHINKANSEN (Japão), trem bala de alta velocidade mais rápido do mundo, redesenhado tendo como base o bico de um Martin-pescador.
Fonte: Soares, 2016
Soares (2016) destaca os tipos mais recorrentes de analogia com o mundo natural utilizados no processo de Biomimética, onde a mais fácil de perceber é a Analogia
Já a Analogia Funcional procura estudar sobre o funcionamento do sistema físico e mecânico natural; tenta
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
PORTUGUÊS
3. BIOMIMÉTICA NA GERAÇÃO DE NOVOS MATERIAIS E SEUS EXEMPLOS DE DESIGN SUSTENTÁVEL
39
Ecomateriais biomiméticos, um caminho eficiente para a sustentabilidade
compreender quais funções desempenham tanto no todo, quanto em suas partes e componentes, em que são evidenciados os atributos funcionais, qualidades específicas (não morfológica) que se pode mimetizar da estrutura natural analisada, uma vez que os organismos naturais desenvolveram habilidades complexas e altamente adaptáveis, se pode identificar essas aptidões funcionais e aplicá-las em artefatos artificiais. Enquanto morfologicamente as analogias são limitadas, funcionalmente podem ser múltiplas. (SOARES, 2016) Então, muitas pesquisas têm sido geradas através de parcerias com departamentos de biologia para adquirirem informações específicas de características do mundo natural, um exemplo é o trabalho de Liua & Jiang (2011) que apresentam no quadro 1 as funções de alguns organismos vivos que podem orientar a geração de ideias para solução de problemas projetuais por analogia no design. A grande vantagem da Analogia Funcional é que a identificação destas funções permite a aplicação da estratégia encontrada em mais de um tipo de artefato, gerando mais soluções de um mesmo estudo. A seguir, serão apresentados alguns exemplos de ecomateriais biomiméticos e suas respectivas referências do mundo natural.
PORTUGUÊS
40
3.1 Ecomateriais hidrofóbicos e autolimpantes No estudo da planta Lótus, o pesquisador Barthlott identificou as funções de repelir a água e autolimpeza das suas superfícies. Isto acontece devido ao ângulo formado pelas suas micro e nanoestruturas cerosas, que impedem o contato com a água, fazendo-a rolar e formar gotas que vão recolhendo a sujeira pelo caminho. Através disto, se constatou que superfícies ásperas em nano escala são mais hidrofóbicas que superfícies mais lisas. Na folha de Lótus, a área de contato real é de apenas 2-3% da superfície das gotas. Tal analogia funcional gerou vários materiais, aplicados comercialmente em produtos como a tinta Lotusan (Figura 2) e também através de sprays (BASF Lotus Spray) para as indústrias têxteis, de madeira e vidro, simulando o mesmo efeito da planta. Na tinta, ao criar micro saliências, ela repele a água, se auto limpando e resistindo a manchas durante décadas. Desta forma, apesar de se replicar estas microestruturas, os artefatos gerados não se referem a forma das folhas em si e sim a função identificada de hidrofobia e autolimpeza. (VERSOS, 2010)
Quadro 1: Tabela de organismos naturais e suas respectivas funções.
Fonte: Soares, 2016
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Theska Soares e Amilton Arruda
Figura 2: LOTUSAN (Alemanha), tinta que repele a água e resiste a manchas durante décadas, inspirada nas microestruturas das folhas de lótus.
Figura 3: FASTSKIN da Speedo, roupa de banho para competição de natação que imita a função de eficiência hidrodinâmica da pele de tubarão, resultando na redução do atrito e consequente aumento de velocidade.
41
Fonte: Soares, 2016
3.2 Ecomateriais hidrodinâmicos Outro exemplo de ecomaterial surgiu da pesquisa das escamas da pele do tubarão, responsável pelo desempenho da sua agilidade na água. Segundo especialistas, a água desliza através das micro ranhuras da pele do animal reduzindo o atrito. O resultado deste estudo deu origem a um tecido chamado Fastskin (da empresa Speedo), hoje já utilizado em roupas de natação dos campeões olímpicos (Figura 3). A textura destas vestimentas se baseia nos “dentículos” da pele do tubarão. Este formato as vantagens de redução da resistência passiva em cerca de 4% e também da vibração muscular, aumentando a velocidade e o desempenho dos atletas. (VERSOS, 2010)
Fonte: Soares, 2016
Nos tubarões estas micro escamas também impedem a fixação de pequenos crustáceos e de algas, uma inspiração para revestimentos sintéticos que poderão ser aplicados nos cascos de navios a fim de reduzir o atrito, poupando energia e também esse inconveniente biológico que provoca manutenções, o que comprova mais uma vez que a analogia funcional pode gerar aplicação em diversos artefatos e não se limita apenas na forma do animal investigado, mas na função que foi identificada e que se deseja replicar.
3.3 Ecomateriais aderentes
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
PORTUGUÊS
Outro exemplo de ecomaterial biomimético tem como referência a pata da Lagartixa. Uma característica intrigante deste animal é o seu caminhar sem esforço em paredes e tetos. Isto acontece devido a função de
Ecomateriais biomiméticos, um caminho eficiente para a sustentabilidade
extraordinária aderência encontradas nos pêlos das suas patas, causada pela força intermolecular encontrada nos micro e nanopêlos que ligam as moléculas destes às moléculas da superfície em que se apóiam, permitindo que se grudem até mesmo em superfícies lisas como o vidro. A partir deste estudo a empresa Interface criou o TacTiles, um material adesivo que é utilizado em um sistema de instalação de carpetes que usa esses conectores adesivos sem cola para fixar ao invés de colar no piso. Outras aplicações são usadas como adesivos para smartphones, permitindo adesão em vidros e painéis de carro, por exemplo. Figura 4: TacTiles, material adesivo resultante do estudo da função de aderência das patas das lagartixas.
42
Fonte: Soares, 2016
PORTUGUÊS
3.4 Ecomaterias para captação de água Mais um exemplo, dessa vez, inspirado no besouro do deserto ou besouro da Namíbia, inseto investigado por Andrew Parker (2001), da Universidade de Oxford, Reino Unido. O inseto capta a água do ar através dos poros da sua carapaça, quando o ar úmido passa por suas saliências e sulcos microscópicos, condensam e são canalizados em direção à sua boca, uma característica adaptativa que permite a sobrevivência do mesmo no deserto. Esta analogia funcional está sendo transferida para várias materiais e soluções de artefatos, uma delas é produzida pela QinetiQ, no Reino Unido, onde desenvolveu uma película de plástico para recolher a água,
imitando a carapaça do besouro, útil para capturar água em áreas ricas em névoa. (FORNIÉS, 2012) Uma aplicação similar deste mesmo estudo foi desenvolvido pelos arquitetos italianos Arturo Vittori e Andreas Vogler do estúdio Architecture and Vision, o Warka Water. Trata-se de uma incrível torre feita com materiais naturais projetada para recolher a umidade do ar por condensação e depositar assim, a água num recipiente, sendo capaz de captar cerca de 100 litros de água/dia (Figura 5). Como o ar sempre contém certa quantidade de água, independente da temperatura do ambiente e da condição de umidade, o projeto possibilita sua produção em praticamente qualquer lugar. A ideia surgiu quando ambos os arquitetos foram visitar a Etiópia e ficaram preocupados com a escassez de água, sobre isto, vale lembrar que o montante de habitantes do planeta cresce a cada ano junto com a demanda por recursos naturais e a ONU apontou que cerca de 2,4 bilhões de pessoas (um terço da população mundial) não têm acesso a saneamento básico e água potável. O site do projeto indica que existem várias inspirações biomiméticas, tais como o besouro da Namíbia já comentado, as folhas da flor de lótus, os fios da teia de aranha e o sistema integrado de coleta de névoa em cactos. Tudo isto foi traduzido em materiais específicos e revestimentos que podem melhorar a condensação do orvalho e o fluxo de água, assim como melhorar também a capacidade de armazenamento da malha. Outra referência biológica citada que influenciou no design externo do produto, melhorando o fluxo de ar, foram as colmeias de cupins. Sua estrutura é baseada principalmente em bambu, cordas de fibras naturais e um revestimento interno que é uma malha feita com plástico reciclado com a tecnologia do besouro para captar as gotículas de orvalho que escorrem para uma bacia no interior da torre. O trançado do bambu proporciona luminosidade, força e estabilidade e são unidas com pinos de metal e cânhamo. Nas extremidades superiores ficam pequenos espelhos que fazem com que os pássaros se mantenham longe e não contaminem a água. A estrutura é toda modular, composta por 5 partes, mede cerca de 10 metros e pesa 60 quilos. Pode ser construída do zero por 10 pessoas em 10 dias ou, se for só a montagem com as peças prontas, em até 2h por 10 pessoas, sem a necessidade de andaimes e com as próprias mãos. Custa em média US$ 1000. Além dos benefícios mais evidentes, o projeto incorpora a cultura local e uma arquitetura vernacular através de técnicas de tecelagem etíope tradicionais no produto. Inclusive, além de melhorar a condição de vida dessas
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Theska Soares e Amilton Arruda
pessoas, foi projetado também para criar sombra, um espaço social que gera reuniões públicas de educação e o convívio social entre os moradores da comunidade, uma analogia também para a árvore nativa da região, simbolicamente muito especial (a figueira) que na língua local africana é chamada de Warka. O projeto foi apresentado pela primeira vez na Bienal de Arquitetura de Veneza, em 2012, e é voltado para populações rurais de países em desenvolvimento, onde a infra-estrutura para disponibilizar o acesso a água potável é bem precária. Figura 5: Projeto Warka Water de captação de água baseado no besouro da Namíbia.
Fonte: Soares, 2016
3.5 Ecomateriais despoluentes e autolimpantes
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
43
PORTUGUÊS
Este último exemplo apresenta o sistema modular arquitetônico para fachadas Prosolve370e, que pode efetivamente reduzir a poluição do ar nas cidades. O sistema é composto por módulos que são revestidos com uma camada superfina de dióxido de titânio (TiO²), uma tecnologia de combate à poluição que é ativada pela luz solar, material já conhecido como pigmento por suas qualidades auto-limpantes e germicidas que requer apenas pequenas quantidades de luz UV e umidade natural para efetivamente reduzir os poluentes do ar em quantidades
inofensivas de dióxido de carbono e água, quebrando e neutralizando os óxidos de nitrogênio e os compostos orgânicos voláteis do entorno. Ele pode ser utilizado para finalidades diversas, inclusive no vestuário. (SOARES, 2016) Na arquitetura, o escritório alemão Elegant Embellishments utilizou o Prossolve370e na fachada de um novo hospital, o Manuel Gea Gonzales Torre de Especialidades, na Cidade do México em 2013. A fachada possui uma área de 2500m² com 100m de comprimento e está ajudando a reduzir uma poluição estimada de 1000 carros por dia. (Figura 6) Sobre a sua configuração é clara a referência no padrão celular, embora a empresa informe que as suas formas remetam ao padrão de crescimento orgânico inspirado nos fractais na natureza. O fato é que estas formas orgânicas não são apenas esteticamente atrativas, elas são traduzidas num ganho de eficiência, pois suas ondulações maximizam a área de superfície do revestimento ativo à luz difusa, à turbulência do ar e à poluição, ou seja, elas maximizam a tecnologia de revestimento já que a complexidade da superfície ajuda na captação da luz omnidirecional onde é densa ou escassa. (SOARES, 2016) O sistema é composto com apenas dois módulos de repetição e suas peças podem ser adequadas conforme a necessidade do projeto (tamanhos e formatos). Para o hospital, essas peças foram produzidas numa fábrica de termoformagem em Ulm/ALE onde um protótipo de escala 1:1 forneceu uma extimativa de tempo de instalação antes da montagem. O material utilizado foi o plástico ABS termoformado, unidos com fixações padrão de aço. A engenharia estrutural foi feita por Buro Happold New York e o consultor técnico do projeto é o professor do departamento de Física da Duke University, Joshua Socolar. (SOARES, 2016) A modularidade do sistema permite que formas arquitetônicas complexas sejam mais acessíveis, já que facilita a fabricação e montagem. Como decoração, possuem potencial para uso no interior ou exterior; regeneração de fachadas envelhecidas ou de caráter modernista; sendo bem indicados para estacionamentos, hospitais, prédios em geral e principalmente lugares onde haja grande fluxo de carro e poluição. Fora este hospital, o projeto já expandiu para vários outros países, devido ao seu grande potencial de uso e inovação. (SOARES, 2016)
Ecomateriais biomiméticos, um caminho eficiente para a sustentabilidade
Figura 6: Sistema modular Prosolve370e aplicado na fachada do Hospital Manuel Gea Gonzales pela empresa alemã Elegant Embellishments.
44
4. CONCLUSÕES A questão de ecomaterias vai além de reciclagem e do reuso. Nos exemplos mostrados foram identificados diversos novos materiais baseados nas estratégias da Natureza que promove sempre uma eficiência de recursos e energia para as suas criações. Desta forma, a biomimética visa colaborar para que sejam produzidos materiais mais sustentáveis a fim de que sejam aplicados na criação de produtos mais eficientes para as atividades humanas ao mesmo tempo que não prejudiquem o ecossistema. Para se atingir este objetivo não existem respostas rápidas nem soluções instantâneas. A reformulação do processo de produção linear para um modelo circular atingese pela junção de numerosos e diversificados esforços e, portanto, é importante disseminar novos caminhos como os propostos pela biomimética para se perceber que no meio da complexidade vigente, existe uma gama de possibilidades e potenciais soluções para materiais dentro deste contexto biomimético. As análises dos materiais hidrofóbicos e autolimpantes baseados na planta Lótus, que deram origem a tintas e revestimentos que não se molham nem se sujam; os materiais hidrodinâmicos baseados na pele do tubarão, que deram origem a tecidos que diminuem o atrito e aumentam o desempenho de atletas de natação; os materiais aderentes baseados nas patas da lagartixa, que possibilitam superfícies super aderentes de fixação de carpete sem necessidade de colas; os materiais para captação de água baseados no besouro da Namíbia, que possibilitam produtos como o Warka Water capaz de armazenar água do ar atmosférico em regiões de escassez; e por fim, os materiais despoluentes e autolimpantes baseado na fotossíntese das folhas, que permitem o revestimento de módulos construtivos em fachadas capaz de ajudar a despoluir vias de grande fluxo de passagem de carros, são só alguns dos belíssimos exemplos que retomam as esperanças num mundo com materiais inteligentes e ecoeficientes, que contribuem para que o Design de fato possa contribuir na resolução dos problemas no mundo.
REFERÊNCIAS
PORTUGUÊS
ARNAL, I. P. Generación S - una nueva generacion de materiales sustenibles. Barcelona, Catalunha: Ed Ignasi Perez Arnal, 2008.
Fonte: Soares, 2016
ARNAL, I. P.; SAUER, B.; NAVARRO, J. G.; LEFTERY, C. Eco productos, en la arquitectura e el diseño. Barcelona, Catalunha: Ed Ignasi Perez Arnal, 2008.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
Theska Soares e Amilton Arruda
BENYUS, J. M. Biomimética: Inovação inspirada pela natureza. 6ª ed. São Paulo: Ed. Pensamento- Cultrix, 1997. BONSIEPE, G. Diseño industrial. Madri: Alberto Corazón Editor, 1978. FORNIÉS, I. L. Modelo metodológico de Diseño conceptual con enfoque biomimético. 2012. 319p. Tese (Doutorado) – Universidad de Zaragoza, Zaragoza/España, Escuela de Ingeniería y Arquitectura, Departamento de Ingeniería de Diseño y Fabricación. LIUA, K., JIANG, L. Bio-inspired design of multiscale structures for function integration. Nano Today. n 6, p. 155—175. Elsiever, 2011. MACEDO, F. H. T. M. B. Qualidades expressivas dos eco-materiais. 114p. Dissertação de Mestrado em Arquitetura, Universidade Técnica de Lisboa - Faculdade de Arquitectura Lisboa, FAUTL, Dezembro, 2010. MANZINI, E.; VEZZOLI, C. O desenvolvimento de produtos sustentáveis: os requisitos ambientais dos produtos industriais. São Paulo: Edusp, 2002. SAUER, B. “Materializar la ecologia”. In Eco productos, en la arquitectura e el diseño, de Ignasi Perez Arnal, Bruno Sauer, Justo Garcia Navarro e Chris Lefteri, 13-14. Barcelona: Ed. Ignasi Pérez Arnal, 2008.
45
SOARES, T. A Biomimética e a Geodésica de Buckminster Fuller: Uma Estratégia de Biodesign. 2016. 315 p. Dissertação (mestrado) – Universidade Federal de Pernambuco, Recife, Departamento de Design do Centro de Artes de Comunicação. VERSOS, C. A. M. Design biônico: A natureza como inspiração criativa. Dissertação (Mestrado). 2010. 186p Universidade da Beira Interior, Covilhã, Departamento de engenharia Eletromecânica.
PORTUGUÊS
Mix Sustentável | Florianópolis | v.3 | n.4 | p.29-45 | nov. | 2017
ARTICLES
MUTIRÃO IN COB HOUSES BUILDING PROCESS: ADVANTAGES AND LIMITATIONS O MUTIRÃO NO PROCESSO CONSTRUTIVO DE CASAS DE BARRO: VANTAGENS E LIMITAÇÕES Juliano Moreira Coimbra (UFPEL) Key Words Arquitetura; Construção Natural; Sustentabilidade Social; Mutirão; Autoconstrução
Palavras Chave Arquitetura; Construção Natural; Sustentabilidade Social; Mutirão; Autoconstrução
ABSTRACT Earth still is one of the most common building materials in the world, and is said that because of its low-tech approach it is a good option for self-construction and mutirão — Portuguese word for collective mobilization for mutual assistance in a free character. The problem addressed is the feasibility and social gains of the mutirão practice in cob buildings. The case study is an earthen house that the author designed and self-built in the rural area of Pelotas-RS, southern Brazil, where more than 80 volunteers helped to build. The general objective is to study the possible gains of the mutirão practice, and the specific objectives are: a) to define the concept of natural construction and explain the building technique applied in the house studied (cob); b) to analyse the relationship between mutirão and the complexity of the building technique; and c) evaluation of the observed social sustainability gains. The results showed that the mutirão sessions attracted many helpers due to the curiosity about learning an unconventional technique. They have also contributed to a more playful work environment, despite hard work. It is concluded that natural building and mutirão complete each other, and can collaborate for practical gains of social sustainability.
RESUMO A terra ainda é um dos materiais construtivos mais utilizados mundialmente. Por sua baixa complexidade tecnológica, ela costuma estar relacionada a práticas de autoconstrução e mutirão (mobilização coletiva sem fins lucrativos). Aborda-se o problema da viabilidade do mutirão e seus ganhos sociais em construções naturais que tenham o barro como principal material. Estuda-se como caso a casa de barro que o autor projetou e autoconstruiu na área rural de Pelotas, extremo sul do Brasil, na qual mais de 80 voluntários ajudaram na construção. O objetivo geral é estudar os possíveis ganhos advindos da prática do mutirão. Como objetivos específicos, definiu-se: a) conceituar construção natural e explicar a técnica construtiva empregada na obra estudada (cob); b) verificar a relação entre mutirão e complexidade da técnica construtiva; e c) avaliar os ganhos de sustentabilidade social observados. Como resultados, percebeu-se que os mutirões atraíram muitos colaboradores, especialmente por se tratar de uma técnica construtiva não convencional. Também eles contribuíram para um ambiente de trabalho mais lúdico, apesar do desgaste físico. além do considerável volume de trabalho produzido, levando em consideração a inexperiência dos voluntários. Conclui-se que a construção natural e mutirão são complementares e colaboram para ganhos práticos de sustentabilidade social.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
47
Mutirão in cob houses building process: advantages and limitations
1. INTRODUCTION
48
Earth still is the most available building material in the world. It is estimated that a third of the world population live in houses made out of mud. In developing countries the number can reach to fifty percent (MINKE 2002). The Industrial Revolution, since the late seventeenth century, drastically affected how, where and with which materials would be built the houses of the ordinary people. The vernacular building practices lost their importance before mass production housing, beginning with the United Kingdom and the industrialization. Today one can see a detachment of society from the vernacular techniques, as the whole social structure suffered several changes as well, making the once popular self-construction almost fully disappear among those living in the industrialized world. Consulted works (WEISMANN and BRYCE 2006; EVANS 2002) aim this social reshape as responsible for the association of earth buildings to poverty, as people tend to take it as an inferior material. Such situation motivated people to pursuit alternatives. In the “back-to-the-land” movements of the 1960s and the 1970s there was a new interest on studying and put into practice natural building techniques. At the energy crisis of the 1970s, many public attention was directed due to a proper use of natural resources, building energy efficiency, passive house and alternative means of energy (EVANS 2002).
2. SELF-CONSTRUCTION AND MUTIRÃO Historically, in most cultures, it used to be a common practice for the people to build houses for themselves. If the work was too heavy or became too slow, the family and neighbors would gather to help. The idea of trading this duty to people outside the friends or family circle is recent in human history. This resulted in people working decades to pay for a house they are not directly connected with (EVANS 2002). This disconnection is also noticed by Alexander et al. (1977), in the book A pattern language. The authors defend that modern types of property such as renting, when the dweller is not the legally owner, are opposite to natural processes of formation of stable communities and do not allow people to feel truly comfortable since the house does not actually belong to them. Emphasizing the definition of ownership control — instead of ownership as financial investment —, the authors believe that people would only feel comfortable in their houses if they could adapt them according to their needs, and such investments could only happen if they were the legally owners of the building (ALEXANDER et al. 1977).
In Brazil, as shows Bonduki (2011), the idea of the small private land was largely spread between the 1930s and the 1940s. However, that specially contributed to a wide peripheral occupation in the cities by the poorer population that moved to low cost lands, away from urban facilities, to self-build their substandard housing, once they could not have access to the limited housing programs offered by the government. One can therefore see that self-building and mutirão — popular word in Brazilian Portuguese for a collective mobilization for mutual assistance in a free character — to Brazilian population in general is associated with lack of resources, poverty and precariousness. But the retake of these practices since the “back-to-the-land” movements from the 1960s introduces a new approach to the problem: “The natural building movement has helped humans reconnect with our tradition of self-reliant shelter, surely one of our natural rights” (EVANS 2002, p. 5). This way, people interested in living more connected to the natural environment and to each other have begun to appropriate traditional building techniques and natural materials to build themselves their houses. What one intends to demonstrate in this paper is the good reception of mutirões — plural for mutirão — in natural buildings that use earthen techniques for walls, such as cob, to be explained later. To Minke (2002), cob building techniques does not need people experienced in building nor demand complex tools and heavy machinery. At the same time, they are more laborious to work with and it is recommended at least one experienced person in the construction site to control the process and teach the team.
3. NATURAL BUILDING AND COB 3.1 Defining natural building It is common to think about natural building (or “bioconstruction”, neologism often used in Brazilian context) as a building built with natural materials, that is, non-industrialized (Figure 1). However, any row-material to build a house, despite its roughness would demand a certain level of processing. One understands, in this kind of work, natural materials as “materials that, even when processed, retain its natural essence” (EVANS 2002, p.14). It means that a tree, even when chopped into timber sheets, keeps its natural aspects and proprieties. Industrialized timber, such as OBS or MDF, drastically modifies the proprieties of the original material, turning it into a new one, which can be no longer considered natural.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
Juliano Moreira Coimbra
Still, as the consulted bibliography shows, the concept of natural building is wider — to Evans (2002), natural building goes beyond materials — implies in completely different attitudes addressed to site plan, ecology, work force, and use of the building. It is to pay more attention to the natural structures that coordinate the world and transport them to the work. Figure 01 - Stone, mud and wood are examples of natural materials. Detail of a rounded cob wall corner of the studied house.
Source: Author
To Weismann and Bryce (2006), more than building with what, is to ask yourself how, where and why to build. They highlight as natural building basic concepts: a) an emphasis on the minimization of the environmental impact of materials, techniques and the building itself; b) simple low-tech approach; c) use of local, renewable and available resources; d) a respect with the building site and its local environment as an unique place; e) encouragement to self-construction; f) priority to materials that have not been industrially processed, such as stone, mud, straw and wood. Also here the materials are not only important, but also a single component in a whole wider context. In this paper, thus, one defines natural building as a practice that aims to employ only the minimum necessary of industrialized processes and materials and is characterized, formal and technically, by the presence of natural materials and low technology building techniques.
3.2 Cob walls made out of mud Minke (2002) points out three disadvantages that mud has in comparison to the most common industrialized materials: a) it is not a standardized material, it can vary its characteristics from place to place; b) it contracts when drying, and may present cracks; c) it is not impermeable, and should always be protected from the direct action of
rain. Nevertheless, this natural material has several advantages when compared to industrialized materials: it regulates the humidity of the environment, stores heat, takes low energy expenditure in its production, is reusable, economical, suitable for self-construction and preserves organic materials when in direct contact (like when it is covering wood), among other benefits. Even the mentioned disadvantages do not discredit the use of the material. The variation of soil characteristics from different places can be compensated with the addition of more sandy or clayey soil, followed by simple tests that guarantee the reliability of the adopted trait; cracks that may appear, feared to be able to house insects like the “barber”, causing the Chagas’ disease, are easily eliminated by towing the wall; and the same plaster, added to generous eaves, will guarantee protection against the direct incidence of the rain (MINKE 2002). Thus, one of the most recurring materials in natural construction is earth, or more specifically, mud. It is possible to make walls, niches, benches and other architectural elements out of mud, according to the chosen technique, that can be adobe, rammed earth pau-a-pique, cob, among others (VAN LENGEN 2009; MINKE 2002). In the house studied in this work the main technique used for the walls was cob. Cob is an English term for a building technique building with mud that does not need shapes, bricks or wooden structure. The vernacular tradition of the English cob house dates from the thirteenth century to the industrial era. Nevertheless, the same technique or similar variations can be found in practically all the continents (EVANS 2002). The constitution of the cob is based on four materials: clay soil, aggregate (sand), fresh straw and water. Sand and clay should be mixed in the ratio of 3:1. Therefore, sand is the most abundant ingredient, and the final trait should result in a homogeneous mass balanced, that does not shed (excess sand) and is not sticky (excess clay) (LENGEN 2008). In cob, mud is seated with bare hands, without need of forms, complementary structures or mortar (Figure 2). The walls of the house are raised in layers (rows) of approximately 30 cm at a time. When completing the first row, you can start a new one, saving at least one day for the lower row to dry. Thus, the walls of the house are raised and dried as a single whole, working as a monolithic structure (EVANS 2002; WEISMANN and BRYCE 2006).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
49
Mutirão in cob houses building process: advantages and limitations
Figure 02 - Cob walls are thick mud walls sculpted with bare hands, without any need of surplus structure.
does not have the porosity that clay requires for the wall to “breathe”. Cement and clay do not work well together, and with the appearance of the first cracks, water can enter and not escape from the wall by evaporation, what makes the moisture accumulate at the base of the wall, where are the largest loads, and may collapse the structure (EVANS 2002).
4. CASE STUDY — OUR COB COTTAGE 4.1 Project
Source: Author
50
The cob wall is like a common brick masonry in small scale: the particles of sand are like bricks; clay, in contact with water, has its binder properties activated and becomes the mortar of settlement; finally, straw is added as a fibrous material to help the sand in the function of stabilizing the clay, preventing eventual cracks when drying (MINKE 2002). Compared with conventional bricks, cob has much less embodied energy in its production, since it uses raw clay, and is not burned in wood-fired ovens. Compared to other natural construction techniques, it has the advantage of no need of shapes (such as in adobe or rammed-earth) and no need of structure for the mud to grasp to (as the bamboos in Brazilian pau-a-pique). On the other hand, cob walls require a great thickness to stabilize (around 35 cm minimum), which can be considered a problem due to the volume of material used, but could also be advantageous considering that the wall will have a larger thermal mass (it will store the heat for longer time, differentiating outside and inside temperatures). The two main precautions when working with cob are the direct action of rain and the use of Portland cement in the plaster. Earth is not waterproof and can lose a lot of resistance when wet again. It is advisable to raise the walls of the ground with a stone foundation and to design roofs with generous eaves (between 45 cm and 60 cm). In addition, to ensure greater safety, it is recommended to protect the external walls with lime-based plaster. Lime is a porous material and allows the wall to breathe and balance its moisture with ambient air, besides its good water resistance properties (WEISMANN and BRYCE 2006). Cement should not be used when towing mud walls because, although it is more impermeable than lime, it
As object of study, the author presents the cob house he himself made to live, as soon as he graduated in Architecture and Urban Design. The design was made in the first half of 2014 and the work started in August of that year, going up to August 2015. The site is a small rural property in the countryside of Pelotas, Rio Grande do Sul, southernmost Brazil. An extremely narrow site (ranging from 12 m to 50 m wide by approximately 320 m long), with a hectare of area, not cultivated for more than two decades, taken by a young bush, with a total slope of 18 m towards the bottom, where a stream runs. The three main conditioning that defined the location of the house in the site were ground unevenness, solar trajectory and visual interest. It was chosen an implantation to the center of the site, which would guarantee both privacy and proximity to the stream and beautiful visuals of the rural landscape, as well. The gaps up to 1.5 m between the ends of the building were minimized by level differences between rooms. The house has built area of 82,56sqm — 52,80sqm of internal area, 6,50sqm of porch and 22,26sqm of wall area, which represents 27% of the built area. That happens because the cob walls were raised 42cm thick (37cm of mud + 2,5cm of lime plaster on each side), consuming a mud volume estimated at 27m³ (almost equivalent to four loaded concrete mixer trucks). The house has a foundation of irregular granite stones, built both to support the walls and raise them from the ground. At the ends and intersections of the foundations there are round eucalyptus pillars attached, put to structure the roof and allow it to be started before the walls were finished. In the second floor — the mezzanine — the walls are made out of wood, to make the cons walls, to facilitate the execution (raising the mud would require extra work). Both floors received green roofs, consisting of eucalyptus board base waterproofed with vinyl truck canvas.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
Juliano Moreira Coimbra
4.2 Team work and the mutirão sessions
Figure 03 - Volunteers raising a cob wall at the second mutirão.
According to Minke (2002), a natural construction is much more laborious, given to its artisanal character. Thus, it was planned the strategy of mutirão sessions on Saturdays, to involve as many people as possible and make better use of time and tasks. However, at the beginning of the foundations, one realized that not all steps would be suitable for inexperienced volunteers, either for being physically heavy tasks, either for requiring some specific technical knowledge. The execution of the house was taken by a three-tofive men team working five days a week full time — the regular staff — with eventual additional construction professionals’ assistance — carpenters, plumbers, electricians and masons. The author, owner and architect of the house — within no practice in natural construction yet, only theoretical studies — worked as a builder and coordinated a team of young people with little or no experience in conventional building, much less in natural building. In Table 1, it is possible to see the different steps of the work and the corresponding type of workmanship, professional or voluntary. Table 01: Steps of the work
Source: Author
The mutirão sessions took a workshop shape. There were invitations published in social media, with the dates, times and schedule: leave the city at 5 am; work from 6 am to 1 pm, with two breaks for snacks; (offered by the organization, but prepared by one volunteer) and bath in the stream in the afternoon. There were also rides for those unable to travel to the site of the work by themselves, as the house is 37km from downtown Pelotas. Source: Author
Figure 04 - Cob walls almost finished, at the thirteenth mutirão.
The foundations did not require professionals because they were technically uncomplicated, though very physically draining to perform. In the next step, woodwork, it was contracted a team of professional carpenters. Only in the beginning of the cob walls, at the end of the fourth month, the mutirão strategy could happen (Figure 3).
Source: Author
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
51
Mutirão in cob houses building process: advantages and limitations
52
The mutirões followed simple dynamic: the author, who worked as builder with the regular staff during the week, would assume the task of facilitating, helping people to build. In addition to questions about the work, many conversations arose about the reasons for choosing this type of construction, advantages and disadvantages, the option to live in the countryside, etc. Eventually there were also multidisciplinary exchanges among the volunteers, many of them related to building and construction area, research and academia. As for the tasks performed in the mutirões, there were five roles determined (Table 2): first, the coordination, by the architect and owner, and the technical support, made by regular staff workers. Volunteers took on some of the other tasks: most were builders; those able to perform more demanding tasks such as carrying weight were the helpers; and generally elderly or physically limited people were the cooks. At the wall step, the work done at the mutirões often amounted three to four regular days of work. However, many things were already prepared beforehand aiming for greater productivity in the mutirão. Also more precise tasks, such as fixing window frames on the walls or anything that required more reflection and care, were performed by the regular staff during the week. Table 02: Types of functions for the volunteers
Figure 05 - The last mutirão, for the green roof.
Source: Author
Part of the green roof was also built by mutirão (Figure 5). It consisted in several layers: wooden boards base over the timber structure, cardboard, vinyl canvas (for waterproofing), cardboard again and sand (2cm). Gravel placed along the edges work as drains, as well holes in the baseboard at the ends, to allow the water to flow. The volunteers helped to get pieces of topsoil with native grass cover (7cm to 10cm thick) from the neighboring field and raise them to the roof. In all, from November 2014, when the walls began, to April 2015, when the green roof was completed, fourteen mutirões were held, gathering 85 different volunteers. Many of them were friends, co-workers or family members, but about 25 percent of the volunteers were unknown people who found the invitation online and decided to help and share experiences. Figure 06 - The cob-timber house in 2017.
Source: Author Source: Author
5. RESULTS Some conclusions emerge from the experience with mutirão in natural building. Firstly, it is questioned the “democratization” of the cob, defended by some authors
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
Juliano Moreira Coimbra
referred in this paper. The main demand for labor in such buildings is to make the walls. However, other steps essential to complete the house (see Table 1) are not suitable for the help of inexperienced volunteers. It is remarkable how easily volunteers at the building site can begin to help raise a cob wall. Yet, it is important to emphasize that the scope of construction is much larger than just the walls. Those who think of building their house with similar techniques should anticipate the cost with specialized workmanship for the other steps. Besides the ease of learning, which allowed the expressive number of attendees (85 people in 14 mutirões), it is believed that the natural building itself and the curiosity it arouses were decisive in attracting unknown volunteers, and would hardly happen in a conventional building — in the Brazilian context, industrialized bricks and structure in reinforced concrete, for example. In addition to being in touch with a new technique, many volunteers have shown interest in participating to exchange ideas and information on issues beyond natural building — there were many conversations about food, education, lifestyle, and other topics related to integral sustainability, traditional lifestyle and contact with nature. It is evident that the mutirão sessions required a lot of work: planning, disclosure, motivation, logistics (rides, meals), etc. Also during the process, there was significant effort to instruct the team, to distribute the tasks and to keep everybody motivated and comfortable. However, such an effort was offset by the considerable productivity and the resultant work environment as well, more playful and lighter, without the pressure often seen in building sites. Finally, it is concluded that the making of cob walls in natural buildings is an appropriate task for voluntary help through mutirões, although it is a more laborious activity than some industrialized techniques. However, it is indicated the hiring forecast of skilled labor to other of the building that require technical experience. The mutirão in natural building is a recommended strategy due to its potential to attract people interested in the different, for offering savings, optimize the work and for collaborate with exchanges of experiences among the participants, resulting in practical gains of social sustainability.
REFERENCES ALEXANDER, C.; ISHIKAWA, S.; SILVERSTEIN, M. A pattern language. New York, Oxford University Press, 1977. BONDUKI, N. Origens da habitação social no Brasil. 6. ed. São Paulo, Estação Liberdade, 2011. EVANS, I. Philosophy, background and design. In: EVANS, I.; SMILEY, L.; SMITH, M. G. The hand-sculpted house. White River Junction, Chelsea Green Publishing, pp. 1-112, 2002. VAN LENGEN, J. Manual do arquiteto descalço. Jandira, Empório do Livro, 2008. MINKE, G. Manual de construcción em tierra. Montevideo, Editora Fin de Siglo, 2008. WEISMANN, A.; BRYCE, K. Building with cob. Devon, Green Books, 2006.
ACKNOWLEDGEMENTS My sincere gratitude to all friends, colleagues and strangers (not anymore) who have donated their time and their hands to join us in this crazy adventure of build a whole house. This paper exists only because of you. S. D. G.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
53
ARTIGOS
O MUTIRÃO NO PROCESSO CONSTRUTIVO DE CASAS DE BARRO: VANTAGENS E LIMITAÇÕES MUTIRÃO IN COB HOUSES BUILDING PROCESS: ADVANTAGES AND LIMITATIONS Juliano Moreira Coimbra (UFPEL) Palavras Chave Arquitetura; Construção Natural; Sustentabilidade Social; Mutirão; Autoconstrução
Key Words Arquitetura; Construção Natural; Sustentabilidade Social; Mutirão; Autoconstrução
RESUMO A terra ainda é um dos materiais construtivos mais utilizados mundialmente. Por sua baixa complexidade tecnológica, ela costuma estar relacionada a práticas de autoconstrução e mutirão (mobilização coletiva sem fins lucrativos). Aborda-se o problema da viabilidade do mutirão e seus ganhos sociais em construções naturais que tenham o barro como principal material. Estuda-se como caso a casa de barro que o autor projetou e autoconstruiu na área rural de Pelotas, extremo sul do Brasil, na qual mais de 80 voluntários ajudaram na construção. O objetivo geral é estudar os possíveis ganhos advindos da prática do mutirão. Como objetivos específicos, definiu-se: a) conceituar construção natural e explicar a técnica construtiva empregada na obra estudada (cob); b) verificar a relação entre mutirão e complexidade da técnica construtiva; e c) avaliar os ganhos de sustentabilidade social observados. Como resultados, percebeu-se que os mutirões atraíram muitos colaboradores, especialmente por se tratar de uma técnica construtiva não convencional. Também eles contribuíram para um ambiente de trabalho mais lúdico, apesar do desgaste físico. além do considerável volume de trabalho produzido, levando em consideração a inexperiência dos voluntários. Conclui-se que a construção natural e mutirão são complementares e colaboram para ganhos práticos de sustentabilidade social.
ABSTRACT Earth still is one of the most common building materials in the world, and is said that because of its low-tech approach it is a good option for self-construction and mutirão — Portuguese word for collective mobilization for mutual assistance in a free character. The problem addressed is the feasibility and social gains of the mutirão practice in cob buildings. The case study is an earthen house that the author designed and self-built in the rural area of Pelotas-RS, southern Brazil, where more than 80 volunteers helped to build. The general objective is to study the possible gains of the mutirão practice, and the specific objectives are: a) to define the concept of natural construction and explain the building technique applied in the house studied (cob); b) to analyse the relationship between mutirão and the complexity of the building technique; and c) evaluation of the observed social sustainability gains. The results showed that the mutirão sessions attracted many helpers due to the curiosity about learning an unconventional technique. They have also contributed to a more playful work environment, despite hard work. It is concluded that natural building and mutirão complete each other, and can collaborate for practical gains of social sustainability.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
55
O mutirão no processo construtivo de casas de barro: vantagens e limitações
1. INTRODUÇÃO
56
Na maioria das regiões do mundo, a terra ainda é o material de construção natural mais abundante e importante. Estima-se que um terço da população mundial viva em casas feitas com terra. Em países em desenvolvimento o número aumenta para mais da metade (MINKE 2002). A chegada da Revolução Industrial, a partir do século XVII, afetou drasticamente como, onde e com quais materiais as casas das pessoas “comuns” seriam edificadas. A começar pelo Reino Unido, as práticas vernaculares foram aos poucos entrando em declínio ante a produção de habitação em massa. Hoje se percebe um distanciamento da sociedade para com as técnicas vernaculares de construção natural, tendo a própria estrutura social sofrido diversas mudanças e fazendo com que a autoconstrução, um dia popular, desaparece quase por completo no meio daqueles que vivem no mundo industrializado. Trabalhos consultados (WEISMANN e BRYCE 2006; EVANS 2002) apontam essa reorganização social como responsável por fazer com que a terra enquanto material de construção seja considerada um produto inferior, associado à pobreza. Tal situação motivou pessoas a buscar alternativas. Nos movimentos de retorno-à-terra, das décadas de 1960 e 1970, já haviam interessados em estudar e pôr em prática técnicas de construção natural (também chamada aqui no Brasil de bioconstrução). Com a crise energética dos anos 1970, muita atenção pública foi dada no bom uso dos recursos naturais, eficiência energética nas edificações, casas passivas e meios de energia alternativos (EVANS 2002).
PORTUGUÊS
2. AUTOCONSTRUÇÃO E MUTIRÃO Historicamente, na maioria das culturas, edificar a própria casa costumava ser uma prática comum. Se o trabalho era muito pesado ou ficava muito lento, a família toda se reunia para ajudar. A prática de terceirizar essa tarefa para pessoas de fora do círculo de amigos e família é muito recente na história da humanidade. Para Evans (2002), isso resulta em pessoas trabalhando por décadas para pagar por uma casa com a qual não se sentem diretamente conectados. Essa desconexão também é percebida por Alexander et al (1977), no livro Uma linguagem de padrões, no qual os autores defendem que tipos modernos de propriedade como o aluguel, nos quais o morador não é o legítimo proprietário do imóvel, vão contra os processos naturais de formação de comunidades estáveis e impedem que as pessoas se sintam verdadeiramente confortáveis, uma vez que a casa não as pertence de fato. Com ênfase na
definição de controle de propriedade — em vez da propriedade como investimento financeiro —, os autores acreditam que as pessoas só se sentiriam confortáveis em suas casas se pudessem adaptá-las conforme suas necessidades, e tais investimentos só aconteceriam no caso dos moradores serem os efetivos proprietários legais do imóvel (ALEXANDER et al 1977). No Brasil, como mostra Bonduki (2011), a ideia do pequeno lote privado foi amplamente difundida entre a população, especialmente nas décadas de 1930 e 1940. No entanto, isso contribuiu especialmente para a vasta ocupação periférica no país por parte da população mais pobre que, por não obter acesso aos programas habitacionais limitados promovidos pelo Estado, tinha de procurar lotes de baixo custo afastados dos serviços urbanos para autoconstruir suas precárias habitações. Assim, a autoconstrução e a prática do mutirão para a população brasileira em geral é associada à escassez de recursos, pobreza e precariedade. Mas a retomada dessas práticas desde os movimentos de “retorno à terra” da década de 1960, apresenta outra abordagem para o problema: “O movimento de construções naturais tem ajudado os humanos a se reconectarem com a tradição do abrigo autossustentável, certamente um de nossos direitos naturais” (EVANS 2002, p. 5). Assim, pessoas preocupadas com um viver mais conectado ao meio ambiente e umas às outras começaram a se apropriar de técnicas construtivas tradicionais e materiais naturais para construírem elas mesmas suas casas. Pretende-se demonstrar neste trabalho a boa receptividade que a prática do mutirão possui em construções naturais que utilizam técnicas onde o barro é o principal material, como o cob, explicado mais adiante. Para Minke (2002), as técnicas de construção com terra não necessitam de pessoas especializadas em construção nem demandam ferramentas e maquinário complexo e caro, o que faz delas apropriadas para a autoconstrução. Ao mesmo tempo, são técnicas mais trabalhosas de executar, e é indicado que haja pelo menos uma pessoa com experiência nesse tipo de obra para controlar o processo e instruir a equipe.
3. CONSTRUÇÃO NATURAL E COB 3.1 Definindo construção natural É comum pensar em construção natural (ou bioconstrução, neologismo já bem utilizado no contexto brasileiro) como uma obra edificada com materiais naturais, ou seja, não industrializados (Figura 1). No entanto, qualquer
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
Juliano Moreira Coimbra
material extraído para edificar uma casa, por mais bruto que seja o acabamento, demandará algum tipo de processamento. Entende-se, por materiais naturais, “materiais que, mesmo quando processados, retém sua essência natural” (Evans 2002, p. 14). Ou seja, uma árvore, mesmo quando serrada em tábuas, mantém seu aspecto e propriedades naturais. Madeiras industrializadas, como o OSB ou o MDF, alteram drasticamente as propriedades da peça original, gerando um novo material, que não pode mais ser considerado natural. Ainda assim, como mostra a bibliografia consultada, o conceito de construção natural é mais amplo — para Evans (2002), construção natural vai além dos materiais — implica em atitudes completamente diferentes para com implantação no terreno, ecologia, mão de obra e utilização da edificação. É prestar mais atenção nas estruturas naturais que regem o mundo e transportá-las para o trabalho. Figura 01 – Pedra, barro e Madeira são exemplos de materiais naturais. Detalhe de um canto arredondado da casa estudada.
Fonte: Elaborado pelo autor
3.2 Paredes de cob feitas de barro Minke (2002) aponta três desvantagens que o barro possui ante aos materiais industrializados mais comuns: a) não é um material estandardizado, podendo variar suas características de lugar para lugar; b) ele se contrai ao secar, podendo apresentar fissuras; c) não é impermeável, devendo sempre ser protegido da ação direta das chuvas. Ainda assim, esse material natural apresenta diversas vantagens se comparado aos materiais industrializados, tais como: a) regula a umidade do ambiente, armazena calor, é produzido com baixo gasto energético, é reutilizável, é econômico, é apropriado para a autoconstrução, preserva materiais orgânicos em contato direto (como a madeira), dentre outras. Mesmo as desvantagens citadas não comprometem o uso do material. A variação de características dos solos de diferentes lugares pode ser compensada com adição de solo mais arenoso ou argiloso, seguido de testes simples que garantem a confiabilidade do traço adotado; as fissuras que podem aparecer, temidas por poderem abrigar insetos como o barbeiro, causador do mal de chagas, são facilmente eliminadas ao rebocar a parede; e o mesmo reboco, somado a beirais generosos, garantirão proteção contra a incidência direta das chuvas (MINKE 2002). Um dos materiais mais recorrentes na construção natural é a terra, ou mais especificamente, o barro. Diversas técnicas construtivas utilizam o barro para fazer paredes, nichos, bancos e outros elementos arquitetônicos, tais como adobe, taipa de pilão, pau-a-pique, cob, dentre outras (VAN LENGEN, 2009; MINKE, 2002). Na edificação estudada neste trabalho a principal técnica utilizada para as paredes de barro foi o cob. Cob é um termo inglês para construção com barro que não necessita formas, tijolos ou estrutura de madeira. O nome vem da tradição vernacular inglesa de construir casas com essa técnica, datada desde o século XIII até a era industrial. Ainda assim, a mesma técnica ou variações semelhantes podem ser encontradas em praticamente todos os continentes (EVANS, 2002).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
57
PORTUGUÊS
Para Weismann e Bryce (2006), mais que construir com o quê, é perguntar-se como, onde e por que construir. Eles destacam como conceitos básicos da construção natural: a) ênfase na redução do impacto ambiental dos materiais e práticas da construção; b) uma abordagem simples e pouco tecnológica. c) emprego de recursos renováveis e disponíveis na região; d) respeito ao ambiente natural onde a edificação é implantada e um projeto regional que corresponda a ele; e) encorajamento à autoconstrução; f) uso predominante de materiais naturais, como pedra, barro, palha e madeira. Também aqui o material é um componente em um sistema mais amplo. Neste trabalho, portanto, define-se construção natural como uma prática que busca empregar o mínimo
possível de processos e materiais industrializados e se caracteriza, formal e tecnicamente, pela presença de materiais naturais e técnicas construtivas de pouca complexidade tecnológica.
O mutirão no processo construtivo de casas de barro: vantagens e limitações
Figura 02 – A técnica do cob consiste em espessas paredes de barro esculpidas à mão, sem a necessidade de estrutura adicional.
Fonte: Elaborado pelo autor
PORTUGUÊS
58
A constituição do cob baseia-se em quatro materiais: solo argiloso, agregado (areia), palha fresca e água. Areia e argila devem ser misturados na proporção de 3:1. Logo, a areia é o ingrediente mais abundante, e o traço final deve resultar em uma massa homogênea equilibrada, que não se esfarele (excesso de areia) nem seja grudenta (excesso de argila) (LENGEN, 2008). No cob, o barro é assentado com as mãos (Figura 2), sem necessidade de formas, estruturas complementares ou argamassa. Levantam-se as paredes da casa por camadas (fiadas) de aproximadamente 30m por vez. Ao completar a primeira fiada, pode-se começar uma nova, guardando ao menos um dia para a fiada de baixo secar. Assim, as paredes da casa são levantadas e secam como um todo único, funcionando como uma estrutura monolítica (EVANS, 2002; WEISMANN e BRYCE, 2006). A parede de cob é como uma alvenaria de tijolos comum, porém em escala menor: as partícula de areia são como tijolos; a argila, em contato com a água, tem suas propriedades aglutinantes ativadas e torna-se como uma argamassa de assentamento; e a palha, por fim, é adicionada como material fibroso para ajudar a areia na função de estabilizar a argila, prevenindo eventuais fissuras ao secar (MINKE, 2002). Se comparado com tijolos convencionais, o cob tem muito menos energia incorporada na sua produção, uma vez que utiliza barro cru, e não queimado em fornos à lenha. Comparado a outras técnicas de construção natural, tem vantagem por não necessitar formas (como no adobe ou na taipa) nem estrutura para o barro agarrar (como no pau-a-pique). Justamente por isso, as paredes de cob necessitam de uma grande espessura para se estabilizarem (algo entorno de 35cm no mínimo), o que pode ser
considerado um problema considerando o volume de material empregado, porém vantajoso se pensar que a parede possuirá maior massa térmica (armazenará o calor por mais tempo, diferenciando a temperatura do exterior para o interior). Os dois principais cuidados ao se trabalhar com cob são quanto à ação direta da chuva e o uso de cimento no reboco. O barro não é impermeável e pode perder muita resistência ao ser molhado novamente. É indicado elevar as paredes do solo com uma fundação de pedra e projetar coberturas com beirais generosos (entre 45 e 60cm). Além disso, para garantir maior segurança, é indicado proteger as paredes externas com reboco à base de cal. A cal é um material poroso e permite que a parede respire e equilibre sua umidade com o ar do ambiente, além de apresentar boas propriedades de resistência à água (WEISMANN e BRYCE, 2006). Não se deve utilizar cimento ao rebocar paredes de barro, pois, apesar de mais impermeável que a cal, o cimento não possui a porosidade que o barro necessita para a parede “respirar”. Cimento e barro não trabalham bem juntos, e com o aparecimento das primeiras fissuras, a água pode entrar, não conseguirá sair da parede por evaporação, e a umidade se acumulará na base da parede, onde estão as maiores cargas, podendo causar colapso na estrutura (EVANS, 2002).
4. ESTUDO DE CASO — NOSSO RANCHO DE COB 4.1 Projeto Apresenta-se como objeto de estudo a casa de barro que o autor, recém-egresso da faculdade de arquitetura e urbanismo, projetou e construiu para morar. O projeto foi feito no primeiro semestre de 2014 e a obra teve início em agosto do mesmo ano, indo até agosto de 2015. O sítio é uma pequena propriedade rural no interior do município de Pelotas, Rio Grande do Sul, extremo sul do Brasil. Um terreno extremamente estreito (variando de 12m a 50m de largura por aproximadamente 320m de comprimento), com um hectare de área, não cultivado há mais de duas décadas, tomado por um mato jovem, com declividade total de 18m de frente a fundos, onde passa um arroio. Quatro prerrogativas básicas definiram a implantação da casa — acomodação aos limites do lote, desnível do solo, trajetória solar e interesse visual. Optou-se por uma implantação ao centro do lote, que garantiria tanto privacidade, proximidade ao arroio e belas visuais da paisagem rural. Os desníveis de até 1,5m entre as extremidades da
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
Juliano Moreira Coimbra
edificação foram minimizados por diferenças de nível nos ambientes internos. A casa possui 82,56m² de área total construída, sendo 52,80m² de área interna, 6,50m² de varanda e 22,26m² a área de parede, que representa 27% da área construída. Isso porque as paredes de cob foram erguidas com 42cm de espessura (37cm de barro + 2,5cm de reboco em cada lado), consumindo um volume de barro estimado em 27m³ (quase quatro caminhões-betoneira carregados). Para sustentar as paredes e elevá-las do solo, construiu-se um alicerce de pedras de granito irregulares. Nas extremidades e intersecções, esteios de eucalipto roliços foram fixados sobre a fundação, para estruturar a cobertura e permitir que ela pudesse ser iniciada antes do término das paredes. No segundo pavimento, o mezanino foi fechado com paredes de madeira, para facilitar a execução (subir o barro demandaria muito trabalho). Ambos os pavimentos receberam cobertura verde, feita sobre uma base de tábuas de eucalipto impermeabilizada com lona vinílica (a mesma usada em caminhões).
4.2 Trabalho em equipe e o mutirão
Tabela 01: Fases do trabalho
Fonte: Elaborado pelo autor
As fundações não exigiram profissionais, pois eram pouco complexas tecnicamente, apesar de muito desgastantes fisicamente para executar. Na etapa seguinte, estruturação do madeiramento, recorreu-se a uma equipe de carpinteiros profissionais. Somente quando começaram as paredes de cob (final do quarto mês de obra) que a estratégia dos mutirões pôde acontecer (Figura 3). Figura 03 – Voluntários trabalhando no segundo mutirão.
Conforme Minke (2002), uma construção natural é muito mais trabalhosa, dado o seu caráter artesanal. Assim, a estratégia de envolver o máximo de pessoas possíveis em mutirões aos sábados foi traçada também visando um melhor aproveitamento do tempo e do serviço. Contudo, ao dar início às fundações, percebeu-se que nem todas as etapas seriam adequadas aos mutirões com voluntários sem experiência, ora por serem tarefas muito pesadas fisicamente, ora por exigirem algum conhecimento técnico específico. A execução da obra se deu com uma equipe trabalhando cinco dias na semana em horário integral. O autor, proprietário e arquiteto da obra — sem prática alguma em construção natural, apenas estudos teóricos —, trabalhava como construtor e coordenava uma equipe formada por jovens com pouca ou nenhuma experiência em construção civil convencional, e menos ainda em casas dessa natureza. Em média, o número de trabalhadores variou entre três e quatro. Na Tabela 1, é possível visualizar as diversas etapas da obra e o tipo de mão de obra correspondente, profissional ou mutirão.
59
Fonte: Elaborado pelo autor
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
PORTUGUÊS
Os mutirões foram organizados em formato de oficinas. Utilizando a rede social, divulgavam-se os convites com as datas, horários e programação: saída da cidade
O mutirão no processo construtivo de casas de barro: vantagens e limitações
às 5h; trabalho das 6h às 13h, com dois intervalos para lanches; almoço (oferecido pela organização, mas preparado por algum dos voluntários) e banho no arroio. Providenciavam-se, também, caronas para os voluntários que não tinham como se deslocar à região da casa, distante cerca de 37km do centro da cidade de Pelotas.
Tabela 02: Tipos de funções para os voluntários
Figura 04 – Paredes quase prontas, no décimo quarto mutirão.
Fonte: Elaborado pelo autor Fonte: Elaborado pelo autor
60
Na dinâmica dos mutirões, o autor, que no dia-a-dia atuava como construtor junto com a equipe, assumia a tarefa de facilitador, auxiliando as pessoas a construir. Além de questões práticas, surgiam muitas perguntas e conversas relacionadas aos motivos de ter optado pelo tipo de construção, vantagens e desvantagens, opção por morar no campo, etc. Eventualmente havia também trocas multidisciplinares entre os voluntários, sendo muitos deles ligados à área da construção civil, à pesquisa e à academia. Quanto às tarefas executadas nos mutirões, empiricamente foram-se determinando cinco papéis (Tabela 2): primeiramente, a coordenação, feita pelo arquiteto e proprietário, e o apoio técnico, feito por trabalhadores que já conheciam a obra ou trabalhavam nela durante a semana. Os voluntários assumiam alguma das outras tarefas, de construtores (a maioria); de auxiliares, para os que tinham mais condições físicas para tarefas mais desgastantes como carregar peso; e de cozinheiros, em geral pessoas idosas ou com alguma limitação física para o trabalho prático, porém interessadas em poder ajudar de alguma forma.
Na etapa das paredes, o trabalho realizado nos mutirões muitas vezes equivalia a três ou quatro dias normais de serviço. No entanto, muitas coisas já eram preparadas de antemão visando a maior produtividade dos voluntários, que tinham menor vivência de canteiro de obras. Também tarefas mais precisas, como a fixação de marcos de janelas nas paredes ou quaisquer trabalhos que exigissem mais reflexão e cuidados, eram executados pela equipe fixa durante a semana. Figura 05 – O último mutirão, para a colocação da cobertura verde.
PORTUGUÊS
Fonte: Elaborado pelo autor
Para a execução da cobertura o mutirão também se mostrou como uma boa estratégia (Figura 5). A cobertura foi preparada em diversas camadas: sobre a base de madeira colocou-se uma camada de papelão, a lona
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
Juliano Moreira Coimbra
vinílica (impermeabilizante), papelão novamente e areia (2cm). Em toda a borda foram colocados drenos, com brita envolvida em sombrite, além de furos na tábua da base nas extremidades, para permitir o escoamento da água. Tendo isso pronto, o trabalho realizado nos mutirões foi de extrair do campo nativo vizinho pedaços de terra orgânica com cobertura vegetal (leivas de pasto), com aproximadamente 7 a 10cm de espessura. Figura 06 – O rancho de barro e madeira em 2017.
Fonte: Elaborado pelo autor
Ao total, de novembro de 2014, quando iniciaram as paredes, a abril de 2015, quando a cobertura verde foi finalizada, foram realizados doze mutirões, reunindo cerca de oitenta e quatro voluntários diferentes. Muitos dos voluntários eram amigos, colegas de estudo ou familiares, porém cerca de 25% destes eram desconhecidos, que encontraram o convite online e fizeram contato para ir, voluntariando-se para ajudar e compartilhar experiências.
5. RESULTADOS
61
AGRADECIMENTOS Minha sincera gratidão a todos amigos, colegas e desconhecidos (não mais) que doaram do seu tempo e suas mãos para juntarem-se a nós nessa aventura maluca de construir uma casa inteira. Este artigo existe somente por causa de vocês! S. D. G.
REFERÊNCIAS ALEXANDER, C.; ISHIKAWA, S.; SILVERSTEIN, M. A pattern language. New York, Oxford University Press, 1977.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
PORTUGUÊS
A experiência com mutirões na construção estudada permite algumas observações. Primeiramente, questiona-se a “democratização” do cob, como defendem os autores referidos no texto. Uma construção feita em cob tem na construção das paredes a principal demanda de trabalho, porém, outras etapas essenciais à obra (cf. Tabela 1) não são indicadas para o emprego de mão de obra sem experiência. É notável a facilidade com que voluntários recém-chegados ao canteiro de obras têm para iniciar a ajudar a levantar uma parede de cob; contudo, é importante enfatizar que o escopo da construção é muito maior que apenas as paredes. Quem pensa em construir sua casa com técnicas parecidas deve prever o custo com mão de obra especializada para as demais etapas.
Além da facilidade de aprender, que permitiu um maior número de voluntários aptos a participar, acredita-se que o grande volume de pessoas que participaram dos mutirões (84 pessoas em 15 mutirões) se deu especialmente pela curiosidade e vontade de aprender uma técnica construtiva não convencional, e dificilmente aconteceria em uma obra com materiais e técnicas convencionais — no contexto brasileiro, tijolos industrializados e estrutura em concreto armado, por exemplo. Para além do contato com uma nova técnica, muitos voluntários demonstraram interesse por participar para trocar ideias e informações sobre questões para além da construção natural — surgiram muitas conversas sobre alimentação, educação, estilo de vida, sempre alinhados com a perspectiva de sustentabilidade integral e contato com a natureza e a tradição. Evidentemente, os mutirões exigiram muito planejamento com divulgação, motivação, logística (caronas, refeições), etc. Também durante o processo, demandavam um grande esforço para instruir a equipe, distribuir as tarefas, mantê-los motivados e à vontade para colaborar da melhor forma. No entanto, tal esforço era compensado, não só pela considerável produtividade, mas por proporcionar um ambiente de trabalho mais lúdico e leve, sem a pressão que normalmente se vê em obras. Por fim, conclui-se que a construção de paredes de barro em uma construção natural é apropriada para o emprego de mão de obra voluntária através de mutirões, apesar de ser uma atividade mais laborosa que técnicas mais convencionais. Contudo, deve-se prever a contratação de profissionais para as outras etapas da construção que demandam maior experiência técnica. O mutirão na construção natural é uma estratégia indicada pelo potencial de atrair pessoas interessadas pelo diferente, por oferecerem economia e otimização do trabalho e por colaborar com trocas de experiências entre os participantes, resultando em ganhos práticos de sustentabilidade social.
O mutirão no processo construtivo de casas de barro: vantagens e limitações
BONDUKI, N. Origens da habitação social no Brasil. 6. ed. São Paulo, Estação Liberdade, 2011. EVANS, I. Philosophy, background and design. In: EVANS, I.; SMILEY, L.; SMITH, M. G. The hand-sculpted house. White River Junction, Chelsea Green Publishing, pp. 1-112, 2002. VAN LENGEN, J. Manual do arquiteto descalço. Jandira, Empório do Livro, 2008. MINKE, G. Manual de construcción em tierra. Montevideo, Editora Fin de Siglo, 2008. WEISMANN, A.; BRYCE, K. Building with cob. Devon, Green Books, 2006.
PORTUGUÊS
62
Mix Sustentável | Florianópolis | v.3 | n.4 | p.47-61 | nov. | 2017
ARTICLES
STRATEGIES TO PROMOTE SUSTAINABLE BEHAVIOUR IN RELATION TO WATER USE: PROPOSALS AND CLASSIFICATIONS ESTRATÉGIAS PARA PROMOVER COMPORTAMENTOS SUSTENTÁVEIS EM RELAÇÃO AO USO DE ÁGUA: PROPOSTAS E CLASSIFICAÇÕES Luis Oliveira, Dr. (University of Warwick) Andrea Franco Pereira, Dra. (UFMG) Marilia Lyra Bergamo, Dra. (UFMG) Key Words Sustainable Design; Design for behaviour change; Design with intent; Interventions; Persuasive technology
Palavras Chave Design sustentável; Design para mudança de comportamento; Design com intento; Intervenções; Tecnologia persuasiva
ABSTRACT The design of products, services and spaces can influence what we think and do, and there is the potential for using design to promote sustainable behaviours. Most examples of behaviour change interventions have as setting Western and developed countries. Environmental damage affects people in diverse parts of the globe, and recently severe droughts caused water shortage in the most populous areas in Brazil. This paper reports on workshops conducted with Brazilian students as a way to foster the generation of ideas and development of strategies to promote sustainable behaviours regarding water use, and therefore reduce consumption and waste. The ideas proposed during these workshops were classified according to established models of design for behaviour change and sustainable behaviour, indicating the categories of the most frequent suggestions. Results demonstrated how the idea generation sessions were capable of producing interesting solutions to reduce consumption that could help to tackle the problem of water shortage. However, the short duration of these exercises meant that suggestions were limited in terms of scope and evaluation of impact. This paper indicates that design for behaviour change should be incorporated into regular curricula in Brazil in order to make future professionals and practitioners more familiar with these techniques and therefore more able to tackle their local and global environmental challenges.
RESUMO O design de produtos, serviços e espaços pode influenciar o que a gente pensa e faz, e existe potencial para usar o design para promover comportamentos sustentáveis. A maioria dos exemplos de intervenções para mudança de comportamento tem como cenário países desenvolvidos. Danos ambientais afetam pessoas em diversas partes do globo, e recentemente secas severas causaram falta de água nas áreas mais populosas do Brasil. Este artigo apresenta oficinas conduzidas com estudantes brasileiros como forma de incentivar a geração de ideias e desenvolver estratégias para promover comportamentos sustentáveis em relação ao uso da água, e portanto reduzir o consumo e desperdício. As ideias propostas durante estas oficinas foram classificadas de acordo com modelos estabelecidos de design para mudança de comportamento e design sustentável, indicando as categorias com maior frequência de sugestões. Os resultados demonstraram como as sessões de geração de ideias foram capazes de produzir soluções interessantes para redução do consumo, o que poderia ajudar a combater o problema de falta de água. Entretanto, a curta duração destes exercícios fez com que as sugestões fossem limitadas em termos da abrangência e avaliação de impacto. Este artigo indica que design para mudança de comportamento pode ser incorporado nos currículos no Brasil, para fazer com que futuros profissionais fiquem mais familiarizados com estas técnicas e portanto sejam mais capazes de combater os desafios ambientais em escalas local e global.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
63
Strategies to promote sustainable behaviour in relation to water use: proposals and classifications
1. INTRODUCTION
64
Sustainability can be defined as having a world “in which humans can survive without jeopardizing the continued survival of future generations of humans in a healthy environment” (BROWN et al., 1987, p. 717). The original principle of sustainability grew from economic considerations, when humans faced serious environmental challenges. Sustainability today extends its focus from a challenge limited in space and time to become a worldwide and long-term problem (ZINK, 2008). The challenges to promote sustainability are remarkable considering that the negative environmental consequences of human behaviours are difficult to visualize due to the geographical and temporal displacement of the effects (which may occur sometime in the future and in remote places on the planet). More recently, sustainability gained momentum thanks to Non-Governmental Organizations and increased awareness of consequences of resources usage. It encompasses issues such as trade justice, anti-globalization, activism, need for more legislation and corporate social responsibility (BHAMRA; LOFTHOUSE, 2007). However, given the scale of the problem, achieving sustainability seems a daunting task. Difficulties are found in individual, societal and global scales in the attempt to tackle a problem that humans themselves caused. These challenges indicate the need for the development of innovative strategies, even if small scale, domain-specific, to somehow reduce the impact that humans cause in the environment. In Brazil, the south-eastern region experienced severe droughts in the years of 2014 and 2015 (NOBRE et al., 2016). This issue motivated a range of strategies to try to contain consumption, from public policy, prices or user-led initiatives. Similarly to other natural resources such as air quality or global temperatures, people need to find ways to preserve fresh water supply to achieve a sustainable future. In the attempt to reduce impacts in the environment, there are two main actions that can be performed, namely changing the infrastructure or changing behaviours (ATTARI et al., 2010). To change the infrastructure, for example replacing appliance with modern, more efficient ones, can be an easy fix for some situations. Modern products can be more sustainable, especially if designed considering their whole life cycle (PEREIRA; SOARES, 2016). In some cases, owning efficient appliances or living in energy efficient homes is not a guarantee of efficiency (GILL et al., 2010), and there are diverse challenges to the introduction of new technologies (OLIVEIRA et al., 2015). Studies have demonstrated that user behaviours vary enormously, indicating that there is scope for reduction in consumption exclusively through behaviour change (OLIVEIRA; MITCHELL; BADNI, 2012). One study on washing up
methods showed that people behave in diverse ways, and on average use more detergent, water, energy and time than a regular dishwasher, and the plates are usually less clean when people do the dishes by hand (BERKHOLZ et al., 2010). But when a set of ‘best practice tips’ were given to consumers as instructions, they “used around 60% less water, 70% less energy and 30% less detergent compared with the average everyday behaviour the other subjects used. Additionally, they achieved a slightly better cleaning result” (FUSS et al., 2011). Cultural differences showed to be an important factor on user behaviours for dish washing, influencing water and detergent usage (ELIZONDO; LOFTHOUSE; BHAMRA, 2011). Laundry and dish washing energy use was reported to be highly influenced by lifestyles, and “results show a variation of a factor of five between a more sustainable and a more careless behaviour” (STAMMINGER, 2011). In the example of water consumption, it is possible to replace the taps so there is less water flow, or we can implement strategies that make people use less water. These strategies may be grouped under the umbrella of Design for Sustainable Behaviour, a field dedicated to the study of ways to make people think and do things that protect the environment (BHAMRA; LILLEY; TANG, 2011). Interventions are frequently used to promote sustainable behaviour, using different methods and having different levels of success (ABRAHAMSE et al., 2005; UITDENBOGERD et al., 2007). Previous research demonstrated examples of strategies to reduce water consumption. One shower equipped with LEDs made the quantity of water consumed progressively visible (KAPPEL; GRECHENIG, 2009) and a sink tap add-on allowed the visualization of water consumption and comparison with other users (ARROYO; BONANNI; SELKER, 2005). Another example added a method do visualise how long each housemate spend in the shower to foster competition (LASCHKE et al., 2011). On a comprehensive study, Froehlich et al. (2012) tested diverse visualisations of water consumption, documenting household activities in order to motivate savings in a domestic setting. These examples illustrate a number of methods trying to persuade people to use less water. It is common to associate persuasion and rhetoric with psychologists, lawyers and marketers. However, designers and architects can also embed persuasion in the products, services or spaces that they are developing. Persuasion is often presented via electronic devices such as computers and smartphones, in a recent field named Persuasive Technology (FOGG, 2003; OINAS-KUKKONEN, 2013). Persuasive strategies can be used to promote a wide range of activities such as cycling and walking to work (ROSS et al., 2015), healthily eating (KAPTEIN et al., 2012) or electricity
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
saving (OLIVEIRA; MITCHELL; MAY, 2016). One comprehensive list of persuasive principles can be found on The Design with Intent Method (LOCKTON; HARRISON; STANTON, 2010). They developed 101 cards (LOCKTON; HARRISON; STANTON, 2011) with patterns for influencing user behaviour through design in different categories, for example the architecture lens (influences user behaviour through the design of the environment), errorproofing (eliminating or reducing the chances of user making errors) and the cognitive lens (for situation where users make poor decisions, the design of the system can help indicating better choices). The cards contain enticing questions, descriptions and images of relevant examples of behaviour change strategies (Figure 2). Bhamra et al. (2011) describe a scale for classifying interventions that promote sustainable behaviour (Figure 1), which became known as the “Loughborough method” (NIEDDERER et al., 2014). This scale indicates the balance between power and control in the user-product relationship. On the first levels, the user is provided with choice and information in order to reflect upon resources consumption and behave in a sustainable way. With this principle the user has a relative freedom to perform otherwise. On the other side of the spectrum there are the eco-technological interventions and clever designs, when the product or service often acts automatically to save resources, without requiring much change in behaviours. As can be seen from the literature, there are numerous design principles and patterns available to be implemented during behaviour change intervention projects. It suggests that a rigorous process of identifying the adequate ones that matches the behaviours in question should take place. The design of behaviour change interventions should Figure 1 – Design for Sustainable Behaviour scale
Source: Adapted from (BHAMRA; LILLEY; TANG, 2011)
consider a range of issues such as the potential for impact on the problem, the consequences, costs and complexity to implement (BOOTH, 1996). Furthermore, attempting to change people’s behaviours should be made with care, given that having control over individuals and limiting user freedom via an intervention raises ethical concerns (PETTERSEN; BOKS, 2008).
2. METHODOLOGY The current paper presents results from workshops that took place in a large university in Brazil. From a range of possible user research methods that could help the design for sustainable behaviour (DAAE; BOKS, 2015), workshops were chosen due to the possibility for combining learning and idea generation (GOODMAN; KUNIAVSKY; MOED, 2012). The participants were 35 students from Design (28) and Architecture (7). The content of the workshops introduced and explored Design for Sustainable Behaviour and Persuasive Technology to undergraduate students. The activities involved two-day workshops for each of the courses. The first day of workshops consisted of the introduction of themes, divided in two sessions: Design for Sustainable Behaviour: How design can be used to purposely influence people’s behaviours, and how design is used to minimise the damage to the environment, including examples of energy saving, active transport and water saving. Persuasive Technology: How computers, phones and technology in general can change what we think and do. This included examples of games and other applications to motivate behaviour change. The second day of workshops included more handson activities, divided in three sessions: Classification of examples: Participants were asked to bring examples of their real life that fit into specific categories of behaviour change strategies. Students presented their selected examples to the group. Problem solving: One specific real-life problem was presented, and participants were asked to provide design solutions to change specific behaviours. All students were given the short briefing: to ‘motivate people to save water’. Creativity workshop (Figure 3): Students were prompted to generate design solutions (Figure 4), which were presented orally at the end of the event. Participants from Architecture worked individually and from Design worked in small groups from four to six members. The creativity workshop was instigated by the use of the Design with Intent Cards (LOCKTON; HARRISON; STANTON, 2010), translated to Portuguese, available
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
65
Strategies to promote sustainable behaviour in relation to water use: proposals and classifications
online1. The content used during this workshop was produced exclusively to this purpose and kept freely available. For most of the material, this was the first time they were published in Portuguese, which benefited the students and broader community. Figure 2 - Design with Intent Cards.
Source: (LOCKTON; HARRISON; STANTON, 2010), translated to Portuguese
Figure 3 - Workshop setting
3. RESULTS The outcomes from the creativity workshops comprised 14 proposals for reducing water consumption. The students presented these orally to the groups at the end of each series of workshops, when we took note of the details, commented on the strategies and asked questions. These suggested strategies were analysed and classified according to the Design with Intent Method (LOCKTON; HARRISON; STANTON, 2010) and the Design for Sustainable Behaviour model (BHAMRA; LILLEY; TANG, 2011). Table 4 below presents the classification of each design proposal presented. The first column presents the domain of water used chosen by the student or group. The second column contains a description of the project, as presented by the students. The third column describes the components of the intervention, in terms of hardware, software, product or system, to make the intervention possible to implement. The fourth and fifth columns contain the classification of the proposed interventions as per the Design with Intent method (LOCKTON; HARRISON; STANTON, 2010), separated by the individual strategies and the overarching lens. Table 1 – Proposed domain of water use
66
Domain
Number of projects
Household
4
Shower
4
Taps
4
Car washing
1
Dish washing
1
Washing machine
1
Agribusiness and factories
1
Table 2 – Proposals classified by lens of the Design with Intent method Figure 4 - Example of strategies from one of the groups
Lens
Quantity
Interaction
9
Ludic
9
Errorproofing
6
Security
4
Machiavellian
2
Perceptual
1
Cognitive
1
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
Table 3 – Proposals classified according to the Design for Sustainable Behaviour method
DfSB method
Quantity
Eco-feedback
12
Eco-spur
11
Eco-steer
4
Eco-technical
3
Clever design
1
Eco-information
1
The last column also presents a classification of the suggested interventions, but this time using the Design for Sustainable Behaviour scale (BHAMRA; LILLEY; TANG, 2011). It is important to notice that the majority of the design proposals combined more than one domain and more than one strategy, resulting in 33 individual behaviour change techniques suggested. The students presented an interesting range of projects to tackle the problem of water scarcity in Brazil. The domains of use varied from small, localised points of consumption such as taps or showers, to household-wide water use management (Table 1). Only one project proposed as target of the intervention large-scale scenarios such as the agribusiness and factories. According to a classification of proposals into the different lens of the Design with Intent method (Table 2), the two categories with most suggestions were ‘Interaction’ and ‘Ludic’. Interaction interventions include some core patterns of human-computer interaction such as feedback, progress bars other representations of consumption. Students indicated the need to convey the use of water to users so they can realise the impact of their behaviour and hopefully act on that. Ludic elements are generally derived from games such as goal setting, challenges, targets, scores and rewards. Students suggested interventions where users would have a set target for water consumption. They could compete with peers and receive prizes for adequate behaviour. The next most frequent strategy proposed was errorproofing, indicating the need to avoid certain behaviours, which are considered ‘errors’. These strategies usually “make it easier for users to work without making errors, or by making errors impossible in the first place” (LOCKTON; HARRISON; STANTON, 2010). Students proposed frequently the use of ‘portions’ of water, pre-defining the ideal volume to be used by each activity, therefore minimising the chances of waste. Four strategies included security to promote sustainable behaviours, making use of the Internet to share
information about consumption where users control each other’s behaviours. This control was proposed in different levels, from ‘peerveillance’, where users on the same level watch their peers, to ‘sousveillance’, where common people are given the ability to observe and monitor the behaviour of large consumers of water such as the agribusiness and factories. If these businesses know that they are being observed, they may be more cautious with the amount of water used to avoid negative public opinion. Two projects included Machiavellian elements to their intervention, both to degrade the performance in case of unsustainable behaviour. In one case the shower would get colder with time, and in the other the music will become faster to force the user to accelerate the washing up. Only one intervention included the Perceptual lens, suggesting a way to physically visualise the water dedicated to specific tasks and therefore increase awareness of usage. Likewise, only one project suggested a Cognitive strategy, stimulating an emotional engagement between the user and the system. This group proposed that a representation of a tree would grow and bloom if the user saved water, motivating attachment to the virtual object. A large number of projects contained, indirectly, Architectural aspects, but not as a salient strategy, for example ‘positioning’, when screens and displays were positioned right at the location of consumption, for example in the in the shower or in front of the taps. Other common architectural strategy used in the background was the ‘simplicity’, when the system makes it easier for users to do something, for example when it calculates the local tariff to give the exact price of the current activity.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
67
Strategies to promote sustainable behaviour in relation to water use: proposals and classifications
Table 4 – Proposed interventions for reducing water consumption classified according to the *Design with Intent and **Design for Sustainable Behaviour methods
#
Domain
Description
Strategies*
Lenses*
Method**
1
Shower
A display by the shower Display shows in real time the water Speakers and electricity consumption via digits and graphs. Using GPS, it gathers the local tariffs to calculate the cost per time. It sounds warnings if the user is taking too long
Real-time feedback Conditional warning
Interaction Errorproofing
Eco-feedback Eco-spur
2
Shower
LED strip displaying minutes elapsed. After a set threshold the temperature starts to decrease
LEDs, temperatu- Progress bar re control Portions Degrading performance
Interaction Errorproofing Machiavellian
Eco-feedback Eco-steer Eco-spur
3
Household
Public policies define consumption targets. Users receive periodic feedback. Prizes are given to those who met the targets
Communications Summary via water bills feedback Challenges and targets Rewards
Interaction Ludic Ludic
Eco-feedback Eco-spur Eco-technical
4
Agribusiness and factories
Expenditure of large consumers is shown to the public. Communities became aware. Companies dialogue and communicate their campaigns to reduce consumption
Web portal
Sousveillance
Security
Eco-feedback
5
Shower and taps
Water flow and time of use are pre-set according to activity, e.g. quantity of dishes to wash, or a shower including washing the hair
Internal flow control
Portions
Errorproofing
Eco-steer
6
Taps
Users pre-set intended volume of water to use. Users can see the water dedicated for the current task, and the tap counts down with a display.
Water tank, LED display
Transparency Portions Progress bar
Perceptual Errorproofing Interaction
Ecoinformation Eco-steer Eco-feedback
7
Taps
Rainwater and used water is Water tanks, disstored in tanks and re-distri- tribution pipes buted via dedicated pipes
-
-
Clever design
8
Dish washing A sound system by the sink plays music and displays consumption on a progress bar, and a sensor detects user proximity to prevent waste. Music becomes faster after a certain time
Progress bar Portions Degrading performance
Interaction Errorproofing Machiavellian
Eco-feedback Eco-spur Eco-technical
68
Components
Sound system integrated with tap, occupancy sensor
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
Hose pipe containing a Sensor, internet sensor device that detects connection, current usage and cumusocial network lative water consumption. System shares participants’ consumption and they compete to win prizes
Peerveillance Challenges and targets Scores Rewards
Security Ludic Ludic Ludic
Eco-feedback Eco-spur Eco-spur Eco-spur
10 Household
Domestic water use (divided Web portal, per resident) is shared to smart meters foster competition. Portal shows graphs with detailed consumption and gives advices on saving water
Summary feedback Scores Peerveillance
Interaction Ludic Security
Eco-feedback Eco-spur Eco-feedback
11 Washing machine
User indicates the appliance and cycle used and sees costs. System uses GPS to collect the local tariff of electricity and water, and gives a report
Summary feedback
Interaction
Eco-feedback
12 Shower and taps
The system has pre-defined Water tanks, volumes and flows dedicavalves and occuted to different activities. An pancy sensors occupancy sensor stops the flow when the user leaves
Portions Errorproofing Where you are Security
Eco-steer Eco-technical
13 Household
Water company decodes bills and gives consumption on graphs and compares with average of the area, by dwelling type. System gives tips on how to save, and gives discounts for those saving the most
Smartphone application for feedback and comparison
Summary feedback Scores Reward
Interaction Ludic Ludic
Eco-feedback Eco-spur Eco-spur
14 Household
Families use the system to visualise consumption down to each individual, with specific interfaces for children. Graphs show consumption, and a representation of trees blooming indicate the most efficient users
Flow sensors Smartphone application for feedback
Summary feedback Scores Emotional engagement
Interaction Ludic Cognitive
Eco-feedback Eco-spur
9
Car washing
Smartphone application
The interventions proposed by the students were classified in six of the seven levels on the Design for Sustainable Behaviour scale (Table 3). The vast majority fell under ‘eco-feedback’ and ‘eco-spur’. With eco-feedback the design of the product or service informs users about what they are doing, and it helps them to make environmentally and socially responsible decisions via some
sort of feedback. “The product provides tangible aural, visual, or tactile signs as reminders to inform users of resource use” (BHAMRA; LILLEY; TANG, 2011, p. 431). In this category are all the graphs, progress bars and representations of consumption proposed by the students. Ecospur is defined as a design that inspires users via rewards to motivate good behaviour or penalties that punishes
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
69
Strategies to promote sustainable behaviour in relation to water use: proposals and classifications
70
unsustainable usage. Examples of rewards include prizes and discounts, and a few punishments were also suggested by the students, such as sound warnings, music playing increasingly faster (and consequently unpleasant) or the water of a shower becoming gradually colder. Eco-steer was proposed four times via the provision of affordances and constraints embedded in the product. The suggested interventions defined the amount of water to be used in each session, therefore prescribing the adequate amount of water to be consumed. Three interventions proposed the use of eco-technical designs, when the product contains technological systems that persuade or control behaviours. Only one suggested system was classified under clever design, when the product or system automatically acts environmentally, without the awareness of the user, and without the need of behaviour change, and acting “purely through innovative product design” (BHAMRA; LILLEY; TANG, 2011, p. 431). The proposed design solution included the use of tanks to store rainwater and wastewater from taps and showers, which could be then reutilised. The only omission according to the Design for Sustainable Behaviour model was the ‘eco-choice’, when the product or system encourages consumers to reflect and to take responsibility of their behaviours via options and choices. The designs proposed by the students were generally ‘scripted’ (JELSMA; KNOT, 2002): users had certain specific sustainable behaviour to perform and no alternatives were suggested.
4. CONCLUSION
courses. The activities performed in our two-day workshops in Brazil are generally part of semester-long assignments in Norway (ZACHRISSON; BOKS, 2013). With more time, the proposed interventions could have had a higher variety of strategies, or apply to situations with higher impact on water consumption. From the 101 possible design strategies listed by Lockton (2011), only 15 were proposed by the students among the 32 strategies suggested. Also, most of the domains of water use were at an individual or local/residential level. Nevertheless, it was an interesting exercise to see the dedication of the students in producing and presenting their ideas in such a short time. Future work could expand these activities and embed them into the existing curricula. Also, it would be interesting to develop ideas to tackle problems in other domains, such as to reduce domestic electricity use, promote healthily behaviours or motivate sustainable and active transport methods instead of driving cars. The workshops presented here were the first opportunity for some of the students to get in contact with a number of behaviour change techniques. The Design and Architecture students have an important role in society when creating the products, services, systems and spaces that can shape what we think and do. Once we know these tools, we are better positioned to use them, and prepared to develop interventions to target the complex sustainable challenges faced by humankind.
ACKNOWLEDGEMENTS
The workshops and the idea generation sessions reported here turned out to be remarkably fruitful in the attempt to develop interventions to promote sustainable behaviours. In the end there were 14 projects comprised of 33 strategies that could motivate people to use less water. These strategies could certainly contribute to the need to reduce water consumption in Brazil, a problem that became particularly emphasised in recent years. A few limitations need to be considered as part of the conclusions presented here. Firstly, most of the students were not previously familiar with the definitions and classifications of strategies to change behaviour. The contents used during the workshops were delivered in a few hours and over the course of two days, therefore not enough time for immersing in the concepts for a thorough development process. The teaching of sustainable design is still in its infancy in Brazil, especially if compared with developed countries, where the design for sustainable behaviour is at the core of the curriculum and define the structure of
The authors would like to thank all participants in the workshops who contributed with great intervention ideas to reduce water consumption. This research was partially funded by the Research Office Santander Mobility Award, from Loughborough University, where the first author was working as a Research Associate at the time of the visit to Brazil. This award gives the opportunity for staff members to travel overseas, or to host overseas visitors at Loughborough, and is part of the Santander Universities scheme.
REFERENCES ABRAHAMSE, W.; STEG, L.; VLEK, C.; ROTHENGATTER, T. A review of intervention studies aimed at household energy conservation. Journal of Environmental Psychology, v. 25, n. 3, p. 273–291, set. 2005. Disponível em: <http://linkinghub.elsevier. com/retrieve/pii/S027249440500054X>. Acesso em: 21 jul. 2011. ARROYO, E.; BONANNI, L.; SELKER, T. Waterbot: exploring feedback and persuasive techniques at the sink. In: Proceedings
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
of the SIGCHI conference on Human factors in computing systems, Anais...ACM, 2005.
FROEHLICH,
J.;
FINDLATER,
L.;
OSTERGREN,
M.;
RAMANATHAN, S.; PETERSON, J.; WRAGG, I.; LARSON, E.; FU, F.; BAI, M.; PATEL, S.; LANDAY, J. a. The design and evaluation of
ATTARI, S. Z.; DEKAY, M. L.; DAVIDSON, C. I.; DE BRUIN, W.
prototype eco-feedback displays for fixture-level water usage
B. Public perceptions of energy consumption and savings.
data. Proceedings of the SIGCHI Conference on Human
Proceedings of the National Academy of Sciences, v. 107, n.
Factors in Computing Systems, p. 2367–2376, 2012. Disponível
37, p. 16054–16059, 2010.
em: <http://doi.acm.org/10.1145/2207676.2208397>.
BERKHOLZ, P.; STAMMINGER, R.; WNUK, G.; OWENS, J.;
FUSS, N.; BORNKESSEL, S.; MATTERN, T.; STAMMINGER, R. Are
BERNARDE, S. Manual dishwashing habits: an empirical analysis
resource savings in manual dishwashing possible? Consumers
of UK consumers. International Journal of Consumer Studies,
applying Best Practice Tips. International Journal of
v. 34, n. 2, p. 235–242, 2010. Disponível em: <http://dx.doi.org/10
Consumer Studies, v. 35, n. 2, p. 194–200, mar. 2011. Disponível
.1111/j.1470-6431.2009.00840.x>.
em: <http://dx.doi.org/10.1111/j.1470-6431.2010.00972.x>.
BHAMRA, T.; LILLEY, D.; TANG, T. Design for Sustainable
GILL, Z. M.; TIERNEY, M. J.; PEGG, I. M.; ALLAN, N. Low-energy
Behaviour: Using Products to Change Consumer Behaviour. The
dwellings: the contribution of behaviours to actual perfor-
Design Journal, v. 14, n. 4, p. 427–445, 1 dez. 2011. Disponível
mance. Building Research & Information, v. 38, n. 5, p. 491–
em:
508, 2010.
<http://www.tandfonline.com/doi/full/10.2752/17563061
1X13091688930453>. GOODMAN, E.; KUNIAVSKY, M.; MOED, A. Observing the BHAMRA, T.; LOFTHOUSE, V. Design for sustainability: a practical approach. Aldershot: Gower, 2007.
user experience: a practitioner’s guide to user research. 2. ed. [s.l.] Morgan Kaufmann, 2012.
BOOTH, E. M. Starting with behavior: A participatory
JELSMA, J.; KNOT, M. Designing environmentally efficient
process for selecting target behaviors in environmental
services; a “script” approach. The Journal of Sustainable
programs. [s.l: s.n.].
Product Design, v. 2, n. 3/4, p. 119–130, 2002. Disponível em: <http://dx.doi.org/10.1023/B:JSPD.0000031031.20974.1b>.
BROWN, B. J.; HANSON, M. E.; LIVERMAN, D. M.; MERIDETH, R. W. Global sustainability: Toward definition. Environmental
KAPPEL, K.; GRECHENIG, T. “Show-me”: Water consumption
Management, v. 11, n. 6, p. 713–719, nov. 1987. Disponível em:
at a glance to promote water conservation in the shower. In:
<http://link.springer.com/10.1007/BF01867238>. Acesso em: 28
Persuasive ’09, Proceedings of the 4th International Conference
fev. 2017.
on Persuasive Technology, New York, NY, USA. Anais... New York, NY, USA: ACM, 2009.
DAAE, J.; BOKS, C. A classification of user research methods for design for sustainable behaviour. Journal of Cleaner
KAPTEIN, M.; DE RUYTER, B.; MARKOPOULOS, P.; AARTS, E.
Production, v. 106, p. 680–689, nov. 2015. Disponível em: <http://
Adaptive Persuasive Systems: A Study of Tailored Persuasive
linkinghub.elsevier.com/retrieve/pii/S0959652614004120>.
Text. ACM Transactions on Interactive Intelligent Systems, v.
Acesso em: 14 mar. 2017.
2, n. 2, p. 1–25, 2012. Disponível em: <http://dl.acm.org/citation. cfm?doid=2209310.2209313>.
ELIZONDO, G. M.; LOFTHOUSE, V.; BHAMRA, T. An exploration of dishwashing habits in Anglo and Hispanic communities
LASCHKE,
M.;
HASSENZAHL,
M.;
DIEFENBACH,
S.;
through the use of Cultural Probes. In: International Consumer
TIPPKÄMPER, M. With a little help from a friend: a shower calen-
Sciences Research Conference, Anais...2011.
dar to save water. In: Proceedings of the 2011 annual conference extended abstracts on Human factors in computing systems,
FOGG, B. J. Persuasive technology: using computers
Anais...ACM, 2011.
to change what we think and do. USA: Morgan Kaufman: SF, CA, 2003.
LOCKTON, D.; HARRISON, D.; STANTON, N. A. The Design with Intent Method: A design tool for influencing user behaviour. Applied Ergonomics, v. 41, n. 3, p. 382–392, maio 2010.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
71
Strategies to promote sustainable behaviour in relation to water use: proposals and classifications
Disponível em: <http://linkinghub.elsevier.com/retrieve/pii/
PEREIRA, A. F.; SOARES, S. R. Environmental parameters for ecodesign: a tool based on ecolabel programs and life cycle
S0003687009001136>.
thinking. International Journal of Sustainable Design, v. 3, LOCKTON, D.; HARRISON, D.; STANTON, N. A. Design with Intent: 101 patterns for influencing behaviour through
n. 1, p. 1, 2016. Disponível em: <http://www.inderscience.com/ link.php?id=78944>. Acesso em: 5 mar. 2017.
design. Disponível em: <http://designwithintent.co.uk/introduction-to-the-design-with-intent-toolkit/>. Acesso em:
PETTERSEN, I. N.; BOKS, C. The ethics in balancing control and freedom when engineering solutions for sustainable be-
2 mar. 2017.
haviour. International Journal of Sustainable Engineering, NIEDDERER, K.; MACKRILL, J.; CLUNE, S.; LOCKTON, D.;
v. 1, n. 4, p. 287–297, 2008.
LUDDEN, G.; MORRIS, A.; CAIN, R.; GARDINER, E.; GUTTERIDGE, R.; EVANS, M.; OTHERS. Creating Sustainable Innovation
ROSS, T.; BURRIS, A.; OLIVEIRA, L.; ARNOTT, B.; ARAUJO-
through Design for Behaviour Change: Full Project Report.
SOARES, V. A feasibility study of the effect of phone-based
[s.l: s.n.]. Disponível em: <https://wlv.openrepository.com/wlv/
feedback of other commuters’ subjective experiences on
handle/2436/336632>. Acesso em: 27 fev. 2017.
driver intentions to change. Disponível em: <https://dspace. lboro.ac.uk/dspace-jspui/handle/2134/19015>.
NOBRE, C. A.; MARENGO, J. A.; SELUCHI, M. E.; CUARTAS, L. A.; ALVES, L. M. Some Characteristics and Impacts of the Drought
STAMMINGER, R. Modelling resource consumption for
and Water Crisis in Southeastern Brazil during 2014 and 2015.
laundry and dish treatment in individual households for vari-
Journal of Water Resource and Protection, v. 8, n. 2, p.
ous consumer segments. Energy Efficiency, v. 4, n. 4, p. 559–
252–262, 2016. Disponível em: <http://www.scirp.org/journal/
569, 18 nov. 2011. Disponível em: <http://dx.doi.org/10.1007/
PaperDownload.aspx?DOI=10.4236/jwarp.2016.82022>. Acesso
s12053-011-9114-x>.
em: 28 fev. 2017. UITDENBOGERD, D.; EGMOND, C.; JONKERS, R.; KOK, G.
72
OINAS-KUKKONEN, H. A foundation for the study of be-
Energy-related intervention success factors: a literature re-
havior change support systems. Personal and Ubiquitous
view. Proceedings of the eceee 2007 Summer Study: Saving
Computing, v. 17, n. 6, p. 1223–1235, 2013. Disponível em:
Energy–Just Do It, v. 1, n. 4, p. 1853–1857, 2007.
<http://link.springer.com/10.1007/s00779-012-0591-5>. ZACHRISSON, J.; BOKS, C. From teaching sustainable prodOLIVEIRA, L.; MAY, A.; MITCHELL, V.; COLEMAN, M.; KANE,
uct design to teaching sustainable behaviour design. In: 2nd
T.; FIRTH, S. Pre-installation challenges: classifying barriers to
International Conference for Design Education Researchers,
the introduction of smart home technology. In: Proceedings
Oslo, Norway. Anais... Oslo, Norway: 2013. Disponível em:
of EnviroInfo and ICT for Sustainability 2015, Copenhagen, DK.
<http://w w w.diva-por tal.org/smash/record.jsf ?pid=di-
Anais... Copenhagen, DK: Atlantis Press, 2015. Disponível em:
va2:730229>. Acesso em: 7 mar. 2017.
<https://dspace.lboro.ac.uk/dspace-jspui/handle/2134/19010>. ZINK, K. J. Corporate sustainability as a challenge for
Acesso em: 28 fev. 2016.
comprehensive management. Heidelberg: Physica-Verlag OLIVEIRA, L.; MITCHELL, V.; BADNI, K. Cooking behaviours: a
HD, 2008.
user observation study to understand energy use and motivate savings. Work (Reading, Mass.), v. 41 Suppl 1, p. 2122–8, jan. 2012. Disponível em: <https://doi.org/10.3233/WOR-2012-10162122>. Acesso em: 23 dez. 2015. OLIVEIRA, L.; MITCHELL, V.; MAY, A. Reducing temporal tensions as a strategy to promote sustainable behaviours. Computers in Human Behavior, Disponível em: <https:// dspace.lboro.ac.uk/dspace-jspui/handle/2134/21131>, p. 303– 315, 2016.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
ARTIGOS
ESTRATÉGIAS PARA PROMOVER COMPORTAMENTOS SUSTENTÁVEIS EM RELAÇÃO AO USO DE ÁGUA: PROPOSTAS E CLASSIFICAÇÕES STRATEGIES TO PROMOTE SUSTAINABLE BEHAVIOUR IN RELATION TO WATER USE: PROPOSALS AND CLASSIFICATIONS Luis Oliveira, Dr. (University of Warwick) Andrea Franco Pereira, Dra. (UFMG) Marilia Lyra Bergamo, Dra. (UFMG) PALAVRAS CHAVE Design sustentável; Design para mudança de comportamento; Design com intento; Intervenções; Tecnologia persuasiva
Key Words Sustainable Design; Design for behaviour change; Design with intent; Interventions; Persuasive technology
RESUMO O design de produtos, serviços e espaços pode influenciar o que a gente pensa e faz, e existe potencial para usar o design para promover comportamentos sustentáveis. A maioria dos exemplos de intervenções para mudança de comportamento tem como cenário países desenvolvidos. Danos ambientais afetam pessoas em diversas partes do globo, e recentemente secas severas causaram falta de água nas áreas mais populosas do Brasil. Este artigo apresenta oficinas conduzidas com estudantes brasileiros como forma de incentivar a geração de ideias e desenvolver estratégias para promover comportamentos sustentáveis em relação ao uso da água, e portanto reduzir o consumo e desperdício. As ideias propostas durante estas oficinas foram classificadas de acordo com modelos estabelecidos de design para mudança de comportamento e design sustentável, indicando as categorias com maior frequência de sugestões. Os resultados demonstraram como as sessões de geração de ideias foram capazes de produzir soluções interessantes para redução do consumo, o que poderia ajudar a combater o problema de falta de água. Entretanto, a curta duração destes exercícios fez com que as sugestões fossem limitadas em termos da abrangência e avaliação de impacto. Este artigo indica que design para mudança de comportamento pode ser incorporado nos currículos no Brasil, para fazer com que futuros profissionais fiquem mais familiarizados com estas técnicas e portanto sejam mais capazes de combater os desafios ambientais em escalas local e global.
ABSTRACT The design of products, services and spaces can influence what we think and do, and there is the potential for using design to promote sustainable behaviours. Most examples of behaviour change interventions have as setting Western and developed countries. Environmental damage affects people in diverse parts of the globe, and recently severe droughts caused water shortage in the most populous areas in Brazil. This paper reports on workshops conducted with Brazilian students as a way to foster the generation of ideas and development of strategies to promote sustainable behaviours regarding water use, and therefore reduce consumption and waste. The ideas proposed during these workshops were classified according to established models of design for behaviour change and sustainable behaviour, indicating the categories of the most frequent suggestions. Results demonstrated how the idea generation sessions were capable of producing interesting solutions to reduce consumption that could help to tackle the problem of water shortage. However, the short duration of these exercises meant that suggestions were limited in terms of scope and evaluation of impact. This paper indicates that design for behaviour change should be incorporated into regular curricula in Brazil in order to make future professionals and practitioners more familiar with these techniques and therefore more able to tackle their local and global environmental challenges.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
73
Estratégias para promover comportamentos sustentáveis em relação ao uso de água: propostas e classificações
1. INTRODUÇÃO
PORTUGUÊS
74
Sustentabilidade pode ser definida como a circunstância em que humanos possam viver sem comprometer a sobrevivência continuada das futuras gerações num ambiente saudável (BROWN et al., 1987). O princípio original de sustentabilidade surgiu de considerações econômicas, quando pessoas encaravam desafios ambientais como limites na disponibilidade de madeira ou pastagens. Sustentabilidade hoje estende o foco, de um problema limitado no espaço e tempo, para se tornar um problema global e de longo prazo (ZINK, 2008). Os desafios para promover a sustentabilidade são impressionantes se considerarmos que as consequências negativas dos comportamentos humanos são difíceis de serem visualizados devido ao deslocamento geográfico e temporal dos efeitos (que podem ocorrer em algum momento no futuro e em locais remotos do planeta). Mais recentemente, sustentabilidade ganhou embalo graças a organizações não governamentais e o aumento da consciência das consequências do uso de recursos naturais. Ela engloba aspectos como justiça do comércio, antiglobalização, ativismo, necessidade de mais legislação e responsabilidade corporativa social (BHAMRA; LOFTHOUSE, 2007). Entretanto, dada a escala do problema, obter sustentabilidade parece uma tarefa árdua. Dificuldades são encontradas em escalas individuais, sociais e globais, na tentativa de atacar o problema que os próprios humanos causaram. Estes desafios indicam a necessidade do desenvolvimento de estratégias inovadoras, mesmo que em pequena escala, em ambientes específicos, para de alguma maneira reduzir o impacto que humanos causam no ambiente. No Brasil, a região sudeste vivenciou secas severas nos anos de 2014 e 2015 (NOBRE et al., 2016). Este problema motivou uma série de estratégias para conter o consumo, desde políticas públicas, preços das tarifas de água ou iniciativas criadas pela população. De forma semelhante a outros recursos como qualidade do ar e aquecimento global, as pessoas precisam encontrar meios de preservar o fornecimento de água potável para garantirmos um futuro sustentável. Na tentativa de reduzir o impacto no ambiente, existem duas ações principais que podem ser executadas, que são a mudança na infraestrutura ou mudança de comportamento (ATTARI et al., 2010). Mudar a infraestrutura, por exemplo trocar eletrodomésticos por outros mais modernos e eficientes, pode ser uma forma fácil em algumas situações. Produtos novos são geralmente mais sustentáveis, principalmente se forem projetados e fabricados considerando todo o ciclo de vida (PEREIRA; SOARES, 2016).
Em alguns casos, possuir eletrodomésticos eficientes ou viver em casas eficientes não garante eficiência (GILL et al., 2010), e existem vários desafios dificultando a introdução de novas tecnologias (OLIVEIRA et al., 2015). Estudos têm demonstrado que comportamentos de usuários variam enormemente, indicando que há escopo para redução de consumo exclusivamente através da mudança de comportamento (OLIVEIRA; MITCHELL; BADNI, 2012). Um estudo sobre como as pessoas lavam louça mostrou que elas usam métodos diferentes, e em média usam mais detergente, água, energia e tempo do que uma lava louças comum, e os pratos geralmente ficam mais sujos quando as pessoas lavam a mão (BERKHOLZ et al., 2010). Mas quando um conjunto de dicas e instruções foram dadas para os participantes, eles usaram cerca de 60% menos água, 70% menos energia e 30% menos detergente em comparação com o comportamento médio de outras pessoas. Adicionalmente, eles obtiveram uma pequena melhora na limpeza final dos pratos (FUSS et al., 2011). Diferenças culturais são um fator que determina o comportamento na hora de lavar a louça, influenciando o uso de água e detergente (ELIZONDO; LOFTHOUSE; BHAMRA, 2011). A lavagem de roupa é também bastante influenciada pelos estilos de vida, e resultados demonstram uma variação de cinco vezes entre o comportamento mais sustentável e o mais descuidado (STAMMINGER, 2011). No exemplo do consumo de água, é possível trocar as torneiras por aquelas com menor fluxo, ou podemos implementar estratégias que fazem as pessoas usar menos água. As estratégias podem ser agrupadas dentro da área de Design para o Comportamento Sustentável, um campo dedicado ao estudo de formas de fazer com que as pessoas pensem e façam coisas que protejam o meio ambiente (BHAMRA; LILLEY; TANG, 2011). Intervenções são frequentemente usadas para promover comportamentos sustentáveis, usando métodos diferentes e tendo diferentes níveis de sucesso (ABRAHAMSE et al., 2005; UITDENBOGERD et al., 2007). Pesquisas anteriores apresentam exemplos de estratégias criadas para reduzir o consumo de água. Um chuveiro equipado com LEDs mostra a quantidade de água usada progressivamente, para motivar a economia de água (KAPPEL; GRECHENIG, 2009) e um dispositivo instalado numa torneira permite a visualização da água consumida e motiva a comparação com outros usuários (ARROYO; BONANNI; SELKER, 2005). Outro exemplo implementa um método com projeções no vidro do box para usuários visualizarem quanto tempo cada morador gasta no banho, com o intuito de incentivar a competição (LASCHKE et al., 2011). Num estudo amplo, Froehlich et al.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
(2012) testaram diversos tipos de visualizações do consumo de água, documentando as atividades dos moradores para motivar a economia no ambiente doméstico. Estes exemplos ilustram métodos que tentam persuadir as pessoas a usar menos água. É comum associar persuasão e retórica com psicólogos, advogados e publicitários. Entretanto, designers e arquitetos também podem incluir persuasão nos produtos, serviços ou espaços que criam. Persuasão é comumente apresentada via dispositivos eletrônicos como computadores e smartphones, num campo recente chamado Tecnologia Persuasiva (FOGG, 2003; OINAS-KUKKONEN, 2013). Estratégias persuasivas podem ser usadas para promover uma ampla gama de atividades como ir de bicicleta ou a pé para o trabalho (ROSS et al., 2015), alimentação saudável (KAPTEIN et al., 2012) ou economia de energia elétrica (OLIVEIRA; MITCHELL; MAY, 2016). Uma lista abrangente de princípios persuasivos pode ser encontrada no Método Design com Intento (The Design with Intent Method) (LOCKTON; HARRISON; STANTON, 2010). Foram desenvolvidos 101 cartões (LOCKTON; HARRISON; STANTON, 2011) com padrões para influenciar o comportamento de usuários por meio do design em diversas categorias, por exemplo as lentes arquiteturais (influencia o comportamento do usuário através do design do ambiente), à prova de erros (eliminando ou reduzindo as chances do usuário cometer erros) e as lentes cognitivas (para situações onde usuários tomam decisões erradas, o design do sistema pode ajudar indicando as opções melhores). Os cartões contém perguntas instigantes, descrições e imagens de exemplos de estratégias para mudança de comportamento relevantes (Figura 2). Bhamra et al. (2011) descrevem uma outra escala para classificar intervenções que promovem comportamentos sustentáveis (Figura 1), a qual ficou conhecida como o “Loughborough method” (NIEDDERER et al., 2014). Esta escala indica o balanço entre força e controle no relacionamento entre o usuário e o produto. Em um dos primeiros níveis, o usuário possui opções e informações para refletir sobre o consumo de recursos naturais, e com isso se comportar de maneira sustentável. Com este princípio, o usuário tem uma relativa liberdade para agir de um modo ou de outro, como preferir. No outro extremo do espectro estão as intervenções eco-tecnológicas e o design inteligente, quando o produto ou serviço às vezes age automaticamente para economizar recursos naturais, sem requerer mudança de comportamento do usuário.
Figura 1 – Escala Design para Comportamento Sustentável,
Fonte: Adaptada de (BHAMRA; LILLEY; TANG, 2011)
Como pode ser visto nesta revisão de literatura, existem numerosos princípios e padrões disponíveis para serem implementados em projetos e intervenções para mudança de comportamento. Isto sugere que devemos implementar um processo rigoroso de identificação daqueles métodos que sejam adequados e que combinem com os comportamentos em questão. O design de intervenções para mudança de comportamento deve considerar uma gama de aspectos como o potencial de impacto no problema, as consequências, custos e complexidade para implementação (BOOTH, 1996). Além disso, tentar mudar o comportamento das pessoas deve ser feito com cuidado, dado que ter controle sobre indivíduos e limitar suas liberdades através de uma intervenção levanta preocupações éticas (PETTERSEN; BOKS, 2008).
75
2. METODOLOGIA
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
PORTUGUÊS
Este artigo apresenta resultados obtidos em oficinas organizadas em uma grande universidade em Minas Gerais, Brasil. Da gama de possíveis métodos que poderiam auxiliar o design para comportamento sustentável (DAAE; BOKS, 2015), oficinas foram escolhidas devido à possibilidade de combinar o aprendizado com a geração de ideias (GOODMAN; KUNIAVSKY; MOED, 2012). Os participantes eram 35 alunos de Design (28) e Arquitetura (7). O conteúdo das oficinas introduziu e explorou o Design para Mudança de Comportamento e Tecnologia Persuasiva para alunos de graduação. As atividades envolveram dois dias de oficinas para cada um dos cursos. O primeiro dia de oficinas consistiu de introdução aos temas, dividido em duas sessões:
Estratégias para promover comportamentos sustentáveis em relação ao uso de água: propostas e classificações
76
Design para Comportamento Sustentável: Como o design pode ser usado com o propósito de influenciar o comportamento das pessoas, e como o design pode ser usado para minimizar o dano ao meio ambiente, incluindo exemplos de economia de energia, transporte sustentável e economia de água. Tecnologia Persuasiva: Como computadores, telefones e tecnologia em geral podem mudar o que pensamos e o que fazemos. Esta parte incluiu exemplos de jogos e outros aplicativos para motivar a mudança de comportamento. O segundo dia de oficinas incluiu mais atividades práticas, divididas em três sessões: Classificação de exemplos: Os participantes foram instruídos a trazer exemplos que eles encontrassem no dia-a-dia, que se encaixassem nas categorias específicas de estratégias para mudança do comportamento. No final, os alunos apresentaram os exemplos selecionados para o grupo. Solução de problemas: Um problema real e específico foi apresentado, e foi pedido que os participantes fornecessem soluções de design para mudar comportamentos específicos. Todos alunos receberam o seguinte briefing: ‘motivar as pessoas a economizar água’. Oficina de criatividade (Figura 3): Os estudantes foram incentivados a gerar soluções de design (Figura 4), as quais foram apresentadas oralmente no fim do evento. Os alunos de Arquitetura trabalharam individualmente e os de Design formaram grupos pequenos, de quatro a seis membros. As oficinas de criatividade foram instigadas pelo uso dos cartões de Design com Intento (LOCKTON; HARRISON; STANTON, 2010), numa versão traduzida para Português Brasileiro, mantida disponível online no site Tecnologia Persuasiva. O conteúdo usado durante estas oficinas foi produzido exclusivamente para este propósito e mantido disponível gratuitamente. A maioria do material não existia em português até então, o que beneficiou os estudantes e a comunidade em geral.
PORTUGUÊS
Figura 2 – Cartões Design com Intento
Fonte: (LOCKTON; HARRISON; STANTON, 2010), traduzidos para o português, disponíveis no site http://tecnologiapersuasiva.com.br/design-com-intento/
Figura 3 – Grupo de trabalho em uma das oficinas
Figura 4 – Exemplo de estratégias apresentadas por um dos grupos
3. RESULTADOS Foram obtidas, durante as oficinas de criatividade, 14 propostas para reduzir o consumo de água. Os estudantes apresentaram estas oralmente aos grupos no fim de cada série de oficinas, quando os autores tomaram nota, comentaram sobre as estratégias e fizeram perguntas. Estas estratégias sugeridas foram analisadas e classificadas de acordo com o Método Design com Intento (LOCKTON; HARRISON; STANTON, 2010) e o Design para Comportamento Sustentável (BHAMRA; LILLEY; TANG, 2011). A Tabela 4 abaixo apresenta a classificação de cada proposta de design criada. A primeira coluna mostra o domínio de uso de água escolhido pelo estudante ou grupo. A segunda coluna contém uma descrição do projeto, da maneira que foi apresentado pelos alunos. A terceira coluna descreve os componentes da intervenção, em termos de estrutura, software, produto ou sistema, para fazer com que a intervenção seja possível de ser implementada. A quarta e quinta colunas contém a classificação das intervenções propostas como definido pelo método Design com Intento (LOCKTON; HARRISON; STANTON, 2010), separadas pelas estratégias individuais e pelas ‘lentes’ mais abrangentes. A última coluna
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
também apresenta uma classificação das intervenções propostas, mas agora usando a escala de Design para Mudança de Comportamento (BHAMRA; LILLEY; TANG, 2011). É importante notar que a maioria das propostas de design combinaram mais de um domínio e mais de uma estratégia, resultando em 32 sugestões de técnicas para mudança de comportamento. Tabela 1 – Domínio de uso de água propostos
Domínio
Quantidade
Residência
4
Chuveiro
4
Torneira
4
Lavar carro
1
Lavar louça
1
Lavar roupa
1
Agronegócio e indústrias
1
Tabela 2 – Propostas classificadas pela lente do método Design com Intento
Lentes
Quantidade
Interação
9
Lúdica
9
À prova de erros
6
Segurança
4
Maquiavélica
2
Perceptiva
1
Cognitiva
1
Tabela 3 – Propostas classificadas de acordo com a escala Design para Comportamento Sustentável
Nível na escala
Quantidade
Eco-feedback
12
Eco-estímulo
11
Eco-direcionamento
4
Eco-tecnologia
3
Design inteligente
1
Eco-informação
1
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
77
PORTUGUÊS
Os alunos apresentaram uma interessante gama de projetos para combater o problema de escassez de água no Brasil. Os domínios de uso variaram de pequenos pontos localizados, como torneiras e chuveiros, para outros abrangendo residências como um todo (Tabela 1). Apenas um projeto propôs como alvo da intervenção cenários em grande escala como o agronegócio e fábricas.
De acordo com a classificação de propostas nas diferentes lentes do método Design com Intento (Tabela 2), as categorias com mais sugestões foram as de ‘Interação’ e ‘Lúdica’. Intervenções de Interação incluem alguns padrões básicos da interação homem-computador como o feedback, barras de progresso e outras representações de consumo. Alunos indicaram a necessidade de mostrar o uso de água para as pessoas, para que elas possam perceber o impacto de seus comportamentos, e para que com isso (espera-se) elas possam agir com base nessa informação. Elementos lúdicos são geralmente derivados de jogos como definição de objetivos, desafios, alvos, pontos e recompensas. Alunos sugeriram intervenções em que usuários poderiam ter como objetivo o consumo de uma quantidade máxima definida de água. Eles poderiam competir com colegas e receber prêmios por comportamentos adequados. A próxima estratégia mais sugerida foi ‘À prova de erros’, indicando a necessidade de evitar certos comportamentos, os quais são considerados ‘erros’. Estas estratégias geralmente fazem com que seja mais fácil para o usuário executar atividades corretamente, ou tornando impossível cometer erros (LOCKTON; HARRISON; STANTON, 2010). Alunos propuseram frequentemente o uso de ‘porções’ de água, pré-definindo o volume ideal para ser usado para cada atividade, portanto minimizando as chances de desperdício. Quatro estratégias incluíram ‘Segurança’ para promover comportamentos sustentáveis, fazendo uso da Internet para compartilhar informações sobre consumo num ambiente onde usuários controlam o comportamento uns dos outros. Este controle foi proposto em diferentes níveis, desde vigilância entre colegas, em que usuários no mesmo nível vigiam seus pares, até vigilância acima, em que pessoas comuns obtém o poder de observar e monitorar o comportamento de grandes consumidores de água tipo o agronegócio e indústrias. Se a empresa sabe que está sendo observada, ela talvez fique mais cautelosa com a quantidade de água que usa para evitar uma opinião pública negativa. Dois projetos incluíram elementos da lente ‘Maquiavélica’ em suas intervenções, ambos degradando a performance no caso de comportamento não sustentável. Em um dos casos o chuveiro iria abaixando a temperatura com o tempo, e no outro a música iria se tornando mais rápida para forçar o usuário a lavar a louça mais rapidamente. Apenas uma intervenção incluiu a lente ‘Perceptiva’, sugerindo uma maneira de visualizar fisicamente a água dedicada a tarefas específicas e com isso aumentar a consciência do uso. Da mesma forma, apenas um projeto sugeriu a lente ‘Cognitiva’, estimulando um engajamento emocional
Estratégias para promover comportamentos sustentáveis em relação ao uso de água: propostas e classificações
entre o usuário e o sistema. Este grupo propôs uma representação de uma árvore que cresce e floresce se o usuário economiza água, motivando o apego ao objeto virtual. Um grande número de projetos continha, indiretamente, aspectos ‘Arquiteturais’, mas não como a estratégia saliente. Por exemplo, alunos sugeriram o posicionamento de elementos em locais mais adequados para proporcionar
mudança de comportamento, quando interfaces e telas foram posicionadas bem no local de consumo, seja no chuveiro ou na frente das torneiras. Outra estratégia arquitetônica sugerida foi a simplificação, quando o sistema faz com que seja mais fácil para usuários executar algo, por exemplo quando ele calcula a tarifa local para dar o preço exato da atividade corrente.
Tabela 4 – Intervenções propostas para reduzir o consumo de água, classificadas de acordo com o *Design com Intento e o **Design para Mudança de Comportamento
PORTUGUÊS
78
#
Domain
Descrição
Componentes Estratégias*
Lentes*
Métodos**
1
Chuveiros
Uma tela no box do chuveiro Telas, mostra em tempo real a água autofalantes e eletricidade consumida via números e gráficos. Com GPS, o sistema pega a tarifa local para calcular o custo por minuto. Avisos sonoros indicam se o usuário demora
Feedback em tempo real Alertas condicionais
Interação À prova de erros
Eco-feedback Eco-estímulo
2
Chuveiros
Faixa de LEDs mostra minutos LEDs, conpassados, e depois de um trole de tempo pré-definido a tempe- temperatura ratura da água começa a cair
Barra de progresso Porções Performance degradada
Interação À prova de erros Maquiavélica
Eco-feedback Ecodirecionamento Eco-estímulo
3
Residências
Políticas públicas definem o consumo desejado. Usuários recebem sumário do consumo, periodicamente. Prêmios são dados àqueles que atingirem a meta
Interação Lúdica Lúdica
Eco-feedback Eco-estímulo Eco-tecnologia
4
Agronegócio e fábricas
Gastos de grandes consumido- Portal web res é mostrado para o público. Comunidades fiscalizam, e empresas comunicam as suas metas para reduzir o consumo
Vigilância por Segurança baixo
Eco-feedback
5
Chuveiros e torneiras
Fluxo de água e tempo de uso são predeterminados de acordo com a atividade, por exemplo quantos pratos para lavar, ou se tem que lavar o cabelo no banho
Porções
À prova de erros
Ecodirecionamento
6
Torneiras
Usuários predefinem o volu- Tanque de me de água que pretendem água, visor de usar. Eles podem ver a quan- LED tidade de água destinada à atividade atual, e a torneira indica quanto falta, num visor
Transparência Porções Barra de progresso
Perceptiva À prova de erros Interação
Eco-informação Ecodirecionamento Eco-feedback
Comunicações Feedback em através da con- resumo ta de água Desafios e alvos Recompensas
Controle interno do fluxo de água
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
7
Torneiras
Água da chuva e água de ralos é estocada em tanques e redistribuída via canos exclusivos
Tanque de água, rede de canos
-
-
8
Lavar louças
Um sistema sonoro na pia toca músicas e mostra o consumo numa barra de progresso, e um sensor detecta a presença do usuário para prevenir o desperdício. Se há demora, a música se torna mais rápida depois de um tempo
Sistema de som integrado com a torneira, sensor de presença
Barra de progresso Porções Performance degradada
Interação Eco-feedback À prova de Eco-estímulo erros Eco-tecnologia Maquiavélica
9
Lavar carros
Um dispositivo instalado Sensor, conena mangueira detecta o xão internet, consumo atual e acumulado. redes sociais O sistema compartilha o consumo e há competição com outros usuários para ganhar prêmios
Vigilância comunitária Desafios e alvos Pontuação Recompensas
Segurança Lúdica Lúdica Lúdica
Eco-feedback Eco-estímulo Eco-estímulo Eco-estímulo
Uso doméstico, dividido por morador, é compartilhado para motivar a competição. Um portal mostra gráficos com o consumo detalhado e dá conselhos de como economizar água
Portal web, medidores inteligentes
Feedback em resumo Pontuação Vigilância comunitária
Interação Lúdica Segurança
Eco-feedback Eco-estímulo Eco-feedback
Usuários informam o eletrodoméstico e o ciclo usado para ver o custo. O sistema usa GPS para saber a tarifa de eletricidade e água local, e informa os gastos
Aplicativo de celular
Feedback em resumo
Interação
Eco-feedback
12 Chuveiros e torneiras
O sistema possui volumes predefinidos e fluxos dedicados a atividades diversas. Um sensor de presença interrompe o fluxo quando o usuário sai
Tanque de água, válvulas e sensores de presença
Porções Onde você está
À prova de erros Segurança
Ecodirecionamento Eco-tecnologia
13 Residências
Companhia de água decodifica a conta de água e fornece uma visualização do consumo em gráficos e compara com a média da área, por tipo de residência. O sistema dá dicas de economia e dá descontos para quem economizou mais
Aplicativo de celular para comparação e feedback
Feedback em resumo Pontuação Recompensas
Interação Lúdica Lúdica
Eco-feedback Eco-estímulo Eco-estímulo
10 Residências
11
Lavar roupas
Design inteligente
79
PORTUGUÊS
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Estratégias para promover comportamentos sustentáveis em relação ao uso de água: propostas e classificações
14 Residências
PORTUGUÊS
80
Famílias usam o sistema para visualizar consumo por cada indivíduo, com interfaces especificas para crianças. Gráficos mostram consumo, e uma representação de árvores florescendo indica os usuários mais eficientes
Sensores de fluxo, aplicativo de celular para feedback
As intervenções propostas pelos estudantes foram classificadas em seis dos sete níveis da escala de Design para o Comportamento Sustentável (Tabela 3). A vasta maioria ficou dentro de ‘Eco-feedback’ e ‘Eco-estímulo’. Com eco-feedback, o design do produto ou serviço informa o usuário sobre o que ele está fazendo, e o ajuda a tomar decisões que sejam mais responsáveis com relação ao meio ambiente, por meio de algum tipo de visualização ou retorno. O produto provê sinais aurais, visuais e tangíveis que servem como lembretes para informar os usuários sobre o uso de recursos (BHAMRA; LILLEY; TANG, 2011, p. 431). Nesta categoria estão todos os gráficos, barras de progresso e representações de consumo propostas pelos estudantes. ‘Eco-estímulo’ é definido quando um design inspira usuários por intermédio de recompensas para motivar o bom comportamento, ou penalidades que punem o uso não sustentável. Exemplos de recompensas incluem prêmios e descontos, e algumas punições foram também sugeridas pelos estudantes, como alarme sonoro, música tocando cada vez mais rapidamente (de modo desconfortável) ou a água do chuveiro que se torna gradualmente fria. ‘Eco-direcionamento’ foi proposto quatro vezes, através da provisão de facilitadores e limitadores no produto. Estas intervenções sugeridas definiram a quantidade de água para ser usada em cada sessão, portanto prescrevendo a quantidade adequada de água. Três intervenções propuseram o uso de ‘Eco-tecnologia’, quando o produto possui algum sistema tecnológico que persuade ou controla comportamentos. Apenas um sistema sugerido foi classificado como ‘Design inteligente’, quando o produto age para proteger o meio ambiente automaticamente, sem o conhecimento do usuário, e sem a necessidade de mudança de comportamento, agindo puramente através do design de produto inovador (BHAMRA; LILLEY; TANG, 2011, p. 431). Esta solução de design proposta incluía o uso de tanques para estocar a água da chuva e água dos ralos das pias e chuveiros, e que poderia depois ser reutilizada. A única omissão, de acordo com a escala de Design para Comportamento Sustentável foi a ‘Eco-escolha’, quando o produto ou sistema encoraja
Feedback em resumo Pontuação Engajamento emocional
Interação Lúdica Cognitiva
Eco-feedback Eco-estímulo Eco-feedback
consumidores a refletir e assumir a responsabilidade pelos comportamentos via opções e escolhas. Os projetos propostos pelos estudantes eram geralmente ‘roteirizados’ (JELSMA; KNOT, 2002): os usuários tinham determinados comportamentos sustentáveis para executar, e alternativas não foram sugeridas.
4. CONCLUSÃO As oficinas e as sessões de geração de ideias descritas aqui acabaram sendo altamente proveitosas na tentativa de desenvolver intervenções para promover comportamentos sustentáveis. No final foram propostos 14 projetos compreendendo 32 estratégias que podem motivar as pessoas a usar menos água. Estas estratégias podem certamente contribuir para a necessidade de reduzir o consumo de água no Brasil, um problema que foi bastante enfatizado nos anos recentes. Algumas limitações precisam ser consideradas como parte das conclusões apresentadas aqui. Primeiramente, a maioria dos estudantes não estavam familiarizados com as definições e classificações de estratégias para mudança de comportamento. O conteúdo usado durante as oficinas foram apresentados durante dois dias, portanto não houve tempo suficiente para imergir nos conceitos para um amplo processo de desenvolvimento de ideias. O ensino de design sustentável no Brasil ainda está na sua infância, especialmente se comparado a países desenvolvidos, onde design para sustentabilidade está no cerne do currículo e define a estrutura de cursos. Para comparação, as atividades executadas nestes dois dias de oficinas são geralmente parte de trabalhos que duram um semestre inteiro na Noruega (ZACHRISSON; BOKS, 2013). Com mais tempo, as intervenções propostas poderiam ter uma maior variedade de estratégias, ou serem aplicáveis para situações com maior impacto no consumo de água. Das 101 possíveis estratégias de design listadas por Lockton (2011), apenas 15 foram propostas pelos estudantes dentre as 32 estratégias sugeridas. Também, a maioria dos domínios de consumo de água eram de nível individual ou local/residencial. Mesmo assim, este foi um exercício
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
interessante observar a dedicação dos estudantes em produzir e apresentar suas ideias em tão curto espaço de tempo. Trabalhos futuros poderiam expandir estas atividades e agrega-las nos currículos acadêmicos existentes. Além disso, seria interessante desenvolver ideias para combater problemas em outros domínios, como para reduzir o uso doméstico de eletricidade, promover comportamentos alimentares saudáveis ou motivar métodos de transporte sustentáveis que combinem atividades físicas ao invés do uso de carros. As oficinas apresentadas aqui foram a primeira oportunidade que alguns alunos tiveram de entrar em contato com diversas técnicas de mudança de comportamento. Os estudantes de Design e de Arquitetura têm um papel importante na sociedade, já que eles criam os produtos, serviços, sistemas e espaços que podem mudar o que pensamos e fazemos. Uma vez conhecendo estas ferramentas, eles estarão numa posição melhor para usá-las, e mais bem preparados para desenvolver intervenções que tenham como alvo os desafios complexos que, como parte da humanidade, temos que encarar.
AGRADECIMENTOS Os autores gostariam de agradecer a todos participantes das oficinas que contribuíram com grandes ideias de intervenções para reduzir o consumo de água. Esta pesquisa foi parcialmente financiada pelo Research Office Santander Mobility Award, da universidade de Loughborough, no Reino Unido, onde o primeiro autor estava trabalhando como um pesquisador associado na ocasião em que estas oficinas foram desenvolvidas e conduzidas. Este prêmio para mobilidade acadêmica dá a oportunidade para pesquisadores de viajar ou receber visitantes de outros países. Este esquema é parte do Santander Universities.
REFERÊNCIAS ABRAHAMSE, W.; STEG, L.; VLEK, C.; ROTHENGATTER, T. A review of intervention studies aimed at household energy conservation. Journal of Environmental Psychology, v. 25, n. 3, p. 273–291, set. 2005. Disponível em: <http://linkinghub.elsevier.com/retrieve/pii/ S027249440500054X>. Acesso em: 21 jul. 2011. ARROYO, E.; BONANNI, L.; SELKER, T. Waterbot: exploring feedback and persuasive techniques at the sink. In: Proceedings of the SIGCHI conference on Human factors in computing systems, Anais...ACM, 2005.
ATTARI, S. Z.; DEKAY, M. L.; DAVIDSON, C. I.; DE BRUIN, W. B. Public perceptions of energy consumption and savings. Proceedings of the National Academy of Sciences, v. 107, n. 37, p. 16054–16059, 2010. BERKHOLZ, P.; STAMMINGER, R.; WNUK, G.; OWENS, J.; BERNARDE, S. Manual dishwashing habits: an empirical analysis of UK consumers. International Journal of Consumer Studies, v. 34, n. 2, p. 235–242, 2010. Disponível em: <http://dx.doi.org/10.1111/j.1470-6431.2009.00840.x>. BHAMRA, T.; LILLEY, D.; TANG, T. Design for Sustainable Behaviour: Using Products to Change Consumer Behaviour. The Design Journal, v. 14, n. 4, p. 427–445, 1 dez. 2011. Disponível em: <http://www.tandfonline.com/ doi/full/10.2752/175630611X13091688930453>. BHAMRA, T.; LOFTHOUSE, V. Design for sustainability: a practical approach. Aldershot: Gower, 2007. BOOTH, E. M. Starting with behavior: A participatory process for selecting target behaviors in environmental programs. [s.l: s.n.]. BROWN, B. J.; HANSON, M. E.; LIVERMAN, D. M.; MERIDETH, R. W. Global sustainability: Toward definition. Environmental Management, v. 11, n. 6, p. 713–719, nov. 1987. Disponível em: <http://link.springer.com/10.1007/ BF01867238>. Acesso em: 28 fev. 2017.
81
DAAE, J.; BOKS, C. A classification of user research methods for design for sustainable behaviour. Journal of Cleaner Production, v. 106, p. 680–689, nov. 2015. Disponível em: <http://linkinghub.elsevier.com/retrieve/ pii/S0959652614004120>. Acesso em: 14 mar. 2017. ELIZONDO, G. M.; LOFTHOUSE, V.; BHAMRA, T. An exploration of dishwashing habits in Anglo and Hispanic communities through the use of Cultural Probes. In: International Consumer Sciences Research Conference, Anais...2011. FOGG, B. J. Persuasive technology: using computers to change what we think and do. USA: Morgan Kaufman: SF, CA, 2003.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
PORTUGUÊS
FROEHLICH, J.; FINDLATER, L.; OSTERGREN, M.; RAMANATHAN, S.; PETERSON, J.; WRAGG, I.; LARSON, E.; FU, F.; BAI, M.; PATEL, S.; LANDAY, J. a. The design and
Estratégias para promover comportamentos sustentáveis em relação ao uso de água: propostas e classificações
evaluation of prototype eco-feedback displays for fixture-level water usage data. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, p. 2367–2376, 2012. Disponível em: <http://doi.acm. org/10.1145/2207676.2208397>. FUSS, N.; BORNKESSEL, S.; MATTERN, T.; STAMMINGER, R. Are resource savings in manual dishwashing possible? Consumers applying Best Practice Tips. International Journal of Consumer Studies, v. 35, n. 2, p. 194–200, mar. 2011. Disponível em: <http://dx.doi.org/10.1111 /j.1470-6431.2010.00972.x>. GILL, Z. M.; TIERNEY, M. J.; PEGG, I. M.; ALLAN, N. Lowenergy dwellings: the contribution of behaviours to actual performance. Building Research & Information, v. 38, n. 5, p. 491–508, 2010. GOODMAN, E.; KUNIAVSKY, M.; MOED, A. Observing the user experience: a practitioner’s guide to user research. 2. ed. [s.l.] Morgan Kaufmann, 2012.
82
JELSMA, J.; KNOT, M. Designing environmentally efficient services; a “script” approach. The Journal of Sustainable Product Design, v. 2, n. 3/4, p. 119–130, 2002. Disponível em: <http://dx.doi. org/10.1023/B:JSPD.0000031031.20974.1b>. KAPPEL, K.; GRECHENIG, T. “Show-me”: Water consumption at a glance to promote water conservation in the shower. In: Persuasive ’09, Proceedings of the 4th International Conference on Persuasive Technology, New York, NY, USA. Anais... New York, NY, USA: ACM, 2009. KAPTEIN, M.; DE RUYTER, B.; MARKOPOULOS, P.; AARTS, E. Adaptive Persuasive Systems: A Study of Tailored Persuasive Text. ACM Transactions on Interactive Intelligent Systems, v. 2, n. 2, p. 1–25, 2012. Disponível em: <http://dl.acm.org/citation.cfm?doid=2209310.2209313>.
PORTUGUÊS
LASCHKE, M.; HASSENZAHL, M.; DIEFENBACH, S.; TIPPKÄMPER, M. With a little help from a friend: a shower calendar to save water. In: Proceedings of the 2011 annual conference extended abstracts on Human factors in computing systems, Anais...ACM, 2011. LOCKTON, D.; HARRISON, D.; STANTON, N. A. The Design with Intent Method: A design tool for influencing user behaviour. Applied Ergonomics, v. 41, n. 3, p.
382–392, maio 2010. Disponível em: <http://linkinghub. elsevier.com/retrieve/pii/S0003687009001136>. LOCKTON, D.; HARRISON, D.; STANTON, N. A. Design with Intent: 101 patterns for influencing behaviour through design. Disponível em: <http://designwithintent.co.uk/introduction-to-the-design-with-intent-toolkit/>. Acesso em: 2 mar. 2017. NIEDDERER, K.; MACKRILL, J.; CLUNE, S.; LOCKTON, D.; LUDDEN, G.; MORRIS, A.; CAIN, R.; GARDINER, E.; GUTTERIDGE, R.; EVANS, M.; OTHERS. Creating Sustainable Innovation through Design for Behaviour Change: Full Project Report. [s.l: s.n.]. Disponível em: <https://wlv.openrepository.com/wlv/handle/2436/336632>. Acesso em: 27 fev. 2017. NOBRE, C. A.; MARENGO, J. A.; SELUCHI, M. E.; CUARTAS, L. A.; ALVES, L. M. Some Characteristics and Impacts of the Drought and Water Crisis in Southeastern Brazil during 2014 and 2015. Journal of Water Resource and Protection, v. 8, n. 2, p. 252–262, 2016. Disponível em: <http://www.scirp.org/journal/PaperDownload.aspx?DOI=10.4236/jwarp.2016.82022>. Acesso em: 28 fev. 2017. OINAS-KUKKONEN, H. A foundation for the study of behavior change support systems. Personal and Ubiquitous Computing, v. 17, n. 6, p. 1223–1235, 2013. Disponível em: <http://link.springer.com/10.1007/ s00779-012-0591-5>. OLIVEIRA, L.; MAY, A.; MITCHELL, V.; COLEMAN, M.; KANE, T.; FIRTH, S. Pre-installation challenges: classifying barriers to the introduction of smart home technology. In: Proceedings of EnviroInfo and ICT for Sustainability 2015, Copenhagen, DK. Anais... Copenhagen, DK: Atlantis Press, 2015. Disponível em: <https://dspace.lboro.ac.uk/dspace-jspui/handle/2134/19010>. Acesso em: 28 fev. 2016. OLIVEIRA, L.; MITCHELL, V.; BADNI, K. Cooking behaviours: a user observation study to understand energy use and motivate savings. Work (Reading, Mass.), v. 41 Suppl 1, p. 2122–8, jan. 2012. Disponível em: <http://www. mendeley.com/catalog/cooking-behaviours-user-observation-study-understand-energy-motivate-savings/>. Acesso em: 23 dez. 2015. OLIVEIRA, L.; MITCHELL, V.; MAY, A. Reducing temporal tensions as a strategy to promote sustainable behaviours.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
Luis Oliveira, Andrea Franco Pereira e Marilia Lyra Bergamo
Computers in Human Behavior, v. 62, Disponível em: <ht tps: //dspace.lboro. ac.uk /dspace -jspui/hand le/2134/21131>, p. 303– 315, 2016. PEREIRA, A. F.; SOARES, S. R. Environmental parameters for ecodesign: a tool based on ecolabel programs and life cycle thinking. International Journal of Sustainable Design, v. 3, n. 1, p. 1, 2016. Disponível em: <http://www.inderscience.com/link.php?id=78944>. Acesso em: 5 mar. 2017. PETTERSEN, I. N.; BOKS, C. The ethics in balancing control and freedom when engineering solutions for sustainable behaviour. International Journal of Sustainable Engineering, v. 1, n. 4, p. 287–297, 2008. ROSS, T.; BURRIS, A.; OLIVEIRA, L.; ARNOTT, B.; ARAUJOSOARES, V. A feasibility study of the effect of phone-based feedback of other commuters’ subjective experiences on driver intentions to change. [s.l: s.n.]v. 9186 STAMMINGER, R. Modelling resource consumption for laundry and dish treatment in individual households for various consumer segments. Energy Efficiency, v. 4, n. 4, p. 559–569, 18 nov. 2011. Disponível em: <http://dx.doi. org/10.1007/s12053-011-9114-x>.
83
UITDENBOGERD, D.; EGMOND, C.; JONKERS, R.; KOK, G. Energy-related intervention success factors: a literature review. Proceedings of the eceee 2007 Summer Study: Saving Energy–Just Do It, v. 1, n. 4, p. 1853–1857, 2007. ZACHRISSON, J.; BOKS, C. From teaching sustainable product design to teaching sustainable behaviour design. In: 2nd International Conference for Design Education Researchers, Oslo, Norway. Anais... Oslo, Norway: 2013. Disponível em: <http://www.diva-portal.org/smash/record.jsf?pid=diva2:730229>. Acesso em: 7 mar. 2017. ZINK, K. J. Corporate sustainability as a challenge for comprehensive management. Heidelberg: PhysicaVerlag HD, 2008.
PORTUGUÊS
Mix Sustentável | Florianópolis | v.3 | n.4 | p.63-83 | nov. | 2017
ARTIGOS
DESIGN AND ART PROMOTING SOCIALLY RESPONSIBLE RECYCLING: THE ANALYSIS OF A COLLABORATIVE ACTION TO SUPPORT WASTE PICKERS IN NEW YORK CITY DESIGN E ARTE PROMOVENDO A RECICLAGEM SOCIAL RESPONSÁVEL: A ANÁLISE DE AÇÃO COLABORATIVA PARA APOIAR OS CATADORES DE LIXO DA CIDADE DE NOVA YORK Silvia Resende Xavier, M.Sc. (Parsons The New School for Design) Luciana dos Santos Duarte, M.Sc. (UFMG) Key Words Waste management; Recycling; Waste pickers; Collaborative action; Social design
Palavras Chave Gerenciamento de resíduos; Reciclagem; Catadores de lixo; Ação colaborativa; Design social
ABSTRACT The possibility of recovering discarded materials and selling them for revenue leads many individuals worldwide to engage in waste collection. This situation is observed in New York City, where waste pickers collect discarded beverage containers in the streets. Although contributing to recycling in the city, these workers face political and social obstacles. This study aims to investigate actions that support waste pickers worldwide, as well as their potential for exchange. Some specific goals are to examine the development of a Brazilian project in the context of recycling in the USA, and to evaluate the social and environmental outcomes of a design and art collaborative action. The methodology for this research-and-practice based study comprises a theoretical review, a field research to gather qualitative data, and a case study of an action promoted within the scope of this work. When analysing the results of this study, the contribution of design and art action is evidenced, and three important findings are highlighted: the relevance of a sense of identity for waste pickers; the importance of waste pickers being visible within the urban environment; and the potential for changes in the interactions between waste pickers and other citizens. Finally, this study accomplishes the goals of employing design and art to promote a socio-environmental action based on a collaborative model, and of evaluating the outcomes of this experience exchange between a Brazilian project and a NYC based organization.
RESUMO A possibilidade de recuperar materiais descartados e vendê-los para receita leva muitos indivíduos em todo o mundo a participar da coleta de resíduos. Esta situação é observada na cidade de Nova York, onde os catadores de lixo coletam recipientes de bebidas descartados nas ruas. Embora contribuam para a reciclagem na cidade, esses trabalhadores enfrentam obstáculos políticos e sociais. Este estudo tem como objetivo investigar ações que apóiam catadores de lixo em todo o mundo, bem como seu potencial de troca. Alguns objetivos específicos são examinar o desenvolvimento de um projeto brasileiro no contexto da reciclagem nos EUA e avaliar os resultados sociais e ambientais de uma ação colaborativa de design e arte. A metodologia para este estudo baseado em pesquisa e prática compreende uma revisão teórica, uma pesquisa de campo para coletar dados qualitativos e um estudo de caso de uma ação promovida no âmbito deste trabalho. Ao analisar os resultados deste estudo, evidencia-se a contribuição do design e da ação artística, e destacam-se três achados importantes: a relevância de um senso de identidade para os catadores de lixo; a importância de os catadores serem visíveis no meio urbano; e o potencial de mudanças nas interações entre catadores e outros cidadãos. Finalmente, este estudo atinge os objetivos de empregar design e arte para promover uma ação socioambiental baseada em um modelo colaborativo e de avaliar os resultados dessa troca de experiências entre um projeto brasileiro e uma organização baseada em NYC.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.85-90 | nov. | 2017
85
Design and art promoting socially responsible recycling: the analysis of a collaborative action to support waste pickers in New York City
1. INTRODUCTION
86
Over the last ten years, the US recycling industry
Waste management is crucial for the functioning of cities. Over the years, different technologies were developed to deal with the materials we discard and different actors have been involved in the management of residues. Further, various drivers have influenced the development of waste systems at different periods. Some examples are the concern for public health raised during the sanitary movement in the late 1800s and the pressure for the preservation of natural resources influenced by the environmental movement in the 1970s (WILSON, 2007). In current waste management systems, we observe a combined influence of many factors. For instance, in most major urban centers, it is taken for granted that public space cleaning is a public health concern and that local governments are responsible for managing the city waste systems. Environmental preservation is also an important driver influencing current practices, such as making recycling mandatory. Furthermore, the resource value found in waste, which has been a main driver for waste management since the Middle Age, is still a driver for waste collection today. The possibility of recovering discarded materials and selling them for a revenue leads some individuals, often marginalised and excluded from the formal employment market, to engage in waste collection. As recycling has a major role in reversing the economic value attributed to discarded matter, recyclable materials are the residues that have the highest economic value nowadays (TEODOSIO and DIAS, 2014). In urban centers, the consolidation of the recycling market has an important social function as it enables a part of the urban population to participate in an economic activity. When discussing the activities developed by the population living in economically impoverished situation in São Paulo, Harland and Santos (2014) point out that: A significant number of this population live on the streets, where they develop their survival repertoire that involves material collection and recycling, what is known as ‘catação’. It is a self-created economy that reuses the trash and leftovers of the city. Recyclable material collecting sometimes reaches or surpasses the minimum wage.
The situation described by Harland and Santos can be observed in many other urban centers around the world. Gowan (1997) points out that informal waste picking is a common practice also in many cities in the United States, stating that:
has mushroomed on both the formal and informal levels, taking the form of a double tiered system which relies heavily on informal labor for sorting and collection, while reprocessing is dominated by large capital enterprises.
Wilson (2007) affirms that the recovery and trade of discarded materials is a key activity that connects the urban poor in many parts of the world to waste management, creating the ‘informal sector’. Throughout time, formal and informal waste systems codeveloped and different interactions between these two systems were consolidated in different cities. This study focuses on the situation of individuals who engage in informal waste collection both in Brazilian cities and in New York City, USA. In most Brazilian cities, the workers who autonomously collect recyclables in the streets are known as ‘catadores’ and their activity has been legally recognised by the government. On the other hand, in New York City (NYC), the workers collecting recyclable materials are called ‘canners’ and their activity is not legally recognised by city authorities, leading to marginalisation and even criminalisation. Although living in different realities and under different legal frameworks, catadores and canners face similar challenges. In both cases, these workers are the weak link in the recycling chain and are often undervalued. In addition, there are different layers of invisibility and prejudice involving their activity, such as informality, the social and economic situation of the individuals and the stigma for dealing with discarded materials. However, there are some initiatives to promote the recognition and inclusion of waste pickers in both realities. In this context, we highlight two initiatives: (i) Pimp My Carroça, which is a social, artistic and cultural movement initiated in Brazil in 2012; (ii) Sure We Can, which is a non-for-profit recycling center operating in NYC since 2007. These two initiatives are connected in this study, which aims to investigate actions that support waste pickers worldwide, as well as their potential for exchange. Some specific goals of this study are to identify the main difficulties faced by canners in NYC; to examine the development of a Brazilian project in the context of recycling in the USA; and to analyse the results of a collaborative design and art action in promoting socio-environmental development.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.85-90 | nov. | 2017
Silvia Resende Xavier e Luciana dos Santos Duarte
2. METHODOLOGY Within the scope of this research-and-practice-based study, qualitative data was gathered during field research and interviews. Moreover, an on-the-ground action was carried out to be the object of a case study. The methodology for this work is organized in four phases. Firstly, the theoretical basis is built through literature review and aims to identify the economic, political, social and cultural aspects that influence the discussion about the inclusion of waste pickers in NYC. Secondly, for the exploratory phase of this study, semi structured interviews were conducted with canners in NYC, focused on gathering information about their activity, their interaction with the urban environment and their relationship with other citizens. The third part of this methodology is the experimental phase. During this phase, the concepts highlighted in the literature review are juxtaposed with the data obtained through the exploratory phase. Finally, the fourth stage comprises the implementation and evaluation of an intervention and an analysis of the results of this research and practice study.
3. DEVELOPMENT This work starts with a review of the challenges faced by waste pickers in NYC, taking into account the legal frameworks, the information available thought media channels and through official documents, and the interviews carried out during the field research. In addition, two social and collaborative models are presented, evidencing their actions to support waste pickers and their potential for exchange. Furthermore, a collaborative action employing art and design is implemented in NYC, involving waste pickers, local residents and non-for-profit organizations. Lastly, the information collected through field research and action is aligned to the theoretical concepts exposed in the literature review, as a way to describe and analyse the results of this study.
3.1 The recycling systems operating in NYC New York City inhabitants and businesses discard a total of 14 million tons of mixed materials per year (NYC MAYOR’S OFFICE, 2016) and parallel systems were developed to deal with the complex nature of these discarded materials. While the city relies on The City of New York Department of Sanitation (DSNY) and on private companies to collect residential and commercial waste, there are alternative waste systems. Some examples are voluntary drop off sites, small scale pick up operations, and autonomous waste pickers.
Waste management in NYC can be considered successful for being able to remove from the city large amounts of discarded matter every day. However, in terms of material recovery, waste management is inefficient and unsustainable. Although 60% of the materials discarded by NYC residents have the potential to be diverted from disposal through recycling and composting (NYC DEPARTMENT OF SANITATION, 2013), only 17% of these materials are retrieved by the city’s collection programs (GROW NYC, 2016). This is approximately one third of what could be diverted from landfills. It is also a low diversion rate if compared to other cities in the United States, as the national average diversion rate is 34.3% (US EPA, 2016). Since its launch in 1989, the city’s recycling program has undergone various changes. Although never particularly successful in achieving high diversion rates, it has always been a central piece in the city’s efforts to structure a sustainable waste management system. Besides the municipal recycling initiative, there is another recycling program running in NYC. The Returnable Container Act (also known as the “Bottle Bill”) is an Extended Producer Responsibility (EPR) law promoted by New York State in the early 1980s to incentivize recycling (NYS DEC, 2016). This law mandates a five-cent deposit upon purchase of some bottled beverage, meant to motivate consumers to return the empty container for recycling. The Bottle Bill also creates the physical structure to retrieve the post consumption containers - the redemption centers, where the consumers can exchange each empty bottle by five cents - and obliges the beverage producers to handle the returned containers for recycling (NYS DEC, 2016). In practice, consumers nowadays rarely return their empty containers to retrieve the five-cent deposit and these containers are placed at the curbside with other discarded materials. The economic value embedded in these bottles allows for people to earn a living by collecting and returning them to the redemption centers. These individuals - also known as canners - usually work autonomously and, by using the structure created by the Bottle Bill, they are involved in a formal-informal hybrid system of selective collection in NYC. Even though all these systems - the municipal program, the Bottle Bill, and the work of canners - contribute to divert materials from landfills and to direct them to recycling, there is a tension generated by their overlap. According to DSNY (2012), parallel waste collection practices can undermine the municipal recycling program. City authorities argue that, because of the work of
Mix Sustentável | Florianópolis | v.3 | n.4 | p.85-90 | nov. | 2017
87
Design and art promoting socially responsible recycling: the analysis of a collaborative action to support waste pickers in New York City
autonomous waste pickers, the amount of valuable recyclable materials retrieved by the city decreases, which reduces the revenues that the city would receive by selling these materials to the recycling industry. The cost of the municipal recycling program is partially paid by the money earned through the trade of recyclable materials, thus the reduction of this revenue means more expanses to the city (DSNY, 2012). The city authorities’ discourse focuses mostly in economic arguments, neglecting social aspects involved in the recycling system. Taken aside the dispute over the economic value of discarded materials, waste pickers’ activity actually aligns with the city’s goals for waste management and to the city’s commitment to equity and social justice. First, because it contributes to retrieve materials for recycling, diverting them from landfills. Second, because it allows underprivileged individuals to earn an income by engaging in a productive and environmentally sound activity.
3.2 Who are the canners
88
The information for this research comes from the interviews carried out with five canners, two of which were followed during a day of ‘canning’. Eugene, Pierre and George are Afro-Americans and were interviewed in Brooklyn, NYC. Jorge and Jose are Latin-Americans and were interviewed in the streets of Manhattan, NYC. First, it is important to highlight the fact that NYC canners form a group of diverse individuals. The diversity of languages, cultural backgrounds and motivations make the category ‘canners’ a rather disconnected group, which may be one of the reasons why there is no history of self-organization efforts. Taken aside the differences, one common point mentioned by all interviewees is the reason for engaging in waste picking: the need to earn money, often after unemployment. While Jorge mentioned that he started canning after he lost his job in a furniture industry, George said he engaged in this activity because he was “broke” and he realized he could supplement his income with canning. In this sense, Eugene mentioned that he started canning because he was unemployed. He said he could make around US$100 per day, which means collecting 2000 discarded bottles. When asked about the positive aspects of this activity, the most common answers were autonomy for time management, immediate pay, and the possibility of having a productive activity without a formal employment. For example, Pierre was especially emphatic in expressing the feeling of joy and freedom that he often has when
walking the streets and collecting the cans and bottles. In contrast to the narrative promoted by DSNY, the canners who were interviewed consider that their activity is a legitimate work that provides a service to the city. Eugene affirmed that ‘canning’ is an actual job and he expressed his satisfaction for contributing to recycling. Similarly, most canners considered that waste picking is a worthy activity that adds to recycling in the city.
3.3 The challenges faced by the canners The tension between waste pickers and DSNY, exposed in section 3.1, is a big challenge that NYC canners face in the political sphere. However, this is not their only difficulty, as canners also find obstacles in the social sphere. One challenge for the social recognition of canners relates to the fact that they deal directly with the materials we discard. Generally, in the western culture, waste is associated to ideas of loss, impurity, repulsiveness, danger and contamination; it is considered to be undesirable and should be kept away (LYNCH, 1990). These negative feelings affect people’s perception of the individuals who deal with waste. As pointed out by Wilson (2007), “one constraint here can be cultural: if waste is viewed in some way as ‘dirty,’ then waste management will be viewed as ‘not an honorable profession.’” In fact, a canner who was interviewed for this study mentioned that people often turn away or neglect his presence when passing by him. Another obstacle identified for the social integration of canners in NYC refers to the situation of class segregation and prejudice engrained in society. Canners in NYC are usually low-income individuals, immigrants or part of minority groups, which contributes to further marginalization. As Pereira and Teixeira (2014) point out: Waste pickers are inserted into social relations in which social inequality is daily naturalized (…) so that they constitute a class excluded from all material and symbolic opportunities of social recognition.
Moreover, the invisibility of waste systems in the urban environment contributes to create a layer of invisibility for the workers dealing with residues. Nagle (2013) quotes the work of sociologist Wayne Brekhus to affirm that the workers engaged in waste collection are an example of an “unmarked” element of daily life. Nagle (2013) states that waste related workers are “engaged in unmarked labor, and are themselves unmarked laborers.” In fact, the canners who were interviewed mentioned that people rarely notice their presence, even though they often pass by the same route and recurrently see the same residents.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.85-90 | nov. | 2017
Silvia Resende Xavier e Luciana dos Santos Duarte
3.4 Sure We Can, a counter narrative in NYC In spite of the difficulties faced by canners in NYC, there are initiatives to support these individuals and promote their inclusion. Sure We Can (SWC), a non-for-profit redemption center, is highlighted in this study. Since its foundation in 2007, it has grown to be not only a place for NYC canners to exchange their bottles for money, but also a safe space where they can get support and participate in social and cultural exchanges. As stated in their web page: “Sure We Can has evolved into a community building and sustainable living hub committed to fostering a resilient urban culture” (SWC, 2016). SWC is part of a counter narrative, working in a way that conciliates canners and the city efforts for recycling. For instance, SWC keeps records of all materials received daily and of the canners who bring the materials, thus creating data for this system. Furthermore, SWC accounts for the social benefits of the recycling system, and promotes not only material and economic exchange, but also social exchanges and the value of individuals.
3.5 Pimp My Carroça, a Brazilian Project to support waste pickers worldwide Besides highlighting local initiatives to improve canners’ situation in NYC, this study identified projects that aim to support waste pickers in other contexts. In this broader perspective, the Pimp My Carroça (PMC) project is highlighted as an initiative to promote civic and political awareness about the situation of waste pickers. The project was initiated in São Paulo, Brazil, by the artist Thiago Mundano in 2012. Amongst other actions, one of the main activities promoted by PMC is to reform and to artistically paint waste pickers’ carts, and to donate safety equipment to the workers. The project’s methodology allows for the action to be initiated by any individual interested in supporting waste pickers worldwide. Further, the intervention through design and art contributes to approximate waste pickers and other citizens, and to instigate changes in the way people perceive waste pickers in the streets. This project is highlighted because it employs a collaborative model in order to trigger change in social relations, resulting in socio-environmental benefits.
3.6 Implementing a collaboration between Sure We Can and Pimp My Carroça in NYC Considering its goal and its methodology, the PMC project was identified as suitable for implementation in NYC, having the potential to support canners in the social
sphere. Hence, a PMC action was planned and carried out in partnership with SWC, to improve canners working condition and foster civil society support in legitimizing their work. Through the analysis of the action results, it is possible to evaluate the outcomes of this collaborative model and its contribution to social and environmental improvements in an urban context. In practice, the collaborative action happened in the course of nine weeks, and culminated with the realization of the “Pimpex NY” on 9th April 2016. Members of Pimp My Carroça in São Paulo and members of Sure We Can in New York City were involved in this process. Throughout February and March, the team planned the costs and activities, recruited the canners and artists, redesigned the carts for the reform, and promoted a successful crowdfunding campaign to raise the money necessary for this realization (PIMPEX NY, 2016). During the action day, nearly 30 people were present at Sure We Can to help as volunteers, four carts were painted and reformed, and the canners were provided with equipment. Six artists were involved in reforming and painting the carts, one of them is shown in Figure 1. Figure 01 – Artist Skewville painting one of the carts.
89
Source: Authors
The canners – Eugene, Pierre and George – participated in part of the reform and received a package with safety equipment. Some items included in the package are rain-clothes, gloves, rope, glasses, flashlight, bags, t-shirt with reflective band. Each canner received a kit with these items. Notwithstanding, the involvement of the artists and canners allowed for a fruitful interaction contributing to the redesign of the cart according to the user needs. Figure 2 depicts one of the canners using his cart after the action.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.85-90 | nov. | 2017
Design and art promoting socially responsible recycling: the analysis of a collaborative action to support waste pickers in New York City
Figure 02 – Eugene using his new cart in the streets
Source: Authors
4. RESULT ANALYSIS
90
The implementation of this collaborative action, the donation of equipment and the reform of the cart are concrete actions that led to tangible and intangible improvements in the canners’ daily activity. Three important outcomes are highlighted and analysed: (i) the sense of identity and pride expressed by the canners; (ii) the fact that they become more visible in the city environment; (iii) the changes in the relationship with other citizens. Firstly, the redesign of the carts made them more functional and efficient, providing more space to carry materials, sticks to hang items, and a compartment for personal objects. Besides these functional changes, the makeover of this object through design and art is a powerful means to foster identity and empower the canners. This feeling was expressed by Eugene, who said he felt happy to have a cart made especially for his use, expressing sentiments of pride and worthiness. Furthermore, the redesigned carts are mobile devices that now convey the canners’ messages throughout the city. Pierre’s cart, for example, was painted with musical notes allusive to his background as a musician, and with Sure We Can logo because he wanted to bring attention to the organization. Concerning the issue of visibility, canners constantly share sidewalks and streets with other individuals and other vehicles. Although, they should be seen and respected, they often go unnoticed. The cart is the tool canners have to negotiate his or her participation in the public space. In this context, the carts painted during the collaborative action stand out because of their design and colors, making the canners more visible and marking their presence in the city. For instance, Eugene reported that, after he started using the new cart in the streets, people would look more at him, acknowledging his presence.
In an analogous situation, Smith (1992) analyses the results of the Homeless Vehicle project, which proposes the redesign of shopping carts to adapt them to the needs of homeless persons. Smith (1992) states that the Homeless Vehicle is “a mean to carve a more sympathetic geographical politics in a city of exclusionary spaces.” In a similar way, the redesigned and artistically painted carts enable the canners to use their own working tool to mark their presence. In the words of Smith (1992), it enables canners to “erase their own erasure”. Lastly, regarding the relationship between canners and other citizens, it has been identified during the field research that interactions rarely occur, mainly because of social and economic differences. The redesigned cart, in this case, works as a catalyzer for interactions between canners and other citizens. As reported by Pierre, some people who were curious about the cart stopped him in the street to take pictures and to have a conversation. The new cart, as a mobile art piece, not only brings more visibility but also creates the space for approximation and conversations. This approximation between canners and other citizens is important because it dissolves social barriers and encourages dialog, triggering changes in public perception about waste picking.
5. CONCLUSIONS The carts and the collaborative action that generated them are mechanisms to trigger change in public perception about waste pickers in NYC, contributing to the reconceptualization of the activity. Both the carts and the collaborative action are means to amplify the message and the social network to support canners. As mobile artefacts, the carts carry a message throughout the city, reaching an unpredictable audience. As a joyful and unexpected situation, the collaborative action gained media attention, spreading a positive counter story to the city’s discourse. Further, the collaboration between Sure We Can and Pimp My Carroça was successful and is expected to consolidate over time, contributing to the exchange of experiences between these two organizations and between waste pickers living in different realities. Finally, this research and practice study accomplishes the goals of promoting a social and environmental action based on a collaborative model, and of evaluating the outcomes of this experience exchange between a Brazilian project and a NYC based organization. Besides the participation of canners, this study involved diverse interested parties such as artists, designers, university, and the members of civil society. Those are agents in
Mix Sustentável | Florianópolis | v.3 | n.4 | p.85-90 | nov. | 2017
Silvia Resende Xavier e Luciana dos Santos Duarte
promoting the legitimization the canners’ activity and in contributing to a socially responsible and environmentally sustainable waste management system in NYC in the long term.
ACKNOWLEDGMENTS The authors would like to thank: Sure We Can canners, staff and supporters; the Pimp My Carroça team in São Paulo; The New School, especially the professors at Parsons School of Design; and CAPES for supporting this research.
REFERENCES GOWAN, T. American Untouchables: Homeless scavengers in San Francisco’s underground economy. International Journal of Sociology and Social Policy 17 (3/4): 159-190, 1997. doi: 10.1108/eb013304. GROW NYC. Recycling Facts. Accessed May 8, 2016. Available at http://www.grownyc.org/recycling/facts HARLAND, R., SANTOS, M. C. L. Working with waste to dignify Human existence through collage as spontaneous design. In: Design, waste & dignity. Coord. SANTOS, M. C. L. São Paulo, Ed. Olhares, 2014. LYNCH, K. Wasting away. San Francisco, Sierra Club Books, 1990. NAGLE, R. Picking up: on the streets and behind the trucks with the sanitation workers of New York City. New York City, Farrar, Straus and Giroux, 2013. NYC MAYOR’S OFFICE OF SUSTAINABILITY. Waste and recycling. Accessed May 8, 2016. Available at http:// www.nyc.gov/html/planyc/html/sustainability/waste-recycling.shtml
DSNY. Stealing Recycling’s Future. 2012. Accessed January 8, 2016. Available at https://www.youtube.com/ watch?v=hAM-tW-uuIU PEREIRA, M. C. G., TEIXEIRA, M. A. C. Struggle for recognition and public policies: An analysis of the experience of pickers belonging to Asmare in Belo Horizonte (state of Minas Gerais) 1987-2010. Design, Waste & Dignity, coord. Maria Cecilia Loschiavo dos Santos. São Paulo, Ed. Olhares, 2014. PIMPEX NY. Pimpex and Sure We Can: Visibility for NYC canners. 2016. Accessed January 8, 2017. Available at https://www.indiegogo.com/projects/ pimpex-and-sure-we-can-visibility-for-nyc-canners#/ SMITH, N. Contours of a Spatialized Politics: Homeless Vehicles and the Production of Geographical Scale. Social Text (33): 54-81, 1992. doi: 10.2307/466434 SURE WE CAN. Sure We Can. Accessed April 21, 2016. Available at http:/www.surewecan.org/ TEODOSIO, A. S. S., DIAS, S. L. F. G. Recycling at the interstice of intersectorial relations: the national policy of solid wastes and challenges for the social, productive inclusion of pickers. In: Design, waste & dignity. Coord. SANTOS, M. C. L. São Paulo, Ed. Olhares, 2014. US ENVIRONMENTAL PROTECTION AGENCY. Advancing sustainable materials management: facts and figures 2013. New York City, 2015. Accessed May 8, 2016. Source: https://www.epa.gov/sites/production/ files/2015-09/documents/2013_advncng_smm_rpt.pdf WILSON, D. C. Development drivers for waste management. Waste Manag Res. 25 (3): 198-207, 2007. doi: 10.1177/0734242X07079149.
NYC DEPARTMENT OF SANITATION. New York City Curbside Waste Characterisation Study. New York City, 2013. Accessed May 8, 2016. Available at https://www1. nyc.gov/assets/dsny/docs/2013-Waste-Characterization-Study.pdf NYS DEPARTMENT OF ENVIRONMENTAL CONSERVATION. New York’s Bottle Bill. Accessed May 8, 2016. Available at http://www.dec.ny.gov/chemical/8500.html
Mix Sustentável | Florianópolis | v.3 | n.4 | p.85-90 | nov. | 2017
91
Design and art promoting socially responsible recycling: the analysis of a collaborative action to support waste pickers in New York City
92
Mix Sustentรกvel | Florianรณpolis | v.3 | n.4 | p.85-90 | nov. | 2017
ARTICLES
THE NATURAL DYES EXTRACTED IN SÃO JOÃO DE CÔRTES, ALCÂNTARA, MARANHÃO: AN APPROACH ORIENTED TO SUSTAINABLE DESIGN OS CORANTES NATURAIS EXTRAÍDOS EM SÃO JOÃO DE CÔRTES, ALCÂNTARA, MARANHÃO: UMA ABORDAGEM ORIENTADA PARA O DESIGN SUSTENTÁVEL Cláudia do Rosário Matos Nogueira, (UFMA) Raquel Gomes Noronha, PhD (UFMA) Denilson Moreira Santos, PhD (UFMA) Key Words Sustainability; Natural dyes; Territorial design; Identity
Palavras Chave Sustentabilidade; Corantes naturais; Design territorial; Identidade
ABSTRACT This article discusses the obtainment of natural dyes in São João de Côrtes, Alcântara, Maranhão, extracted from annatto (Bixa Orellana), serrette (Byrsonima Basiloba), red mangrove (Rhizophora Mangle), saffron (Curcuma Longa), genipap (Genipa Americana) and wild indigo (Indigofera Suffruticosa). As an objective, this article proposes a course to discuss aspects of territorial design and to investigate the processes of obtaining the natural dyes from the aforementioned community, emphasizing sustainability. As far as methods, there is a description of the traditional techniques used by residents of the said village for the production of natural dyes, forming a qualitative research with an ethnographic approach which features interaction with the community through interviews with indirect questions, footage and photographs. As for results, there are: the discussion and reflection on the activities of obtaining the natural dyes through the ethnographic experiences presented with the intention of valuing a territory.
RESUMO Este artigo discute a obtenção de corantes naturais em São João de Côrtes, Alcântara, Maranhão, extraídos do urucum (Bixa Orellana), murici do mato (Byrsonima Basiloba), mangue vermelho (Rhizophora Mangle), açafrão (Curcuma Longa), jenipapo (Genipa Americana) e anil (Indigofera Suffruticosa). Como objetivo, este artigo propõe um percurso para se discutir aspectos de design territorial e investigar os processos de obtenção dos corantes naturais da citada comunidade, enfatizando a sustentabilidade. No que diz respeito aos métodos, há uma descrição das técnicas tradicionais utilizadas pelos moradores da referida vila para a produção de corantes naturais, caracterizando uma pesquisa qualitativa com uma abordagem etnográfica, apresentando interação com a comunidade através de entrevistas com perguntas indiretas, imagens e fotografias. Como resultados têm-se um debate e reflexões a respeito das atividades de obtenção dos corantes naturais por meio das experiências etnográficas, na intenção de valorizar um território.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
93
The natural dyes extracted in São João de Côrtes, Alcântara, Maranhão: an approach oriented to sustainable design
1. INTRODUCTION
94
The demands and concerns of sustainability in the contemporary world have made humankind turn its attention to the old techniques of material production and create a new scenario in which there are creative solutions to problems, with technical and rational procedures. Adelia Borges adds that “old techniques of using natural dyes in the dyeing of raw materials, which had been abandoned in favor of industrial dyes, have come to be recovered.” (BORGES, 2011, p. 61). According to Manzini (2008, p. 15), what is intended is “the preservation and regeneration of our environmental and social capital”, in an effort to try out new lifestyles and recover processes of production and consumption. In addition, health concerns, with the possible harm that synthetic man-made dyes (toxicological hazards, for example) can cause to humans, also appear as ways of justifying growing research on the use of natural dyes (SABRÁ, 2012). Krucken (2009) comments that there is a demand for healthy products and a history to tell that is traceable. The designer, in this context, perceives and acts to solve the needs of these new perspectives of values and qualities, and for that, according to Krucken, Oliveira and Silva (2014) some processes in which this professional can give support are set: in the identification of the potentials of local resources and skills for sustainable production; in the strengthening of the sense of belonging of the processes by the community, as well as in promoting the dialogue between tradition and innovation; and in the strengthening of the image of the product and its territor’y. In this sense, one of the great challenges of design is to make the processes and systems around us intelligible, revealing and comprehensible (THACKARA, 2008). In this way, the objective of this article is to propose a course for the analysis of the obtainment and use of the natural dyes from São João de Côrtes (Alcântara, Maranhão), an old village of fishermen and naval carpenters.
indirect questions, photographs and filming involving the people who extract and produce the natural dyes. Using holistic vision, about the analysis intense and direct will allow comprehending and relating the daily about the research problem, always for better relation between the researcher and the researched group by a trust relationship. It will result in the description of the most relevant aspects for the research. Rocha and Eckert (2008, p. 2) explain that for ethnographic research to happen, direct observation “is undoubtedly the privileged technique for investigating knowledge and practices in social life.” The researchers made visits to the community of São João de Côrtes to meet the residents and the daily life of the village. In one of the visits it was possible to accompany one of the interviewees, Valdecy Nogueira, known as Paco, to the areas where raw materials are extracted to obtain the natural dyes. In these investigations to researchers obtained much information about the old techniques passed by several generations, as well as on the characteristics of the vegetables used, whose data are part of the empirical knowledge of the residents. Paco explained at the time that the people who collect the materials need to be in tune with nature, respecting their cycles (Figure 01 and Figure 02). Figure 01: Paco removing the barks of the red mangrove
Source: The authors of the research Figure 02: Selection of the roots of saffron for the yellow dye and Paco explaining how to remove banana or Barbados nut sap
2. THEORETICAL-METHODOLOGICAL ASPECTS The course chosen for this study should follow the reflections of Canclini (1983), when speaking of how things have life and stories to tell, and of Clifford (1997) commenting that one must be present at a specific place for research, being a descriptive of techniques applied and transmitted by generations, rituals and the cosmology employed by residents of the village in question, characterizing it as qualitative research with an ethnographic approach, in which an appropriate way of interacting with the community is recommended: through interviews with
Source: The authors of the research
The designer, as a professional working in a world open to diversities, comes into contact with the cultural manifestations of various communities. This professional needs to be attentive, because “in this contemporary and
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
Cláudia do Rosário Matos Nogueira, Raquel Gomes Noronha e Denilson Moreira Santos
hypermodern world, not everything is high tech” (IBARRA, RIBEIRO, 2014, p.10), justifying the valuing of the material and symbolic manifestations of a Maranhão community. In the words of Noronha (2012), it is necessary to understand the values of artisanal production, the representations and the meanings implicit in their materiality. The observer connects themselves in a visual, tactile, olfactory and auditory way with the flows, with the movements of the environment, being interested in how the materials can interact with the people and vice versa. Thus, the researcher has to abandon their intellectually sovereign position and “feel the world” (INGOLD, 2013, p.320). From these theoretical and methodological perspectives, it is going to be showed the main steps done to realize the research (Table 01). Table 01: Table with the main steps done to realize the research.
Source: The authors of the research
3. DESIGN AND SUSTAINABILITY: ASPECTS ABOUT NATURAL DYES Thackara (2008) mentions the concern of environmentalists about responsibilities, but they hardly ever question themselves about the possibilities in sustainable production. The designer, on the other hand – in addition to imagining products and systems that cater to symbolic, functional and aesthetic issues – aims at sustainability in their projects. It is worth remembering that sustainable products do not only meet environmental criteria, but also economic and social requirements. Manzini (2008) emphasizes that design has the ability to generate visions of a sustainable sociotechnical system; organize them into a coherent system of regenerative products and services, sustainable solutions; and communicate such visions and systems appropriately so that they are recognized and evaluated by a sufficiently broad public able to apply them effectively (MANZINI, 2008, p.28). According to Rodrigues (2013), the designer committed to sustainability considers the whole life cycle of a product, i.e. what happens during the extraction of the raw material, the stages of production and use, and how its discard is done. Manzini (2008, p.12) explains that “today, sustainability should be the goal of all possible design research”. In addition to these issues, the designer needs to be aware of the possibilities of products derived from the symbolic and material manifestations of a community, such as the production of natural dyes by villages, often forgotten by the Brazilian population in general, such as the São João de Côrtes community, whose work with the extraction of plant dyes is passed down from generation to generation. Natural products are questioned about their quality and durability; however, it is understood that users of this type of product have knowledge about their characteristics and certainly value them precisely for their structure. The use of natural dyes has been vehemently investigated, “especially after talks about sustainability and strategies to achieve it arose” (RODRIGUES, 2013, p.18). Krucken (2010) adds still that action planning needs to be done by bringing together social and territorial capital that propose sustainable and sustainable consumption ideas. Health also appears as another justification for these investigations: The toxicological risks of synthetic dyestuffs to human health are intrinsically related to the mode and time of exposure [...], oral ingestion, skin sensitization, sensitization of the respiratory tract (CLARKE, 1995 apud SABRÁ, 2012, p.88).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
95
The natural dyes extracted in São João de Côrtes, Alcântara, Maranhão: an approach oriented to sustainable design
There is a great current interest in studying the possibilities of using natural dyes in Brazil. Sabrá (2012, p. 87) names some factors for this motivation: complex biodiversity, making it possible to obtain a large and varied range of substances to be used as pigments, dyes or paints; Differentiation of products through innovation and search for new ingredients. In this case, natural dyes can add value to the final products and be an alternative way of generating work and income, especially in communities in the interior of the country or in the textile, cosmetics, food, etc. industries.
4. DISCUSSIONS AND RESULTS
96
The use of natural dyes, thus, is in accordance with what Manzini (2008, p.16) presents about the role of the designer. Designers, according to the author, even without imposing their ideas, have “tools to operate on the quality of things and their acceptability”. In other words, the work of the designer is aims to develop the image of the product and its place of origin, that is, it is necessary to follow the path, the chain of materials, because materiality is not an attribute, but a story (INGOLD, 2011). Local products, in agreement with Krucken (2010), are the result of work carried out over time, where resources of the biodiversity, customs and habits of a given population are involved. The author mentioned enriches this thinking by defining terroir as: a territory characterized by interaction with man over the years, whose resources and products are strongly determined by the cultural, soil and climate conditions”. The cultural aspects present in the products determine their demand; in their specificities, in their authenticity. Thackara (2008, p. 13) complements this thought by stating that “we are resuming appreciation and respect for what people are capable of doing and technology isn’t”. Krucken (2009, p.14) contributes by stating that “the need for a change in lifestyle and productive models to reduce environmental impact is increasingly evident”. One can learn several lessons with the human being: the creation of products for its own use has always existed, and this is the case of the natural dyes made in the community of São João de Côrtes in Alcântara. In this village of fishermen, of indigenous origin, there is knowledge passed down through several generations, of techniques of painting the sails and waterproofing of their boats, of the puçá (a type of sieve or net for catching small fish) used in the fisheries, with products taken from the nature. In this example, the designer has much more to do with the community than the other way around.
Certainly, the techniques of extraction and production of plant dyes and the importance of color in the products were apprehended with the indigenous ancestors of this community, as Proença (2003, p.195) specifies: “The colors most used by the Indians to paint their bodies are the very lively red of annatto, the black of the genipap juice ink, and the white of the tabatinga (a type of clayey stone)”. These dyes extracted in the aforementioned village are strongly related to the conditions of the climate, the soil, but also the cultural manifestations of the community. However, it is necessary to agree with Ingold (2013) that the techniques are not passively transmitted, because the information passed by generations make way to knowledge, which can be taken forward with an artisan’s own context, know-how, and life story. Thus, it is not just about reduplication, but about the particularities of repetition in tune with the rhythms of the environment. Those who know the techniques know exactly when and where to extract materials to obtain the natural dyes, as well as obey the supernatural aspects that govern these activities. That is, the products taken from nature of this village, such as the example of the production of the orange dye from the annatto, are beyond their physical materiality, but with aggregate immaterial values. The images present the selection of the seeds of the annatto and then washed with water to obtain the natural dye (Figure 03). Figure 03: Manipulation of annatto seeds for the production of orange dye
Source: photos by Lucilene Pereira for research
A visit to the extraction areas to identify the plants from which the dyes originate and the techniques for their obtainment was scheduled with the farmer Paco during a visit to São João de Côrtes which took place between December 3rd and 5th, 2016. He explained that the activities of naval carpentry and natural dyeing are essentially masculine, in which knowledge is clearly empirical, passed down by generations and of indigenous origin, but that almost all the inhabitants of the village, especially the oldest ones, know the techniques of production of natural dyes.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
Cláudia do Rosário Matos Nogueira, Raquel Gomes Noronha e Denilson Moreira Santos
In the visit to the field of research with Paco (information collected during field research conducted on December 4th, 2016) it was possible to identify the serrette, (from which one obtains red dye and a type of natural varnish), annatto (orange dye), red mangrove (red dye and natural varnish) and saffron (yellow dye). The farmer explained that it was not a good time for the production of the black dye of genipap and the blue dye of wild indigo, whose plantation exists but must be mowed so that the plants reappear. Thus, in another visit, at an appropriate time, it will be possible to verify the techniques of obtaining the black and blue dyes. Basically, barks from the serrette trunk and the root of the red mangrove are removed, and are then soaked in a container with water, for about three days, for the red dye to release. Paco emphasized that older plants provide a darker red dye and that it is common to add a few drops (depending on the amount of dye required) of banana or Barbados nut sap for better fixing of the dyes. From annatto, orange color is produced when the seeds of the fruit are dipped in water; and from saffron one obtains yellow when shavings of its roots are put into water. During the aforementioned visit, it was observed that it is relevant to preserve the natural cycles of ecosystems. Paco reported that the raw material for the production of natural dyes can be extracted at any time of year, but according to the farmer, the rainy season (between December and April or May) favors the development of plants, as well as the movements of the Moon which interfere in the production of banana and Barbados nut sap (“milk”). In addition, due to popular belief, Paco believes that “there are people who are not good at milking” plants and that it is necessary to observe these conceptions about the relation between man and nature. Another source of discussion for designers: in São João de Côrtes, what Canclini (1983) observed when he mentioned the changes that sometimes occur with rudimentary techniques, in which the younger craftsmen are leaving the activities in the yards in search of the improvement of life in other work possibilities, is currently happening. As a result, the larger ships that are made to use sails are no longer produced, since they require a lot of time for their construction and more people involved in the process, and naval carpentry is practically in the hands of old craftsmen (who are limited to making canoes). In this way, the techniques of the extracting natural dyes that colored the sails of these boats are bound to fall into oblivion. Therefore, a cultural policy that preserves the tradition of this craft and the conservation of
the workers in its territory must be carried out; this decision must, however, democratically involve the artisans themselves. Initial investigations of these products led to a table (Table 02) that relates the plants to the obtained colors and varnishes, providing elements for the construction of a color chart. It was also sought to investigate how these plants are known scientifically. Table 02: Table with the plants and the colors obtained from them
Source: Table created by the authors based on information by Harri Lorenzi, 2014 ; Etno Botânica, 2016 and the villagers
Given this information, it is clear that designers can make the story behind the plant dyes from São João de Côrtes visible to users who are interested in products with sustainable qualities. This information can be on labels and packaging, for example. The previous reflections extend possibilities for the work of the designer, who can intervene in the clarifications between scientific and popular knowledge, as well as awaken the interest of the communities to act according to the demands of a consumer market eager to get in touch with differentiated products with sustainable qualities, as can be seen in the growing study on the feasibility of using natural dyes on fabrics in the fashion textile industry (RODRIGUES, 2013). In the case of São João de Côrtes, investments in the obtainment of knowledge can turn the attention of the community to a possible alternative form of income, returning to a traditional activity, directing the concentration in the purpose of addressing the issues of revaluation of knowledge about the production of natural dyes by the villagers, directing the look at identities, as well as to verify the solidity of these products, the quantities of materials for dyeing and the construction of a color chart.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
97
The natural dyes extracted in São João de Côrtes, Alcântara, Maranhão: an approach oriented to sustainable design
5. FINAL CONSIDERATIONS
98
The present article presented exploratory aspects and results of interviews with residents of São João de Côrtes, holders of techniques for the production of natural dyes, in order to expose a path of identification and use of these materials. The designer, in this way, participates as a transmitter of strategies for the development of sustainable products and services, in a constant dialogue between tradition and innovation. The practice of Design allied to Ethnography is relevant when evaluating and exploring the materiality of a region. It is known, however, of the care and criteria to be considered in a research with communities. The presence of the researcher in the field, with a theoretical load on the subjects that involve the investigations, must be based on the most appropriate approaches for each group of individuals. Brazil, as a potential supplier of materials that serve a market that increasingly values natural products, needs to promote studies aimed at this aspect. The complex production of materials by remote locations reminds us of the need for research in the world of environmental and social relations in these communities. In this article, reflections were made from narratives and the observation of the practices of obtaining the natural dyes with emphasis on the traditional knowledge transmitted by generations in São João de Côrtes. Extraction activities of natural materials are carried out by men, of which many are linked to the work in the fields of agriculture, fishing and artisanal naval carpentry. In a field survey in São João de Côrtes, the farmer Paco explained how the production of the natural dyes of the place happens and the importance in respecting the cycles of nature for the acquisition of these materials, showing satisfaction when talking about his life experiences and the skills acquired with his ancestors. He also followed the researchers to the field of work, where one could observe the selection of the plants, how the raw materials (bark, seeds, and roots) are extracted and how the dyes are obtained, as well as the knowledge about color fixation. The theoretical basis of this article presented the importance of the designer’s work for the issues of traditional knowledge and territory, especially with design strategies that value the story implicit in the dyes produced following the indigenous descendants of the mentioned village in mind. Thus, a direction to the continuity of these activities is proposed, to the relevance of natural resource management, avoiding the exhaustion of these sources, establishing an identity relationship with residents of the
researched community and with the work of obtaining these materials.
ACKNOWLEDGMENTS The authors are grateful for the participation of NIDA (Nucleus of Research in Innovation, Design and Anthropology), UFMA, and FAPEMA (TECS-01171/2015) in the logistics that made field research possible.
REFERENCES BORGES, Adelia. Design + Artesanato: o caminho brasileiro. São Paulo: Terceiro Nome, 2011. CANCLINI, Néstor Garcia. As culturas populares no capitalismo. São Paulo: Editora Brasiliense, 1983. CLIFFORD, James. Routes: travel and translation in the twentieth century. Cambridge: Harvard University Press, 1997. ETNO BOTÂNICA. Tintas vegetais. Disponível em: <www.etno-botanica.com /2010/05/eber-lopes-ferreira. html>. Acesso em: 20 jul. 2016. IBARRA, Maria Cristina; RIBEIRO, A. C. O design e a valorização do vernacular ou de práticas realizadas por não-designers. In: P&D, 2014, Gramado, Anais... Gramado, 2014. INGOLD, Tim. Being alive: essays on movement, knowledge and description. Londres e Nova York: Routledge, 2011. INGOLD, Tim. Making, growing, learning. In: Educação em Revista, v. 29, n.3, set. 2013. KRUCKEN, Lia. Design e território: valorização de identidades e produtos locais. São Paulo: Studio Nobel, 2009. KRUCKEN, Lia. No território do design. In: Planeta Sustentável. 2010. Disponível em: <http://planetasustentavel.abril.com.br/noticia/cultura/lia-kruchen-territorio-designlia-kruchen-design-territorio-produto-local-533690.shtml>. Acesso em: 10 jul. 2016. KRUCKEN, Lia; OLIVEIRA, Paulo Miranda de; SILVA, Elisângela Batista da. Design e território: estudo de iniciativas de valorização da cultura gastronômica. In: Congresso Brasileiro de Pesquisa e Desenvolvimento em Design, 11º, 2014. Gramado, Anais... Gramado, 2014.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
Cláudia do Rosário Matos Nogueira, Raquel Gomes Noronha e Denilson Moreira Santos
LORENZI, Harri. Árvores brasileiras: manual de identificação e cultivo de plantas arbóreas nativas do Brasil. v.1. São Paulo: Plantarum, 2014. MANZINI, E. Design para a inovação social e sustentabilidade: comunidades criativas, organizações colaborativas e novas redes projetuais. Rio de Janeiro: E-Papers, 2008. NORONHA, R. G. Sobre a louça, o linho e a rede: processos contemporâneos de construção de valor entre artesãs de Alcântara (MA). In: Revista Pós Ci. Soc. v. 9, n.17, jan/ jun. 2012. PROENÇA, Graça. História da arte. São Paulo: Ática, 2003. ROCHA, Ana Luiza Carvalho da; ECKERT, Cornelia. Etnografia: saberes e práticas. In: Ciências Humanas: pesquisa e método. Porto Alegre: Editora da Universidade, 2008. RODRIGUES, J. A. R. Uso de corantes naturais no tingimento de artigos têxteis de moda. 2013.128 f. Dissertação (mestrado) – Escola de Artes, Ciências e Humanidades, Universidade de São Paulo, São Paulo, 2013. SABRÁ, Flávio (org.). Inovação, estudos e pesquisas: reflexões para o universo têxtil e de confecções. Rio de Janeiro: SENAI/CETIQT. São Paulo: Estação das Letras e Cores, 2012. THACKARA, J. Plano B: o design e as alternativas viáveis em um mundo complexo. São Paulo: Saraiva, 2008
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
99
ARTIGOS
OS CORANTES NATURAIS EXTRAÍDOS EM SÃO JOÃO DE CÔRTES, ALCÂNTARA, MARANHÃO: UMA ABORDAGEM ORIENTADA PARA O DESIGN SUSTENTÁVEL THE NATURAL DYES EXTRACTED IN SÃO JOÃO DE CÔRTES, ALCÂNTARA, MARANHÃO: AN APPROACH ORIENTED TO SUSTAINABLE DESIGN Cláudia do Rosário Matos Nogueira, (UFMA) Raquel Gomes Noronha, Dra. (UFMA) Denilson Moreira Santos, Dr. (UFMA) Palavras Chave Sustentabilidade; Corantes naturais; Design territorial; Identidade
Key Words Sustainability; Natural dyes; Territorial design; Identity
RESUMO Este artigo discute a obtenção de corantes naturais em São João de Côrtes, Alcântara, Maranhão, extraídos do urucum (Bixa Orellana), murici do mato (Byrsonima Basiloba), mangue vermelho (Rhizophora Mangle), açafrão (Curcuma Longa), jenipapo (Genipa Americana) e anil (Indigofera Suffruticosa). Como objetivo, este artigo propõe um percurso para se discutir aspectos de design territorial e investigar os processos de obtenção dos corantes naturais da citada comunidade, enfatizando a sustentabilidade. No que diz respeito aos métodos, há uma descrição das técnicas tradicionais utilizadas pelos moradores da referida vila para a produção de corantes naturais, caracterizando uma pesquisa qualitativa com uma abordagem etnográfica, apresentando interação com a comunidade através de entrevistas com perguntas indiretas, imagens e fotografias. Como resultados têm-se um debate e reflexões a respeito das atividades de obtenção dos corantes naturais por meio das experiências etnográficas, na intenção de valorizar um território.
ABSTRACT This article discusses the obtainment of natural dyes in São João de Côrtes, Alcântara, Maranhão, extracted from annatto (Bixa Orellana), serrette (Byrsonima Basiloba), red mangrove (Rhizophora Mangle), saffron (Curcuma Longa), genipap (Genipa Americana) and wild indigo (Indigofera Suffruticosa). As an objective, this article proposes a course to discuss aspects of territorial design and to investigate the processes of obtaining the natural dyes from the aforementioned community, emphasizing sustainability. As far as methods, there is a description of the traditional techniques used by residents of the said village for the production of natural dyes, forming a qualitative research with an ethnographic approach which features interaction with the community through interviews with indirect questions, footage and photographs. As for results, there are: the discussion and reflection on the activities of obtaining the natural dyes through the ethnographic experiences presented with the intention of valuing a territory.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
101
Os corantes naturais extraídos em São João de Côrtes, Alcântara, Maranhão: uma abordagem orientada para o design sustentável
1. INTRODUÇÃO
102
As demandas e preocupações com a sustentabilidade no mundo contemporâneo fizeram com que o homem voltasse sua atenção para as antigas técnicas de produção de materiais e criasse um novo cenário no qual existem soluções criativas para os problemas, com procedimentos técnicos e racionais. Adélia Borges acrescenta que “antigas técnicas de uso de corantes naturais no tingimento de matérias-primas, que foram abandonadas em favor dos corantes industriais, passaram a ser recuperadas” (BORGES, 2011, p. 61). Segundo Manzini (2008, p.15), pretende-se “a preservação e regeneração do nosso capital ambiental e social”, num esforço para experimentar novos estilos de vida e recuperar processos de produção e consumo. Além disso, as preocupações com a saúde, com o possível prejuízo que os corantes artificiais sintéticos (perigos toxicológicos, por exemplo) podem causar aos seres humanos, igualmente aparecem como forma de justificar a crescente investigação sobre a utilização de corantes naturais (SABRÁ, 2012). Krucken (2009) comenta que há uma demanda por produtos saudáveis e uma história para contar que seja rastreável. O designer, neste contexto, percebe e age para resolver as necessidades dessas novas perspectivas de valores e qualidades, e para isso, de acordo com Krucken, Oliveira e Silva (2014) alguns processos nos quais este profissional pode dar suporte são definidos: na identificação das potencialidades dos recursos e competências locais para uma produção sustentável; no fortalecimento do sentido de pertença dos processos pela comunidade, bem como na promoção do diálogo entre tradição e inovação; no fortalecimento da imagem do produto e seu território. Nesse sentido, um dos grandes desafios do design é tornar os processos e sistemas ao nosso redor inteligíveis, reveladores e compreensíveis (THACKARA, 2008). Desta forma, o objetivo deste artigo é propor um percurso para a análise da obtenção e utilização dos corantes naturais de São João de Côrtes (Alcântara, Maranhão), uma antiga vila de pescadores e carpinteiros navais.
uma forma adequada de interagir com a comunidade por meio de entrevistas com perguntas indiretas, fotografias e filmagens envolvendo as pessoas que extraem e produzem os corantes naturais. Com visão holística, a análise das observações diretas e intensas permitirá compreender e relacionar o cotidiano com o problema de pesquisa, visando sempre um entrosamento entre o pesquisador e o grupo pesquisado através de uma relação de confiança. O que resultará na descrição dos aspectos mais relevantes para a pesquisa. Rocha e Eckert (2008, p.2) explicam que, para a pesquisa etnográfica, a observação direta “é sem dúvida a técnica privilegiada para investigar os saberes e práticas na vida social”. Os pesquisadores fizeram visitas à comunidade de São João de Côrtes para conhecer os moradores e a vida cotidiana da vila. Em uma das visitas foi possível acompanhar um dos entrevistados, conhecido como Paco (Valdecy Nogueira), para as áreas onde as matérias-primas são extraídas para se obter os corantes naturais. Nestas investigações os pesquisadores obtiveram várias informações sobre as antigas técnicas passadas por várias gerações, bem como sobre as características dos vegetais utilizados, cujos dados fazem parte do conhecimento empírico dos moradores. Paco explicou na ocasião que as pessoas que coletam os materiais precisam estar em sintonia com a natureza, respeitando seus ciclos (Figura 01 e Figura 02). Figura 01: Paco retirando as cascas de mangue vermelho
Fonte: Os autores da pesquisa Figura 02: Seleção das raízes de açafrão para o corante amarelo e Paco explicando como retirar a seiva da bananeira
PORTUGUÊS
2. ASPECTOS TEÓRICOS-METODOLÓGICOS O percurso escolhido para este estudo deve seguir as reflexões de Canclini (1983), ao falar que as coisas têm vida e histórias para contar, e de Clifford (1997) comentando que se deve estar presente em um local específico de pesquisa de técnicas aplicadas e transmitidas por gerações, rituais e cosmologia empregados por moradores da vila em questão, caracterizando-a como pesquisa qualitativa com abordagem etnográfica, em que se recomenda
Fonte: Os autores da pesquisa
O designer, como um profissional que trabalha num mundo aberto às diversidades, entra em contato com as
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
Cláudia do Rosário Matos Nogueira, Raquel Gomes Noronha e Denilson Moreira Santos
manifestações culturais de várias comunidades. Esse profissional precisa estar atento, pois “neste mundo contemporâneo e hipermoderno, nem tudo é high tech” (IBARRA; RIBEIRO, 2014, p.10), justificando a valorização das manifestações materiais e simbólicas de uma comunidade maranhense. Nas palavras de Noronha (2012), é necessário compreender os valores da produção artesanal, as representações e os significados implícitos em sua materialidade. O observador conecta-se de uma forma visual, tátil, olfativa e auditiva com os fluxos, com os movimentos do ambiente, interessado em como os materiais podem interagir com as pessoas e vice-versa. Assim, o pesquisador tem que abandonar sua posição intelectualmente soberana e “sentir o mundo” (INGOLD, 2013, p.320). De acordo com estas perspectivas teóricas e metodológicas, a seguir apresentam-se os principais passos para a realização da pesquisa (Tabela 01). Tabela 01: Tabela com os principais passos para a realização da pesquisa
Thackara (2008) menciona a preocupação dos ambientalistas com as responsabilidades, mas estes dificilmente se questionam sobre as possibilidades de uma produção sustentável. O designer, por outro lado - além de imaginar produtos e sistemas que atendam a questões simbólicas, funcionais e estéticas, visa a sustentabilidade em seus projetos. Vale ressaltar que os produtos sustentáveis não só atendem aos critérios ambientais, mas também às exigências de âmbito econômico e social. Manzini (2008) enfatiza que o projeto tem a capacidade de Gerar visões de um sistema sociotécnico sustentável; organizá-las num sistema coerente de produtos e serviços regenerativos, as soluções sustentáveis; e comunicar tais visões e sistemas adequadamente para que sejam reconhecidas e avaliadas por um público suficientemente amplo capaz de aplicá-las efetivamente (MANZINI, 2008, p.28). De acordo com Rodrigues (2013), o designer comprometido com a sustentabilidade considera todo o ciclo de vida de um produto, ou seja, o que acontece durante a extração da matéria-prima, os estágios de produção e utilização, e como seu descarte é feito. Manzini (2008, p.12) explica que “hoje em dia, a sustentabilidade deveria ser o meta-objetivo de todas as possíveis pesquisas em design”. Além dessas questões, o designer precisa estar ciente das possibilidades de produtos derivados das manifestações simbólicas e materiais de uma comunidade, como a produção de corantes naturais por lugarejos, muitas vezes esquecidos pela população brasileira em geral, como a São João de Côrtes, cujo trabalho com a extração de corantes de plantas é transmitido de geração em geração. Os produtos naturais são questionados sobre sua qualidade e durabilidade, no entanto, entende-se que os usuários deste tipo de produto têm conhecimento sobre suas características e certamente os valorizam justamente por suas composições. O uso de corantes naturais tem sido investigado com veemência, “principalmente depois que se começou a falar em sustentabilidade e nas estratégias para se alcançar as mesmas” (RODRIGUES, 2013, p.18). Krucken (2010) acrescenta, ainda, que o planejamento de ações precisa ser feito através da união de capital social e territorial, que proponham ideias de consumo duradouras e sustentáveis. A saúde também aparece como outra justificativa para essas investigações: Os riscos toxicológicos dos corantes sintéticos para a saúde humana estão intrinsecamente relacionados com o modo e o tempo de exposição [...], ingestão oral, sensibilização da pele, sensibilização das vias respiratórias (CLARKE, 1995 apud SABRÁ, 2012, p.88).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
103
PORTUGUÊS
Fonte: Os autores da pesquisa
3. DESIGN E SUSTENTABILIDADE: ASPECTOS SOBRE CORANTES NATURAIS
Os corantes naturais extraídos em São João de Côrtes, Alcântara, Maranhão: uma abordagem orientada para o design sustentável
Existe um grande interesse atual no estudo das possibilidades de utilização de corantes naturais no Brasil. Sabrá (2012, p.87) menciona alguns fatores para essa motivação: a biodiversidade complexa, possibilitando a obtenção de uma grande e variada gama de substâncias a serem utilizadas como pigmentos, corantes ou tintas; diferenciação de produtos através da inovação e busca de novos ingredientes. Neste caso, os corantes naturais podem agregar valor aos produtos finais e ser uma forma alternativa de gerar trabalho e renda, especialmente nas comunidades do interior do país ou nas indústrias têxtil, cosmética, alimentar etc.
4. DISCUSSÕES E RESULTADOS
PORTUGUÊS
104
O uso de corantes naturais, portanto, está de acordo com o que Manzini (2008, p.16) apresenta sobre o papel do designer. Designers, de acordo com o autor, mesmo sem impor suas ideias, têm “instrumentos para operar sobre a qualidade das coisas e sua aceitabilidade”. Em outras palavras, o trabalho do designer tem como objetivo desenvolver a imagem do produto e seu lugar de origem, ou seja, é necessário seguir o caminho, a cadeia de materiais, porque a materialidade não é um atributo, mas história (INGOLD, 2011). Os produtos locais, de acordo com Krucken (2010), são resultantes de um trabalho realizado ao longo do tempo, envolvendo recursos da biodiversidade, costumes e hábitos de uma determinada população. A autora mencionada enriquece este pensamento definindo terroir como: “um território caracterizado pela interação com o homem ao longo dos anos, cujos recursos e produtos são fortemente determinados pelas condições culturais, do solo e do clima”. Os aspectos culturais presentes nos produtos determinam sua demanda, em suas especificidades, em seu aspecto tradicional. Thackara (2008, p.13) complementa afirmando que “estamos retomando a valorização e o respeito pelo que as pessoas são capazes de fazer e a tecnologia não “. Krucken (2009, p.14) contribui com a afirmação de que “ é cada vez mais evidente a necessidade de uma mudança no estilo de vida e nos modelos produtivos para reduzir o impacto ambiental”. Podem-se aprender diversas lições com o ser humano: a criação de produtos para seu próprio uso sempre existiu, como é o caso dos corantes naturais produzidos na comunidade de São João de Côrtes, em Alcântara. Nesta vila de pescadores, de origem indígena, há conhecimento transmitido através de várias gerações, de técnicas de pintura das velas e impermeabilização de seus barcos, do
puçá (um tipo de peneira ou rede para captura de peixe pequeno) utilizado nas pescas, com produtos retirados da natureza. Neste exemplo, o designer tem a possibilidade de trocar conhecimentos com a comunidade. Certamente, as técnicas de extração e produção de corantes para plantas e a importância da cor nos produtos foram apreendidas com os ancestrais indígenas dessa comunidade, como Proença (2003, p.195) especifica: “As cores mais usadas pelos índios para pintar seus corpos são o vermelho muito vivo do urucum, o preto da tintura do suco do jenipapo, e o branco da tabatinga”. Estes corantes extraídos no referido povoado estão fortemente relacionados com as condições do clima, o solo, mas também com as manifestações culturais da comunidade. No entanto, é necessário concordar com Ingold (2013) de que as técnicas não são passivamente transmitidas, porque as informações passadas por gerações dão lugar ao conhecimento, que pode ser avançado com o próprio contexto, o saber-fazer e história de vida do artesão. Assim, não se trata apenas de reduplicação, mas de particularidades de repetição em sintonia com os ritmos do ambiente. Aqueles que conhecem as técnicas sabem exatamente quando e onde extrair materiais para obter os corantes naturais, bem como obedecem aos aspectos sobrenaturais que regem essas atividades. Ou seja, os produtos retirados da natureza desta vila, como o exemplo da produção do corante laranja do urucum, que estão além de sua materialidade física, mas com valores agregados imateriais. As imagens apresentam a seleção das sementes do urucum, que são lavadas para a obtenção do corante natural (Figura 03). Figura 03: Manipulação das sementes do urucum para obtenção do corante laranja
Fonte: Fotografias de Lucilene Pereira para a pesquisa
Na visita ao campo de pesquisa com Paco, foi possível identificar o murici do mato, (do qual se obtém corante vermelho e um tipo de verniz natural), o urucum (corante laranja), o mangue vermelho (corante vermelho e verniz natural) e o açafrão (corante amarelo).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
Cláudia do Rosário Matos Nogueira, Raquel Gomes Noronha e Denilson Moreira Santos
As investigações iniciais destes produtos levaram a uma tabela (Tabela 02) que relaciona as plantas com as cores e vernizes obtidos, fornecendo elementos para a construção de uma cartela de cores. Procurou-se também investigar como essas plantas são conhecidas cientificamente. Tabela 02: Tabela com os vegetais e os corantes obtidos
Fonte: Tabela criada pelos autores a partir de informaçãoes de Harri Lorenzi, 2014 ; Etno Botânica, 2016 e dos moradores
Assim, com estas informações, percebe-se claramente que os designers podem tornar visível para os usuários, que estão interessados em produtos com qualidades sustentáveis, a história por trás das tinturas de vegetais de São João de Côrtes. Essas informações podem estar em etiquetas e embalagens, por exemplo. As reflexões anteriores estendem possibilidades para o trabalho do designer, que pode intervir nos esclarecimentos entre o conhecimento científico e popular, bem como despertar o interesse das comunidades para agir de acordo com as demandas de um mercado consumidor ansioso para entrar em contato com produtos diferenciados e com qualidades sustentáveis, como pode ser visto no crescente estudo sobre a viabilidade da utilização de corantes naturais em tecidos na indústria têxtil da moda (RODRIGUES, 2013). No caso de São João de Côrtes, os investimentos na obtenção de conhecimentos podem chamar a atenção da comunidade para uma possível forma alternativa de renda, retornando a uma atividade tradicional, direcionando a concentração no propósito de abordar as questões de revalorização das técnicas sobre a produção de corantes naturais pelos moradores, orientando o olhar sobre as identidades, bem como para verificar a solidez desses produtos, as quantidades de materiais para tingimento e a construção de uma cartela de cores.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
105
PORTUGUÊS
O agricultor explicou que não era um bom momento para a produção do corante negro de jenipapo e o corante azul do anil, cuja plantação existe, mas deve ser roçada para que as plantas reapareçam. Assim, em outra visita, em tempo apropriado, será possível verificar as técnicas de obtenção dos corantes preto e azul. Basicamente, as cascas do tronco do murici do mato e a raiz do mangue vermelho são removidas, e são colocadas de molho em um recipiente com água, por cerca de três dias, para que o corante vermelho solte. Paco enfatizou que as plantas mais velhas fornecem um corante vermelho mais escuro e que é comum adicionar algumas gotas (dependendo da quantidade de corante necessário) de seiva de bananeira ou do peão branco para melhor fixação dos corantes. Do urucum, a cor alaranjada é produzida quando as sementes da fruta são mergulhadas na água; e do açafrão obtém-se corante amarelo quando as raspas de suas raízes são colocadas na água. Durante a referida visita, observou-se que é relevante preservar os ciclos naturais dos ecossistemas. Paco informou que a matéria-prima para a produção de corantes naturais pode ser extraída em qualquer época do ano, mas de acordo com o agricultor, a estação chuvosa (entre dezembro e abril ou maio) favorece o desenvolvimento de plantas, bem como os movimentos da Lua interferem na produção de seivas (leite) de bananeira e do peão branco. Além disso, devido à crença popular, Paco acredita que “há pessoas que não são boas para tirar o leite” destes vegetais e que é necessário observar essas concepções sobre a relação entre o homem/natureza. Outra fonte de discussão para os designers: em São João de Côrtes, atualmente, acontece o que Canclini (1983) observou quando mencionou as mudanças que às vezes ocorrem com técnicas rudimentares, nas quais os artesãos mais jovens estão deixando as atividades nos estaleiros em busca da melhoria da vida em outras possibilidades de trabalho. Como resultado, os barcos maiores que são feitos para usar velas já não são produzidos, uma vez que exigem muito tempo para a sua construção e mais pessoas envolvidas no processo. A carpintaria naval está praticamente nas mãos de artesãos idosos (que se limitam a fazer canoas). Desta forma, as técnicas de extração de corantes naturais que coloriram as velas destes barcos estão fadadas a caírem no esquecimento. Por isso, deve ocorrer uma política cultural que preserve a tradição deste ofício e a conservação dos trabalhadores no seu território, contudo, esta decisão deve envolver democraticamente os próprios artesãos.
Os corantes naturais extraídos em São João de Côrtes, Alcântara, Maranhão: uma abordagem orientada para o design sustentável
5. CONSIDERAÇÕES FINAIS
PORTUGUÊS
106
O presente artigo apresentou aspectos exploratórios e resultados de entrevistas com moradores de São João de Côrtes, detentores de técnicas de produção de corantes naturais, visando expor um percurso de identificação e utilização desses materiais. O designer, assim, participa como transmissor de estratégias para o desenvolvimento de produtos e serviços sustentáveis, num diálogo constante entre tradição e inovação. A prática do Design aliada à Etnografia é relevante na avaliação e exploração da materialidade de uma região. Sabe-se, no entanto, do cuidado e critérios a serem considerados em uma pesquisa com comunidades. A presença do pesquisador no campo, com carga teórica sobre os sujeitos que envolvem as investigações, deve ser baseada nas abordagens mais adequadas para cada grupo de indivíduos. O Brasil, como potencial fornecedor de materiais que atendem a um mercado que valoriza cada vez mais os produtos naturais, precisa promover estudos voltados a esse aspecto. A complexa produção de materiais por locais remotos nos remete à necessidade de pesquisa no mundo das relações ambientais e sociais nessas comunidades. Neste artigo, foram feitas reflexões a partir de narrativas e a observação das práticas de obtenção de corantes naturais, com ênfase no conhecimento tradicional transmitido por gerações em São João de Côrtes. As atividades de extração de materiais naturais são realizadas, na maioria das vezes, por homens, dos quais muitos estão ligados ao trabalho nos campos da agricultura, pesca e carpintaria naval artesanal. Em uma pesquisa de campo em São João de Côrtes, o lavrador Paco explicou como ocorre a produção dos corantes naturais do local e a importância de respeitar os ciclos da natureza para a aquisição desses materiais, mostrando satisfação ao falar de suas experiências de vida e as habilidades adquiridas com seus antepassados. Ele também acompanhou os pesquisadores ao campo de trabalho, onde se pode observar a seleção dos vegetais, como as matérias-primas (casca, sementes e raízes) são extraídas e como os corantes são obtidos, bem como o conhecimento sobre a fixação de cores. A base teórica deste artigo apresenta a importância do trabalho do designer para as questões do conhecimento tradicional e do território, especialmente com as estratégias de design que valorizam a história implícita nos corantes produzidos seguindo a descendência indígena do povoado mencionado. Assim, propõe-se um direcionamento para a continuidade dessas atividades, para a relevância da gestão dos recursos naturais, evitando o
esgotamento dessas fontes, estabelecendo uma relação de identidade com os moradores da comunidade pesquisada e com o trabalho de obtenção desses materiais.
AGRADECIMENTOS Os autores agradecem a participação do NIDA (Núcleo de Pesquisas em Inovação, Design e Antropologia), da Universidade Federal do Maranhão, e à FAPEMA (Edital Tecnologias Sociais – 01771/2015) na logística que tornou a pesquisa de campo possível.
REFERÊNCIAS BORGES, Adelia. Design + Artesanato: o caminho brasileiro. São Paulo: Terceiro Nome, 2011. CANCLINI, Néstor Garcia. As culturas populares no capitalismo. São Paulo: Editora Brasiliense, 1983. CLIFFORD, James. Routes: travel and translation in the twentieth century. Cambridge: Harvard University Press, 1997. ETNO BOTÂNICA. Tintas vegetais. Disponível em: <www.etno-botanica.com /2010/05/eber-lopes-ferreira. html>. Acesso em: 20 jul. 2016. IBARRA, Maria Cristina; RIBEIRO, A. C. O design e a valorização do vernacular ou de práticas realizadas por não-designers. In: P&D, 2014, Gramado, Anais... Gramado, 2014. INGOLD, Tim. Being alive: essays on movement, knowledge and description. Londres e Nova York: Routledge, 2011. INGOLD, Tim. Making, growing, learning. In: Educação em Revista, v. 29, n.3, set. 2013. KRUCKEN, Lia. Design e território: valorização de identidades e produtos locais. São Paulo: Studio Nobel, 2009. KRUCKEN, Lia. No território do design. In: Planeta Sustentável. 2010. Disponível em: <http://planetasustentavel.abril.com.br/noticia/cultura/lia-kruchen-territorio-designlia-kruchen-design-territorio-produto-local-533690. shtml>. Acesso em: 10 jul. 2016. KRUCKEN, Lia; OLIVEIRA, Paulo Miranda de; SILVA, Elisângela Batista da. Design e território: estudo de iniciativas de valorização da cultura gastronômica. In: Congresso Brasileiro de Pesquisa e Desenvolvimento em Design, 11º, 2014. Gramado, Anais... Gramado, 2014.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
Cláudia do Rosário Matos Nogueira, Raquel Gomes Noronha e Denilson Moreira Santos
LORENZI, Harri. Árvores brasileiras: manual de identificação e cultivo de plantas arbóreas nativas do Brasil. v.1. São Paulo: Plantarum, 2014. MANZINI, E. Design para a inovação social e sustentabilidade: comunidades criativas, organizações colaborativas e novas redes projetuais. Rio de Janeiro: E-Papers, 2008. NORONHA, R. G. Sobre a louça, o linho e a rede: processos contemporâneos de construção de valor entre artesãs de Alcântara (MA). In: Revista Pós Ci. Soc. v. 9, n.17, jan/ jun. 2012. PROENÇA, Graça. História da arte. São Paulo: Ática, 2003. ROCHA, Ana Luiza Carvalho da; ECKERT, Cornelia. Etnografia: saberes e práticas. In: Ciências Humanas: pesquisa e método. Porto Alegre: Editora da Universidade, 2008. RODRIGUES, J. A. R. Uso de corantes naturais no tingimento de artigos têxteis de moda. 2013.128 f. Dissertação (mestrado) – Escola de Artes, Ciências e Humanidades, Universidade de São Paulo, São Paulo, 2013. SABRÁ, Flávio (org.). Inovação, estudos e pesquisas: reflexões para o universo têxtil e de confecções. Rio de Janeiro: SENAI/CETIQT. São Paulo: Estação das Letras e Cores, 2012.
107
THACKARA, J. Plano B: o design e as alternativas viáveis em um mundo complexo. São Paulo: Saraiva, 2008
PORTUGUÊS
Mix Sustentável | Florianópolis | v.3 | n.4 | p.93-107 | nov. | 2017
ARTICLES
DESIGN FOR SOCIAL INNOVATION BETWEEN UNIVERSITY AND THE BROADER SOCIETY: A MUTUAL LEARNING PROCESS DESIGN PARA A INOVAÇÃO SOCIAL ENTRE UNIVERSIDADE E SOCIEDADE: UM PROCESSO DE APRENDIZAGEM MÚTUA Carla Cipolla, Dra. (UFRJ) Bibiana de Oliveira Serpa, M.Sc. (UERJ) Rita Afonso, Dra. (UFRJ) Key Words Design; Social Innovation; Latin America; Outreach Projects
Palavras Chave Design; Inovação Social; América Latina; Projetos de Extensão
ABSTRACT How to encourage university-community engagement with local communities and disadvantaged groups? The objective of this paper is to describe a model for the SISU/UFRJ – Social Innovation Support Unit of the Federal University of Rio de Janeiro - operation together with principles based on the design approach to social innovation. The recognition of the importance of the design in the promotion of social innovation has been particularly highlighted through the activities of DESIS (Design for Social Innovation Network) and acknowledged through manuals and toolkits (not necessarily developed in design schools) that use tools and methodologies that clearly refer to design approaches.The main research question of this study is: how can design for social innovation promote social innovation at the intersection of the university and the wider society? To answer this question, this study was developed using a research through design approach and includes considerations of the Brazilian policies (and their qualitative framework) regarding the relationship between university and the rest of society.
RESUMO Como encorajar o envolvimento universitário com comunidades locais e grupos desfavorecidos? O objetivo deste trabalho é descrever um modelo para a operação da USIS/UFRJ – Unidade de Suporte à Inovação Social da Universidade Federal do Rio de Janeiro -, juntamente com princípios baseados na abordagem de projeto de inovação social. O reconhecimento da importância do design na promoção da inovação social foi particularmente destacado através das atividades do DESIS (Design for Social Innovation and Sustainability Network), mas também através de manuais e kits de ferramentas (não necessariamente desenvolvidos em escolas de design) que utilizam metodologias que se referem claramente a abordagens de design. A principal questão deste estudo é: como o design para a inovação social promove a inovação social na interseção da universidade com a sociedade? Para responder a esta questão, este estudo foi desenvolvido utilizando uma abordagem de pesquisa através de projeto e inclui considerações das políticas públicas brasileiras na interface da relação entre a universidade e a sociedade.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
109
Design for social innovation between university and the broader society: a mutual learning process
1. INTRODUCTION
110
How to encourage university-community engagement with local communities and disadvantaged groups? This is one of the main questions of the project LASIN – Latin American Social Innovation Network, currently being developed by a consortium of European and Latin-American universities, whose activities form the background framework of this study. Specifically, one of the main activities of LASIN is to design and run what are called SISU – Social Innovation Support Units, i.e., units dedicated to support the promotion of social innovation processes between university community members and external actors with the aim to “contribute to sustainable and inclusive socio-economic growth in Latin America through intercultural curricular and extracurricular activities for supporting social innovation as a means to promote social cohesion, equity, proper geographical balance and diversity” (Anderson, 2014). The specific objective of this paper is to describe the model for the SISU operation together with principles based on the design approach to social innovation. The main research question of this study is: how can design for social innovation promote social innovation at the intersection of the university and the wider society? To answer this question, this study was developed using a research through design approach (Mullaney, 2016) and applies the SISU under development for the UFRJ - Federal University of Rio de Janeiro as a reference, which includes a consideration of the Brazilian policies (and their qualitative framework) regarding the relationship between university and the rest of society. Universities are privileged contexts for the experimentation of creative projects in social innovation if the focus is placed on fostering the interaction between internal and external actors, which can be significantly empowered by design practices (Manzini, 2015). The recognition of the importance of the design in the promotion of social innovation has been particularly highlighted through the activities of DESIS (Design for Social Innovation Network), which comprises more than forty Labs based in design schools all over the world. Design is also acknowledged through manuals and toolkits (not necessarily developed in design schools) that use tools and methodologies that clearly refer to design approaches (Murray et al., 2010; Corubolo and Meroni, 2015). However, interactions between university and external actors can be problematic, so that much of the knowledge produced within the university remains in this environment or, due to the lack of effective mediation, the potential for
solving social problems promoted by such knowledge is ignored by external communities and groups. However, the development of outreach projects has been recognized as an important way to foster the interaction between university and the broader society in the Brazilian context. It was defined in 2012 at the National Meeting of FORPROEX (the Forum that gather all Pro-Rectors for Outreach Projects) in what was called a National Plan for Outreach Projects, which states that outreach projects “go[es] beyond its traditional understanding of dissemination of knowledge (courses, conferences, seminars), provision of services (assistance, advice and consultancy) and cultural diffusion (realization of events or artistic and cultural products)” to point out a definition of university in which the relation with external actors is “regarded as oxygenation necessary for academic life” (FORPROEX, 2012).
1.1 Methodological framework There are studies that refer to the interaction between universities and the wider society (Greenwood and Levin, 2003), either in the transformation of the society or in its reproduction (Brennan et al., 2004). This study was framed from a design perspective and, to answer the research questions, it was developed as research through design (Mullaney, 2016) in which “the researcher develops a design process as a method to investigate his/her research object” (ibid., p.68). From that, new knowledge is created through the creation of a design artifact. Therefore, the development of a Social Innovation Support Unit at UFRJ was the way to achieve its research objectives. In the first phase (analysis), the following activities were developed: (1) a theoretical review to understand the concepts of social innovation and design for social innovation to define the theoretical framework and principles of the SISU. The Brazilian policies (and their qualitative framework) regarding the relationship between university and the rest of society were also analysed. The second phase (synthesis), included: (1) analysis of how social innovation is considered and being developed in other higher education institutions (HEI)around the world. This analysis was looking for different kinds of institutional and organizational arrangements to inspire the definition of the SISU at UFRJ and its specific characteristics in the sector; (2) a focus group with representatives from different sectors of the university (professors, students, technicians)in which qualitative data on expectations, preferences and beliefs about the SISU were raised; (3) semi-structured interview with an actor from outside
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
Carla Cipolla, Bibiana de Oliveira Serpa e Rita Afonso
the university (representative of a Non-Governmental Organization - NGO); (4) the design of the SISU to gather all the collected information. For the design phase, the Business Model Canvas - BMC tool (Osterwalder and Pigneur, 2010) was used, as it allows the SISU model developed for UFRJ to be easily presented in a visual way.
2. THE SISU’s THEORETICAL FRAMEWORK AND PRINCIPLES This section presents the results of the theoretical review on which the key definitions of the SISU were based.
2.1 Social innovation and design The term ‘social innovation’ is used here with different meanings in five main topics: processes of social change and societal transformation (Young, 2011; Handerson, 2013; Cajaíba-Santana, 2014); business strategies and organizational management (Drucker, 1987; Altuna et al., 2015; Herrera, 2015); social entrepreneurship (Cunha et al., 2015); new products and services (Gershuny, 1982; Mulgan et al., 2007; Phills et al., 2008); and governance and capacity building (Garcia et al., 2016). Moreover, social innovations are also related to specific areas and disciplines, such as sustainable production and consumption (Manzini, 2002; Jaeger-Erben et al., 2015); education (Benneworth and Cunha, 2015); psychology (Bulut et al., 2013) and design (Morelli, 2007). Thus, there are many definitions of social innovation, each best suited to serve the purposes of these various topical and research concerns. An extensive critical review of the definitions can be found in Cajaíba-Santana (2014). The author emphasizes that “what underlies the path of social innovation is not a social problem to be solved, but the social change it brings about”, which includes the creation of new ideas that propose “new alternatives and new social practices for social groups” (p. 44). According to Franz et al. (2012, p.4), the most distinctive feature of social innovation is a change in “the way people decide, act and behave, alone or together”. Moulaert (2013, p.2) defines social innovation as “innovation in social relations, structures of governance, greater collective empowerment and so on”. Haxeltine et al. (2015) define Transformative Social Innovation as “a change in social relations, involving new ways of doing, organizing, framing and/or knowing, which challenges, alters and/or replaces dominant institutions/structures in a specific social context” and a social innovation initiative (SI-initiative) is defined as a “collective of actors that (aims to) work on ideas, objects and/or activities that are socially innovative” (ibid., p 18); Cipolla and Manzini (2009)
highlighted the role of interpersonal relational qualities in social innovation processes. Among all the social innovation definitions analysed, this study considers the ones mentioned in the previous paragraph to compose a specific definition to guide the development of the SISU at UFRJ: Social innovation is a change that manifests new ways of doing, organizing, framing and/or knowing, that are based on new interpersonal relational patterns between participants and greater collective empowerment in the face of social demands and challenges with the aim to foster a systemic change. This change can be intermediated by products or services, but social innovation happens throughout the process. That said, it is recognized that social innovation processes can be facilitated and supported by projects, but these should be welcomed and their characteristics jointly developed by stakeholders, with commonly recognized benefits being produced throughout the project development. This definition includes reference to co-design processes as a key element of design for social innovation (Manzini, 2015) .Manzini (2014) also recognizes that design for social innovation corresponds to a set of activities in which the designer contributes to the process of co-design for social change. With the term ‘co-design’, the author understands that design for social innovation occurs when different actors, both specialists and non-specialists, are able to interact in a way that considers diverse environments and encompasses several competences (Sanders and Stappers, 2008). Social change is understood by as “all processes of change that contribute to sustainability, not only the reduction of environmental impact, but the regeneration of common goods and the reconstitution of the social fabric” (Manzini, 2014, p. 65). There are many tools that rely on design to promote social innovation. An example of how this approach could work comes from the DIY (Development Impact and You), a platform built by NESTA (Murray, 2010), in which a set of tools was developed, “specially designed for practitioners to dive straight into action. Yet the tools presented here are grounded in existing theories and practices of innovation, design, and business development.” (Development Impact and You, 2017). This is a useful framework for understanding “how to put ideas to work, and focusing on the different methods, and different mindset, needed at each stage” (Ibid). Here, design expertise is related to others (business, anthropology, etc.) to empower social innovation processes.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
111
Design for social innovation between university and the broader society: a mutual learning process
Another example comes from a member of DESIS Network (Design for Social Innovation and Sustainability). The DESIS Lab based at Politecnico di Milano developed an action format of design for social innovation, the ‘Social Innovation Journey’, structured on a non-linear sequence of steps and actions that progressively engage a community and help it to set up and prototype a social innovation activity (Meroni et al., 2013). The journey is designed to develop social innovation ideas from a very early stage.
2.2 Universities and their outreach activities in the Brazilian context
112
The end of the dictatorship period enabled Brazilian universities to rethink their role and interactions with other sectors and actors in society. The relationships between the practices of Teaching, Research and Outreach Projects (the three pillars to be developed by universities) were redefined, and a non-assistencialist view (Freire 1970, 1978) of the Outreach Projects was put in place. The importance of outreach projects for Brazil’s development was endorsed by the government, and defined by a specific law and a national plan .Outreach activities are understood as interdisciplinary processes, indissociable from teaching and research, and based on educational, cultural, scientific and political principles oriented to promote the transformative interaction between university and other sectors of society (FORPROEX, 2007, Nogueira, 2000). Rocha (2006) defines Outreach Projects as those with active involvement of social movements, local communities, organized social groups - formal or informal - in facing problems whose solutions may be rooted in the results of research or the experience of previous outreach projects. Regarding this definition, the author still suggests that the scientific interests of researchers and the production of scientific knowledge are closely linked to the satisfaction of needs and interests of social groups deprived of power. Without the interaction allowed by Outreach Projects, the university runs the risk of being isolated, detached from the most pressing social problems and incapable of offering society and governments the knowledge, technological innovations and professional skills that sustainable development requires. To concretize this renewed link between university and the wider society, the Outreach Projects should aim to provide support in solving the problems of social exclusion and social discrimination (FORPROEX, 2012). Within the framework of the previous definitions of social innovation and design for social innovation– on
which co-design (Manzini, 2014), innovation in social relations and collective empowerment (Moulaert, 2013; Cipolla and Manzini, 2009) are focussed –the SISU in the UFRJ aims to sustain the groups and communities excluded and discriminated against as protagonists of their own processes of change, which are to be done together with the university community, in a mutual learning process. The SISU is focused not only on these groups and communities, but embraces and supports all kinds of actors and their respective challenges, ideas and solutions that could be framed within the definition of social innovation as stated in this study.
3. THE SISU’S INSTITUTIONAL FRAMEWORK AND OPERATION 3.1 Case analysis and SISU’s specific features The analysis was focused on understanding the characteristics of units situated in higher education institutions(HEI) that have stated their main aim as supporting projects with social purposes. Among the cases collected, the definition of social innovation varied and some did not correspond with the one adopted in this study. This list is not exhaustive, but was built to identify the main typologies of institutional affiliation and operational models. The following typologies were found (examples for each typology are listed in Table 1).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
Carla Cipolla, Bibiana de Oliveira Serpa e Rita Afonso
Table 1: Examples of SISU identified
Typology of institutional affiliation and operation SISU placed at a high management level within the HEI
Example(s) UFRJ Pro-Rectorate for Outreach projects(http:// extensao.ufrj.br/) LTDS Laboratory of Technology and Social Development (http:// www.ltds.ufrj.br) DESIS Lab Politecnico di Milano (http://www.desis. polimi.it/)
SISU inside specific departments in the HEI
Center for Social Design, MICA (http://www.micasocialdesign.com/) Stanford Center for Social Innovation (http:// www.gsb.stanford. edu/faculty-research/ centers-initiatives/csi)
SISU as an incubator
SISU as a specific project
Centro de Inovación y Emprendimentos (http:// cie.ort.edu.uy/) Expedition Münsterland (http://www.uni-muenster.de/ExpeditionMuensterland/projekt/ index.html) Bertha Center for Social Innovation - University of Cape Town – (http://www. gsb.uct.ac.za/s.asp?p=178)
SISU as a combination of different previous strategies
The Waterloo Institute for Social Innovation and resilience (WISIR) – (http:// sig.uwaterloo.ca/) Source: Serpa, 2017
• SISU placed at a high management level within the HEI: supports myriad projects inside the HEI, and works as an enabling unit for outreach projects, working through calls for projects and providing bursaries; • SISU inside specific departments in the HEI: is formalized as a research centre or a lab coordinated by a professor, a group of professors or other university staff; • SISU as an incubator: is formalized as an incubator to support social projects and enterprises; • SISU as a specific project: is constituted as a specific project that exist to foster social projects; • SISU as a combination of different previous strategies. Based on this analysis, and comparing it with the institutional and legal framework in Brazil, it was identified that the SISU at UFRJ operates more effectively if recognized as an Outreach Project (“SISU as a specific project”) by the UFRJ Pro-Rectorate for Outreach projects. The conceptualization and development of the SISU in the UFRJ took advantage of the benefits provided by Brazil’s law and policies that govern the development of outreach projects, specifically: • 10% of the total credits required to get undergraduate degrees in Brazil will be reserved for the students’ activities in outreach actions; • the development, participation and coordination of outreach projects is required for professors to advance their academic careers; • the possibility for financial support from the Government, through scholarships and grants. This means that academic credits can be provided to students involved in the SISU’s activities (they could also be awarded scholarships). It can also attract professors interested in advancing their academic careers to work on an Outreach Project.
3.2 Feedback from representatives in and outside the university The university focus group revealed that it is feasible for the SISU to be operated as an outreach project. The definition of social innovation adopted in this study was confirmed (even if not with the same specific terms and paragraphs). The motivation for students to engage in the SISU was discussed (students can choose from a wide portfolio of different outreach projects in the university to get their credits). The support for leadership of students in developing outreach activities, with professors and technicians acting mainly as tutors, was considered an
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
113
Design for social innovation between university and the broader society: a mutual learning process
important motivational aspect. Students were also motivated to develop their own projects and find resources in the university to get them developed. Students also stressed the importance for them to have information about and access to different resources in the university; this was mainly knowledge and tools dispersed around different research groups and labs, that was not easily accessed or known about. It was reported that a project is being developed by students in UFRJ to answer this demand. It was confirmed that the SISU would also support this project being one of the resources available. The semi-structured interview with an external actor (representative of an NGO working to protect animals) revealed his interest in getting support from the SISU to develop its core activity, mainly through gaining access to the university’s expertise and human resources. It was therefore noted that one of the key activities of the SISU should be to find common interests between students (supported and guided by professors and technicians) and external actors, which could motivate both to engage in the development of common projects. Jointly, they can promote social change by performing a mutual learning process in which existing or new social innovations are improved or developed.
114
3.3 The UFRJ SISU model To synthetize information collected in the first and second phases of this study, a Business Model Canvas – BMC (Osterwalder and Pigneur, 2010) was built. Although the BMC was recognized as a useful tool, its specific features were adapted to be used in this study: it included the substitution of the term “customer” for “user” and the insertion of a cell called “Non-monetary Resources”, to indicate that the SISU is sustained also by internal resources of the university, which do not include payments to people involved. Table 2 offers a visual presentation of the different aspects of the SISU. Two main aspects guided the description of the SISU using the BMC tool: the value proposition of the SISU is stated based on: (1) the definition of the social innovation established in this study; (2) the qualitative characteristics of the outreach projects recognized by the university. Other cells were filled with specific operational aspects that support this value proposition (key partners, key activities, key resources, relationship between users and the SISU, user segments and channels through which the value proposition is delivered to users. The SISU is defined as an interdisciplinary and inter-institutional outreach project managed by the Graduate Programme of Production Engineering (usually known
as Industrial Engineering) at Coppe/UFRJ which reports directly to a high management level within the HEI, the UFRJ´s Pro-Rectorate for Outreach Projects; it is coordinated by professors programme, where the SISU is also physically located. It gathers professors from different departments and courses and, in this, the SISU provides the expertise of the whole university to external actors. It encompasses entrepreneurship, innovation, management, marketing and design, including service and product development. The SISU process and projects include qualitative issues, such the adoption of participatory and co-design processes and new patterns of interpersonal relations. The value of the knowledge brought by the users and stakeholders is recognized and is an important aspect of the SISU operation. In terms of physical space, usually in the UFRJ, professors have specific spaces (called labs) to develop their activities. The SISU is designed as part of a “multi-lab” approach. The spaces are designed to host different labs and activities developed by the professors involved, including the SISU itself. This allows the physical space of the SISU to be used as a meeting place, hosting different activities led by the professors involved. The SISU will also be an identifiable location for people looking for support for social innovation and entrepreneurship. The physical space will include specific features to host the SISU activities (e.g., making and workshop sessions related to co-design processes). Many activities can be held in loco, where groups and communities are situated, and not only in the SISU room in the university. The SISU relies on existing methods and tools to empower social innovation processes, such as DIY (Murray et al.,2010) and the Social Innovation Journey (Corubolo and Meroni, 2015), which include design tools and principles. The tools and methods provided by the different professors and their diverse disciplinary fields will be also included. This has the potential to generate new tools and methods, customized specifically for the SISU operation. This paper describes the current stage of development of the SISU. One of the issues under development is the definition of criteria to evaluate the impact of the SISU processes.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
Carla Cipolla, Bibiana de Oliveira Serpa e Rita Afonso
Table 2: SISU model (Business Model Canvas adapted)
Key
Key
Value
User
User
Partners
Activities
Proposition
Relationship
Segments
Co-design processes Capacity building
Direct engagement of
activities
stakeholders and uniSocial change support-
versity representatives
Mentoring (for stu-
ed by
and regular meetings
dents and for social
product services and
(for project develop-
innovators)
processes
ment) throughout the co-design process
University community (professors, students
Networking (specific
Collective empow-
and technicians)
partnership for each
erment and mutual
In loco visits and
project)
learning process (both
workshops
Pro-Rectorate for Outreach projects – UFRJ Institutions (NGO, Associations, Foundations, etc.) that empower social innovation processes
Students, guided by professors
members)
different disciplinary fields (university) and knowledge brought by other stakeholders
Channels
ed and discriminated groups.
university’s resources to empower social innovation
New interpersonal
Communication chan-
relational patterns
nels include webpage
(manifested in the
and social networks.
processes and services being developed)
not limited to, exclud-
that may benefit from
Systemic change
Knowledge from
challenges, include, but
Associations, etc.)
and external institutions and for university
groups with social
Institutions (NGO,
for community, groups Key Resources
Communities and
In loco visits, meet-
Individual innovator, includes students and professors with socially innovative ideas and solutions
ings and workshops
Physical space and
throughout the co-de-
equipment to support
sign process
co-design processes (e.g. 3D printers, computers, etc.) Non-Monetary
Cost Structure
Revenue streams
resources
Specific grants for outreach projects from UFRJ’s Pro-Rectorate for Outreach projects and from othSpecific costs for the SISU operation in the physical space: consumables and maintenance services for the equipment. Technical support. Software subscription (general overhead costs are covered by the university)
Credits for Students to er national and international institutions participate in the SISU Scholarship for students working in the SISU (proWorkload for professors vided by the UFRJ’s Pro-Rectorate) (progression in their academic ranks)
Financial support from companies (social innovation as an innovative corporate social responsibility) Source: Serpa, 2017
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
115
Design for social innovation between university and the broader society: a mutual learning process
4. CONCLUSIONS: THE ROLE OF DESIGN BETWEEN UNIVERSITY AND BROADER SOCIETY
116
The main research question of this study is: how can design for social innovation promote social innovation at the intersection of the university and the wider society? The development of the SISU in the UFRJ raised interesting elements consider in proposing answers. The intersection of multiple disciplines in the promotion of social innovation has been highlighted in the literature review undertaken for this study. Therefore, the SISU does not embrace only design theory and practices in its processes; design experts have a role in the interaction with other disciplines. Expert designers in the SISU are invited to work with communities, groups and a variety of stakeholders. Here, is useful to remember the distinction proposed by Manzini (2015) between diffuse design and expert design: “In a connected world design processes tend to be increasingly distributed among numerous actors who differ in culture, motivation, and professional development (…) traditional design knowledge, accumulated within the implicit knowledge of design experts, is no longer enough: too many subjects are involved and too many of them are not in the same place” (pp.38-39). The recognition of a diffuse design knowledge is also part of the SISU, when it attained the value of the knowledge brought by the external actors of the university. Consequently, the SISU, positioned at the intersection between the university and the rest of society acts in a dual mode: 1) as a ‘hub’ on which the knowledge and creativity inside and outside the university (including a diffuse design knowledge) can interact and produce new ideas, expressed in new social innovations. 2) promotes a mutual learning process in which the representatives of these different knowledges (university and broader society) can learn with each other. This could generate collective empowerment for all parties involved. Expert designers can support these processes by providing their problem-solving and sense-making skills (Manzini, 2015). In its almost ten years of activity, DESIS Network and the experiments of the DESIS Labs are a precious resource to be analysed by those interested in how design can promote social innovation from university to the wider society and vice-versa. The researchers who undertook this study are members of a DESIS Lab. The development of the SISU in the UFRJ is an opportunity for the local DESIS Lab to develop its activities with a renewed relationship with other disciplinary sectors in the university.
Specifically, by coordinating the development of the SISU at UFRJ, it is in a privileged condition to increase the understanding about the application of design theory and practices (expert or diffused) to support socially innovative processes and results.
REFERENCES ALTUNA, N.; CONTRI, A.M.; DELL’ERA, C.; FRATTINI, F.; MACCARRONE, P. 2015. Managing Social Innovation in for-profit organizations: the case of Intesa Sanpaolo. European Journal of Innovation Management, 18(2), 258-280. ANDERSON, M. 2014. Latin American Social Innovation Network (LASIN) – project description. [online] URL: http://www.lasin-eu.org. Accessed: 25 January 2017. BENNEWORTH, P. AND CUNHA, J. 2015. Universities’ contributions to social innovation: refletions in theory & practice. European Journal of Innovation Management, 18 (4), 508-527. BRENNAN, J., KING, R. AND LEBEAU, Y. 2004. The Role of Universities in the Transformation of Societies: An International Research Project. Synthesis Report, Association of Commonwealth Universities and Open University. BULUT, C, EREN, H. AND HALAC, D. S. 2013. Social Innovation and Psychometric Analysis. ProcediaSocial and Behvioral Sciences, 82 (3), 122-130. CAJAÍBA-SANTANA, G. 2014. Social innovation: Moving the field forward. A conceptual framework. Technological Forecasting & Social Change 82 (2014) 42–51. CIPOLLA, C. AND MANZINI, E. 2009. Relational Services. Knowledge, Technology & Policy, 22 (1), 45-50. CORUBOLO, M. AND MERONI, A. 2015. A Journey into Social Innovation Incubation. The TRANSITION Project. In: Collina, L., Galluzzo, L., & Meroni, A., (Eds). Proceedings of CUMULUS Spring Conference 2015 – The Virtuous Circle Design Culture and Experimentation, Politecnico di Milano 3-7 June, Milano, Italy. CUNHA, J., BENNEWORTH, P. AND OLIVEIRA, P. 2015. Social Entrepreneurship and social innovation: A conceptual distinction. In: Farinha, L.M.C., Ferreira,
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
Carla Cipolla, Bibiana de Oliveira Serpa e Rita Afonso
J.J.M, Smith, H. L. and Bagchi-Sen, S. (Eds.) Handbook of Research on Global Competitive Advantage through Innovation and Entrepreneurship. Hershey, Pennsylvania: IGI Global, 616-639. DIY. Development Impact and You. 2017. “Background”. [online] URL: http://diytoolkit.org/background/ Accessed: 24 January 2017.
(Eds). The landscape of qualitative research: theories and issues, London: Sage, 131-166. HANDERSON, H. 1993. Social Innovation and Citizens movements. Futures 25 (3), 322-338
ANDERSON, M. 2014. Latin American Social Innovation Network (LASIN) – project description. [online] URL: http://www.lasin-eu.org. Accessed: 25 January 2017.
HAXELTINE, A., R. KEMP, A. DUMITRU, F. AVELINO, B. PEL. B., AND J. WITTMAYER. 2015. TRANSIT WP3 deliverable D3.2 - A first prototype of TSI theory. TRANSIT: EU SSH.2013.3.2-1 Grant agreement no 613169. [online] URL: http://www.transitsocialinnovation.eu/resource-hub/ transit-wp3-delverable-d32---a-first-prototype-of-tsi-theory Accessed: 20 January 2017.
DRUCKER, P. F. 1987. Social Innovation – Management’s new dimension. Long Range Planning, 20 (6), 29-34.
HERRERA, M. E. B. 2015. Creating competitive advantage by institucionalizing corporate social innovation. Journal of Business Research, 68 (7), 1468-1474.
FRANZ, H. W., J. HOCHGERNER, AND J. HOWALDT. 2012. Challenge Social Innovation: Potentials for Business, Social Entrepreneurship, Welfare and Civil Society. Springer.
JAEGER,-ERBEN, M. RUCHERT-JONH, J. AND SCHAFER, M. 2015. Sustainable consumption through social innovation: a typology of innovation for sustainable consumption practices. Journal of Cleaner Production, 108 (1), 784-798.
FREIRE, P. 1970. Pedagogy of the Oppressed. Boston: Bergin and Garvey. FREIRE, P. 1978. Education for Critical Consciousness. New York: Seabury Press. FORPROEX - Fórum de Pró-Reitores de Extensão das Universidades Públicas Brasileiras. 2007. Extensão Universitária: organização e sistematização. Belo Horizonte: Coopmed. FORPROEX - Fórum de Pró-Reitores de Extensão das Universidades Públicas Brasileiras. 2012. Política Nacional de Extensão Universitária. Manaus: Universidade Federal do Amazonas. GARCÍA, M, EIZAGUIRRE, S. AND PRADEL, M. 2015. Social Innovation and Creativity in Cities: a socially inclusive governance approach in two peripheral spaces in Barcelona. City, Culture and Society, 6 (4), 93-100. GERSHUNY, J. I. 1982. Social Innovation – Change in the mode of provision of services. Futures, 14 (6), 496-516. GREENWOOD, D.J, AND LEVIN, M. 2003. Reconstructing the relationships between Universities and society through action research. In: Lincoln, Y. and Denzin, N. K.
MANZINI, E. 2002. Context-based wellbeing and the concept of regenerative solution. A conceptual framework for scenario building and sustainable solutions development. The Journal of Sustainable Product Design, 2(3), 141-148 MANZINI, E. 2014. Making things happen: social innovation and design. Design Issues, 30(1), 57-66. MANZINI, E. 2015. Design when everybody designs - An introduction to design for social innovation. Cambridge, Londres: MIT Press. MERONI, A., FASSI, D., & SIMEONE, G. (2013). Design for social innovation as a form of designing activism. An action format. In.: NESTA (Eds.), Social Frontiers, The next edge of social innovation research. London: NESTA, 2-13. MORELLI, N. 2007. Social Innovation and New Industrial Contexts: Can Designers “Industrialize” Socially Responsible Solutions? Design Issues, 23 (4), 3-21. MOULAERt, F. 2013. The International Handbook on Social Innovation: Collective Action, Social Learning and
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
117
Design for social innovation between university and the broader society: a mutual learning process
Transdisciplinary Research. Edward Elgar, Cheltenham, UK. MULGAN, G., TUCKER, S., ALI, R. SANDERS B. 2007. Social innovation: what it is, why it matters and how it can be accelerated, Working Paper. London: The Young Foundation. MULLANEY, T. 2016. Thinking beyond the cure: A constructive design research investigation into the patient experience of radiotherapy. Dissertation for the degree of Doctor of Philosophy in Industrial Design. Umeå Institute of Design Research Publications, 003. MURRAY, R.; CAULIER-GRICE, J.; MULGAN, G. 2010. The open book of social innovation. London: The Young Foundation/The Basingstoke Press. NOGUEIRA, M. D. P. (Ed.). 2010. Extensão Universitária: diretrizes conceituais e políticas. Belo Horizonte: PROEX/ UFMG.
118
OSTERWALDER, A. and PIGNEUR, Y. 2010. Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers. New Jersey: John Wiley & Sons, Inc. PHILLS, J.A., DEIGLMEIER, K., MILLER, D.T. 2008. Rediscovering social innovation, Stanford Social Innovation Review (6), 34–43. ROCHA, J.C. 2006. A reinvenção solidária e participativa da universidade: um estudo de caso múltiplo sobre rede de extensão universitária no Brasil. 2006. PhD Thesis. Salvador: Universidade Federal da Bahia (UFBA). SERPA, Bibiana Oliveira. Extensão universitária como meio para a inovação social: uma abordagem do design. Rio de Janeiro: UFRJ/COPPE, 2017. Dissertação (mestrado) – UFRJ/ COPPE/ Programa de Engenharia de Produção, 2017. SANDERS, E and STTAPPERS, P. 2008. Co-creation and the new landscapes of Design. Codesign, 4(1), 5-18 YOUNG, H. P. 2011. The dynamics of social innovation. Proceedings of the National Academy of Sciences of the USA, 108 (4), 21825-21291.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.109-118 | nov. | 2017
ARTICLES
COOPERATIVISM, REGIONAL AND ORGANIC PRODUCTS: THE DESIGN PERSPECTIVE FOR THE VALORIZATION OF THE BRAZILIAN FOOD SECTOR COOPERATIVISMO, PRODUTOS REGIONAIS E ORGÂNICOS: A PERSPECTIVA DO DESIGN PARA A VALORIZAÇÃO DO SETOR ALIMENTÍCIO BRASILEIRO Victória Carolina Pinheiro Lopes Dias (UEMG) Daniel de Souza Gamarano (UEMG) Davi Neiva Alves (UEMG) Key Words Organic Food; Cooperativism; Design; Sustainability; Identity
Palavras Chave Alimento orgânico; Cooperativismo; Design; Sustentabilidade; Identidade
ABSTRACT The goal of this paper is to show how some design actions can be used for the valorization regional products from organic production. Therefore, three activities made by family farming cooperatives located into different Brazilian states (Copacaju-CE, Cooperjap-MG, Coopercuc-BA) were analysed. Aiming verify how can the design support the strengthening of identity, community autonomy and products valorization, contributing to their characteristics and values to be perceived by consumers. The research that guides this study has a qualitative exploratory approach. Through bibliographic review of design domain authors Krucken (2009) and Bistagnino (2009) the cooperatives were analysed, evaluating how product characteristics and their correlation with an identity in the territory, the relations of production and commerce, the valorization of the place and the relation of the man and the environment. Observing the results of the analysis, we can see that the action of the design happens in different levels in each cooperative, which may provide support for more assertive future design actions, in the same contexts and in similar contexts.
RESUMO O objetivo deste artigo é apresentar como algumas ações de design podem ser utilizadas para valorização de produtos regionais oriundos da produção orgânica. Para tanto , foram analisados três exemplos de atividades realizadas por cooperativas de agricultura familiar situadas em diferentes estados brasileiros (Copacaju-CE, Cooperjap-MG, Coopercuc-BA.), buscando verificar como o design pode apoiar o fortalecimento da identidade, autonomia da comunidade e a valorização dos produtos, contribuindo para que suas características e valores sejam percebidas pelos consumidores. A pesquisa que norteia este estudo quanto a abordagem é qualitativa de natureza exploratória. Através da revisão bibliográfica de autores do domínio do design Krucken (2009) e Bistagnino (2009) foram analisadas as cooperativas, avaliando as características dos produtos e sua correlação com a identidade do território, as relações de produção e comercialização, a valorização do local e a relação do homem com o meio ambiente. Pode-se observar a partir dos resultados da análise, que a a ação do design ocorre em diferentes níveis em cada cooperativa, o que pode fornecer subsídios para ações futuras de design mais assertivas, nestes mesmos contextos e em contextos semelhantes.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
119
Cooperativism, regional and organic products: the design perspective for the valorization of the brazilian food sector
1. INTRODUCTION
120
We live a transition period, in which there is more and more worrying from the individuals about the repercussion of their daily behaviors, once the choices we perform, how we act and position about the current socio-environmental problems influence directly into a huge chain of events. There is growing concern about integration of social, environmental and economic levels of human activities, once the personal choices of each person becomes more rigorous facing the current productive reality extremely capitalist and predatory of the natural resources. This way, many companies begin to rethink their products and services as a way to reduce environmental impacts (REIS, 2010). Since the second half of the 20th century, technological and scientific transformations have resulted in the development of productive processes and the strengthening of consumption practices. In addition, exponential population growth contributes to the triggering of various environmental problems, related to human survival, such as housing, food and water supply, culminating in the expansion of environmental problems such as pollution, burning and deforestation (SEVCENKO, 2001; KAZAZIAN, 2005). As an example of these productive practices, we have the production of food through agriculture .This has been forming since the neolithic period around 9,000 years ago. Over the years, there have been several transformations, mainly in relation to the relationship between man and the environment. In fact, during the second half of the twentieth century, the contemporary agricultural revolution (high motorization-mechanization, selection of varieties of plants and breeds of animals with strong yield potential, extensive use of fertilizers, concentrated feed for livestock and products for the treatment of plants and domestic animals) has progressed vigorously in developed countries and in some sectors of developing countries (MAZOYER and ROUDART, 2010, p. 27).
Brazil is one of the world leaders in the production and export of agricultural products. It is the first producer and exporter of coffee, sugar, ethanol from sugarcane and orange juice, it leads the ranking of foreign sales of the complex of soybean, bran, oil and grain (MINISTRY OF AGRICULTURE, 2016). The model of large-scale food production adopted in the country is monoculture, which provides for the cultivation of only one type of agricultural product, which generates serious impacts on the soil. In
this technique of cultivation, it is common to log and burn the planting area, interrupting a natural process of nutrient replacement, leaving the soil poor and consequently decreasing productivity (CARPENEDO; MIELNICZUK, 1990). In this sort of production, the risk of pests is imminent with an exaggerated use of pesticides, which directly affects an economy and a society, products can be devalued and all production can be put at risk. Monoculture also causes rural exodus, as it reduces the use of labor, causing the gradual disappearance of cultural traditions in rural areas, weakening family farming. The rural exodus can culminate in the agglomeration process in the urban peripheries, harming the quality of life of the population. (MAZOYER and ROUDART, 2010). Cooperativism shows itself as a possibility of strengthening small producers, facing an unfavorable scenario. It is considered a solidarity economy and resurfaces in the current context as a reaction to unemployment and the loss of basic social guarantees, giving the rural man autonomy. The basic premise of cooperativism is to bring together individuals to exchange benefits from mutual aid. (NAMORADO, 2006). We can consider as a cooperative, the organization of individuals in a democratic structure, emphasizing self-management and the distribution of resources. Therefore, they work in search of a common good, through organized and standardized structures for production (SCOPINHO, 2007). This paper, in the first instance, bases the discussions on design and territory, proposed by Krucken (2009), and systemic design by Bistagnino (2009). The Brazilian cooperatives analyzed: Coopercuc, Cooperjap and Cooperapas are formed by small agricultural producers. They were chosen for analysis by their perception and awareness of environmental and social issues. This insight creates an environment conducive to the use of design tools that can support their processes and products. This insight creates an environment conducive to the use of design tools that can support your processes and products. The three cooperatives, contrary to the current logic of production in Brazilian Agriculture, rely on organic production.
2. PROCEDURES AND METHODS In order to base the analysis of the research, a literature review was carried out about methodology and design actions for the valorization of local products. It started from the question of how their concepts could guide aspects inherent to the valorization of the territory.
Mix Sustentรกvel | Florianรณpolis | v.3 | n.4 | p.119-134 | nov. | 2017
Victรณria Carolina Pinheiro Lopes Dias, Daniel de Souza Gamarano e Davi Neiva Alves
And how these territories could seek the autonomy for their local communities, through the social, cultural and environmental sustainability in the long term. The cooperatives chosen were: Copacaju-CE, Cooperjap-MG and Coopercuc-BA, all distributed in Brazilian Cerrado and Caatinga regions, have the potential to produce organic food. It should be noted that all organizations had the contribution of design to the conception of products, at various levels, from the revitalization of visual identity and packaging, to the repositioning of products in the domestic and external market. The three cooperatives are part of the Caatinga and Cerrado Eco Productive Communities Network, a space of articulation formed since 2006 that seeks to create networks among producers of family agriculture for the promotion of products from these two biomes, so characteristic of the country. Currently, Caatinga and Cerrado operate in a universe of more than 20 thousand families, represented in 200 projects in 20 networks located in 14 Brazilian states, as shown in Figure 1:
Chart 1: Descriptive of the cooperatives analyzed
Cooperative/Place of origin
Description
Copacaju/Cearรก
Central cooperative, which concentrates on processing of cashew nuts. Gives the opportunity to sellers to become entrepreneurs.
Cooperjap/Minas Gerais
Cooperative of rural producers and pequi pickers, were a first unit of beneficiation of the fruit in the country, today they produce in wide scale.
Coopercuc/Bahia
Cooperative that works with the processing of Caatinga typical fruits, mainly the umbu.
Figure 01: Action network of the Caatinga Cerrado Eco Productive Communities in the country
Source: Prepared by the authors
3. THEORETICAL REFERENCE 3.1 Cooperativism
Source: Caatinga Cerrado
In addition, Rede Caatinga and Cerrado Eco Productive Communities has partnerships with the Brazilian federal government and international non-governmental organizations. The main objectives of this organization are articulation, communication, capacity building and access to markets. In addition, they have the job of encouraging the certification of enterprises, such as the organic production seal, and the defense of fair trade (CAATINGA CERRADO, 2012). The following chart lists the information for each cooperative:
The labor force is the essence of the productive system, the workers as holders of this force, united, can generate new production possibilities. One of the ways for workers to unite is through cooperativism. There are several forms of cooperativism, such as credit, education, housing, infrastructure, health, tourism, transportation, mineral, farming, production, consumption, agriculture, among others. Cooperativism carried out on agricultural bases helps producers to have easy access to the purchase of inputs and machines, which greatly improves their reality (ONOFRE, ONOKO, 2011). Agricultural cooperatives are identified as a factor of economic organization and competitiveness of the agrarian sector and of the democratic organization of producers, contributing to the success of local development projects. Its importance can be highlighted in the current scenario, with the search for new improvements in an environment that has suffered from the globalization process, which in seeking a mass production, mechanized the countryside, causing the weakening of family agriculture and the increase of rural exodus. Thus, new forms of appreciation of typical and symbolic goods must be worked and promoted, and these are capable of expressing the dynamism of
Mix Sustentรกvel | Florianรณpolis | v.3 | n.4 | p.119-134 | nov. | 2017
121
Cooperativism, regional and organic products: the design perspective for the valorization of the brazilian food sector
a community in the face of the current scenario. It should be noted that cooperativism allows adaptation to different types of demands (MARTÍNEZ; PIRES, 2002).
3.2 Design and Territory
122
There is a current demand that seeks to consume products that bring within them intangible values, such as tradition and cultural identity, while promoting a better quality of life for the rural man. When analyzing the Brazilian context, one can perceive the significant wealth of its culture, knowledge, people, and customs, as well as the natural riches coming from the territory. This wealth promotes the promotion of the production of material goods strongly linked to the origin and the local community (KRUCKEN, 2009). “However, often the existing resources are not exploited in a sustainable way (economic, social and environmental) and do not generate wealth and improvement of life of the local community” (KRUCKEN, 2009, p.22). The design approach to landbased issues brings benefits to consumers and producers alike. Actions can be planned for territory promotion and for society in a way that is sustainable in the long run. From the theoretical assumptions of Krucken’s research, design can contribute to the valorization of local products from eight essential actions, in chart 2: Chart 2: Points of valorization of local products by Design
1
Recognize
2
Enable
3
Communicate
competences within the territory;
Chart 3: Basic lines of Systemic Design
1
2
the product and the territory;
Protect
local identity and tangible and intangible heritage;
5
Support
local production;
6
Promote
production system for sustainable products;
7
Develop
new products and services that respect the vocation and value the territory;
Consolidate
Industrialization has shifted the process of designing the product also into food. For Bistagnino (2009), nature should be considered as a system to be understood and followed, since processes in ecosystems work in a way that promotes mutuality and complementarity. Design professionals must work in a way to think of the same connections applied to the production processes, not only considering the final product, but all of its manufacturing process, from obtaining the raw material to its disposal. In order to understand how the interlocution of actors is who share the same values. For this, the author claims to be the designer, responsible for the interpretation of the bases, for example, of the inputs and outputs of the system, since they can suggest advantageous connections and interactions, new uses of matter, new possibilities and forms of energy generation (Bistagnino, 2009). It is indispensable to apply simultaneous actions, capable of developing sustainable thinking. The author considers five basic lines for the development of systemic design, being presented in chart 3. The research group on Systemic Design has support from the Slow Food movement.
Output/Input
The discards of one system may become the resources of the other.
Relations
Relationships can be internal or external to the focus system and all are strategic elements.
the qualities of the product and the territory;
4
8
3.3 Systemic design
networks in the territory. Source: Adapted from Krucken (2009)
3
The autopoietic system sustains and reproduces autonSelf-generation omously, defining its own field of action.
4
Act locally
In the context where one works to value the local researches the man, culture and matter.
5
Man as the center of the project
The individual related to the environmental, social, cultural and ethical context. Source: Adapted from Bistagnino (2009)
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
Victória Carolina Pinheiro Lopes Dias, Daniel de Souza Gamarano e Davi Neiva Alves
3.4 Slow Food Movement Slow Food is currently an international non-profit association. The primary concept of the movement is the pleasure of food. As well as disseminating knowledge, educational projects, allowing practices that value the local production (SLOW FOOD BRAZIL, 2013). Among the initiatives proposed by the movement in Brazil, we highlight the Food Communities, which are physically identifiable productive units, which share the interest in valuing artisanal production. Among the cooperatives studied, two are considered Food Communities, Cooperjap-MG and Coopercuc-BA.
3.5 Certifications Certifications are of the utmost importance to cooperatives, since they qualify and demonstrate the conformity of production through the criteria that are analyzed. Thus, the demand for compliance with regulations regarding organic production, fair trade, or participation in some institution or movement, such as Slow Food, validates the product quality. Organic food is by definition, any product produced and cultivated that considers the three levels of sustainability, social, environmental and economic. Organic agriculture does not make use of agrochemicals, veterinary hormones, chemical fertilizers, antibiotics or transgenic specimens at any stage of production. In order to obtain the national seal, the company must be evaluated (MINISTRY OF AGRICULTURE, 2016). Fair Trade is a partnership based on dialogue, transparency and respect. Seeking greater equality in international trade, by ensuring fair conditions and valuing workers’ production (SEBRAE NACIONAL, 2016). The importance of Fair Trade is the establishment of direct contacts between the producer and the buyer, debureaucratization the trade and the action of the middlemen. Cooperatives encourage the collective construction of knowledge, which contributes to production planning, quantity, quality and regularity, as well as a better selling price for products (GIRÃO et al., 2009; SEBRAE NACIONAL, 2016).
4. ANALYSES OF COOPERATIVES 4.1 Copacaju- Ceará The Copacaju Cooperative Center is an entity that unites ten distinct cooperatives, distributed in cities of Ceará. The work takes place from the processing of cashew nuts, which takes place in mini factories. (CAATINGA AND CERRADO, 2012). The creation and formalization of
the cooperative was extremely important, it allowed the certification and qualification of the cashew as familiar and organic, which would open the way for the export of the product. In addition, the project ensured the creation of a visual identity (GIRÃO et al., 2009). The company responsible for the new packaging of nuts was Herbert Perman Design, a Recife office, which develops visual identity projects, signage, graphic design, point of sale material and packaging. Copacaju intends to export the nuts, and for that, it has made packages that present the product in different forms, in the options precooked, toasted and salted, with caramel and with chocolate, as shown in Figure 2: Figure 02: Copacaju Products - Ceará
Source: Design Portfolio
4.2 Cooperjap – Minas Gerais Cooperjap, Cooperative of rural producers and pickers of pequi from Japonvar, is located in the northern region of Minas Gerais. In 1998, local people decided to create the cooperative in order to institutionalize the processing of the fruit of the region, transforming it into pulp, oil, flour, paçoca and cream, and other products. They were the first fruit processing unit in the country and were supported by institutions such as SEBRAE-MG, UFMG, Japonvar prefecture and Emater-MG, which contributed to the development of control and production technologies. The whole process was structured and fully implemented only in 2005, when the cooperative began to produce pequi on a large scale (ALMEIDA, 2009). There are more than 210 cooperatives, which benefit from the pequi crop. The cooperative guarantees new business contacts, especially with participation in events, visibility and recognition of the work, and causes new partnerships to emerge (ALMEIDA, 2009). The design project was conducted by Quantum Design, located in Belo Horizonte, MG (QUANTUM DESIGN, 2016). The project carried out together with Cooperjap went beyond the revitalization of the cooperative’s visual identity and packaging labels, promoted the standardization
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
123
Cooperativism, regional and organic products: the design perspective for the valorization of the brazilian food sector
of weights and measures of the products sold, focusing on those that had a greater commercial representativeness (SILVA E BENATTI, 2011). The final result was the product line represented in Figure 3:
Figure 04: Coopercuc products - Gravetero
Figure 03: Cooperjap products - Japonvar
Source: Coopercuc
Source: Central do Cerrado
4.3 Coopercuc – Bahia
124
The history of Coopercuc (Cooperative of Uauá, Curaçá and Canudos) begins in 1980, in the city of Uauá, located in the backlands of Bahia, in the northeastern region of Brazil. A group of three nuns began working with the community, encouraging the participation of women in order to promote greater autonomy in local political decisions and increase in family income. Thus, from the domestic tasks and the care of animals and vegetable gardens, women began to collect the fruits of the Caatinga region. The movement was articulated, and the neighboring cities, Curaçá and Canudos, joined the movement. In the 1990s, the group already knew how to benefit the fruits and market them. (COOPERCUC, 2015). The cooperative was officially made in 2004. The company founded by the cooperative, known as Gravetero, produces jams, juices and sweets in fruit paste such as guava, mango, banana, passion fruit and especially the umbu, typical of the Caatinga region, as shown in figure 4. Currently the company has the support of Slow Food Brasil, which allowed international non-governmental organizations to invest in the construction of sixteen mini-factories distributed in the three cities. The company is certified for the marketing of organic products by the European Union, which allowed 25% of production to be exported to France, Italy and Austria. (MARTINS, 2016).
Despite its main activity is the extraction of umbu, the company also contributes to the region’s development, promoting the planting of umbu trees seedlings in order to increase production and preserve the species (COOPERCUC, 2015). The company responsible for the production of packaging and graphics of Coopercuc was the office DoDesign Brasil, founded in 2003. It is specialized in organic businesses, gourmet foods and projects that involve socio-biodiversity, having projects focused on organic and agro ecological agriculture. It has several prizes, such as the Slow Pack by Slow Food Italy in 2014 (DODESIGN BRASIL, 2015).
5. CONCLUSIONS In general, the creation of a network that values producers of local typical food establishes itself against a capitalist productive reality that tends to massify the production and availability of food. The organization of these producers in cooperatives, besides supporting the production and commercialization of the product, allows a production that, in several levels, contributes to the economic, social and environmental sustainability of that group. The cooperatives support the formation of networks with external agents, of various expertises, that can help to the development of the group. This is the case, for example, of the monitoring received from agencies for the administration and production of food, the participation in similar groups of companies, such as the Caatinga and Cerrado Eco Productive Communities. The design, not only acts in the elaboration of the visual identity, packaging and presentation of products, but also acts strategically throughout the system, ensuring process improvements in knowledge management, as well as the incorporation of new concepts, products and services. Among the cooperatives analyzed, it can be seen that Copacaju is in the process of adapting the product in order to increase sales. Up to now, it has received occasional design interventions, mainly materialized in
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
Victória Carolina Pinheiro Lopes Dias, Daniel de Souza Gamarano e Davi Neiva Alves
the development of its packaging, when compared to the other two cooperatives. It is interesting to note that evaluating it, its internal and external relations should be strengthened in a network in order to better promote the brand’s identity in relation to the public. Cooperjap already has certifications and participates in national and international events that give visibility to the products and generate partnerships. The success of the cooperative is due to its transdisciplinary stance by seeking support from other institutions that hold the knowledge and professionals with various expertises, which configures its systemic view of the process. These institutions contribute to the planning and take actions, taking advantage of all the potential of the territory, improving the product, process and its communication for the search of new opportunities. Coopercuc is in a similar stage to Cooperjap, both participating in the Slow Food network. Its success is due to a wide network of partners and its transdisciplinary stance. The food produced by the cooperatives tends to be fully utilized, as an example to Cooperjap, which produces products with pequi. Coopercuc’s thinking of exploring production, by starting to plant new seedlings of umbu to ensure future production, as well as the willingness of those involved to pass on knowledge to other producing communities. This demonstrates the perception of the local act and the appreciation of human work. Copacaju values the development of employees, giving them autonomy in the production of the product. Although each cooperative tangentially differentiates the guidelines proposed by Bistagnino (2009), it is emphasized that all have environments that can be created and valued relationship networks. The importance of analyzing cooperatives from the perspective of design is due to the identification of the paradigms, evaluating whether the actions taken are of short or long term, and verifying how these methodologies are being applied. From the analysis of this phenomenon we can observe practices that can serve as a guide for future actions in contexts similar to those of cooperatives, allowing future projects to be more assertive and can actually collaborate to improve the quality of life of these people. This paper had a reflexive character about the performance of the design in the context of the cooperatives. Future studies can glimpse the follow-up of design actions based on the authors Bistagnino (2009) and Krucken (2009) within the context studied.
ACKNOWLEDGMENTS
The authors thank the Programa de Pós Graduação da Universidade do Estado de Minas Gerais – Escola de Design (PPGD-ED UEMG) and the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) for the financial support.
REFERENCES ALMEIDA, S. O ouro do Cerrado Mineiro. Revista Passo a passo, março/abril - ano XV- nº131. Belo Horizonte: Sebrae -MG, 2009. BISTAGNINO, L. Design Sistemico. Progettare la sostenibilità produttiva e ambientale. Slow Food Editore, Torino. 2009. 272p. CAATINGA & CERRADO. Site oficial. Disponível em <http://www.caatingacerrado.com.br/>. Acesso 08 Dez. 2016. CARPENEDO, V.; MIELNICZUK, J. Estado de agregação e qualidade de agregados de Latossolos Roxos, submetidos a diferentes sistemas de manejo. Revista Brasileira de Ciência do Solo, Campinas, v.14, n.1, p.99-105, jan./abr. 1990. COOPERCUC. Site oficial. Disponível em <http://www. coopercuc.com.br/> Acesso 11 Dez 2016. DODESIGN BRASIL. Site oficial. Disponível em < https:// www.dodesign-s.com.br/design/publicacoes/ > Acesso 07 Dez. 2016. GIRÃO, E.G.; OLIVEIRA, F.L.; KUSTER, A. PEREIRA, J.I.C. A transição agroecológica familiar no município de Barreira, Ceará, Brasil. Revista Brasileira de Agroecologia/nov 2009. Vol.4. No. 2. KAZAZIAN, T. Haverá a idade das coisas leves. São Paulo, Editora Senac , 2005. 196p. KRUCKEN, L. Design e território: valorização de identidades e produtos locais. São Paulo: Studio Nobel, 2009. 119p. MARTÍNEZ, I; PIRES, M. Cooperativas e revitalização dos espaços rurais: uma perspectiva empresarial e associativa. Cadernos de Ciência & Tecnologia, Brasília, v.19, n.1, p.99-118, jan/abr 2002. MARTINS, M. G. Cooperativismo, agroindústria da
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
125
Cooperativism, regional and organic products: the design perspective for the valorization of the brazilian food sector
agricultura familiar e mercado: um estudo de caso da Coopercuc/BA, 2016. Tese de Mestrado do Programa de Pós graduação em Agronegócios da Faculdade de Agronomia e Veterinária da Universidade de Brasília (UnB).
gráfico: embalagem para produto alimentício tradicional. 11º Ergodesign USIHC, Manaus, 2011. QUANTUM DESIGN, 2016. Disponível em <http://www. quantumdesign.com.br/>. Acesso 08 Dez. 2016.
MAZOYER, M.; ROUDART,L. História das agriculturas no mundo: do neolítico à crise contemporânea. São Paulo, Editora UNESP; Brasília, DF, 2010. 567p. MINISTÉRIO DA AGRICULTURA. O que é um alimento orgânico? Disponível em <http://www.agricultura.gov. br/portal/page/portal/Internet-MAPA/pagina-inicial/ desenvolvimento-sustentavel/organicos/o-que-e-agricultura-organica/perguntas-e-respostas> Acesso 10 Dez. 2016. NAMORADO, R. Cooperativismo – um horizonte possível, 2005. Videoconferência, Coimbra. Disponível e m<ht t p: // w w w. ce s .u c . p t /p u b li c a co e s /o f i cina / ficheiros/229.pdf> Acesso 08 Dez. 2016. ONOFRE, G. R.; YOKOO, S.C. Cooperativismo Rural Revista GEOMAE - Geografia, Meio Ambiente e Ensino. Vol. 02, Nº 01, 1º SEM/2011 p.103-101
126
REIS, D. Product Design in the sustainable era. Editora Taschen GmbH, Hohenzollernring, Alemanha, 2010. 444p. SCOPINHO, R. A. Sobre cooperação e cooperativas em assentamentos rurais. Psicol. Soc. [online]. Vol.19, n.spe, pp. 84-94, 2007. SERVIÇO BRASILEIRO DE APOIO ÀS MICRO E PEQUENAS EMPRESAS (SEBRAE NACIONAL). O que é Fair Trade (Comércio Justo). 2016. Disponível em <https://www.sebrae.com.br/sites/PortalSebrae/artigos/o-que-e-fair-trade-comercio-justo,82d8d1eb00ad2410VgnVCM100000b272010aRCRD >Acesso 08 Dez. 2016. SEVCENKO, N. A corrida para o Século XXI: no Loop da Montanha Russa. São Paulo: Companhia das Letras, 2001. 144p. SLOW FOOD BRASIL 2013. Site oficial. Disponível em: <http://www.slowfoodbrasil.com/> Acesso 11 Dez 2016. SILVA, A.C.M.; BENATTI, L.P. Ergonomia em projeto
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
ARTIGOS
COOPERATIVISMO, PRODUTOS REGIONAIS E ORGÂNICOS: A PERSPECTIVA DO DESIGN PARA A VALORIZAÇÃO DO SETOR ALIMENTÍCIO BRASILEIRO COOPERATIVISM, REGIONAL AND ORGANIC PRODUCTS: THE DESIGN PERSPECTIVE FOR THE VALORIZATION OF THE BRAZILIAN FOOD SECTOR Victória Carolina Pinheiro Lopes Dias (UEMG) Daniel de Souza Gamarano (UEMG) Davi Neiva Alves (UEMG) Palavras Chave Alimento Orgânico; Cooperativismo; Design; Sustentabilidade; Identidade
Key Words Organic Food; Cooperativism; Design; Sustainability; Identity
RESUMO O objetivo deste artigo é apresentar como algumas ações de design podem ser utilizadas para valorização de produtos regionais oriundos da produção orgânica. Para tanto , foram analisados três exemplos de atividades realizadas por cooperativas de agricultura familiar situadas em diferentes estados brasileiros (Copacaju-CE, Cooperjap-MG, Coopercuc-BA.), buscando verificar como o design pode apoiar o fortalecimento da identidade, autonomia da comunidade e a valorização dos produtos, contribuindo para que suas características e valores sejam percebidas pelos consumidores. A pesquisa que norteia este estudo quanto a abordagem é qualitativa de natureza exploratória. Através da revisão bibliográfica de autores do domínio do design Krucken (2009) e Bistagnino (2009) foram analisadas as cooperativas, avaliando as características dos produtos e sua correlação com a identidade do território, as relações de produção e comercialização, a valorização do local e a relação do homem com o meio ambiente. Pode-se observar a partir dos resultados da análise, que a a ação do design ocorre em diferentes níveis em cada cooperativa, o que pode fornecer subsídios para ações futuras de design mais assertivas, nestes mesmos contextos e em contextos semelhantes.
ABSTRACT The goal of this paper is to show how some design actions can be used for the valorization regional products from organic production. Therefore, three activities made by family farming cooperatives located into different Brazilian states (CopacajuCE, Cooperjap-MG, Coopercuc-BA) were analysed. Aiming verify how can the design support the strengthening of identity, community autonomy and products valorization, contributing to their characteristics and values to be perceived by consumers. The research that guides this study has a qualitative exploratory approach. Through bibliographic review of design domain authors Krucken (2009) and Bistagnino (2009) the cooperatives were analysed, evaluating how product characteristics and their correlation with an identity in the territory, the relations of production and commerce, the valorization of the place and the relation of the man and the environment. Observing the results of the analysis, we can see that the action of the design happens in different levels in each cooperative, which may provide support for more assertive future design actions, in the same contexts and in similar contexts.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
127
Cooperativismo, produtos regionais e orgânicos: a perspectiva do design para a valorização do setor alimentício brasileiro
1. INTRODUÇÃO
128
Vive-se em uma época de transição, no qual há cada vez mais a preocupação dos indivíduos com a repercussão de seus comportamentos diários, uma vez que as escolhas que fazemos, como atuamos e nos posicionamos frente aos atuais problemas socioambientais influenciam diretamente em uma enorme cadeia de acontecimentos. Cresce a preocupação com a integração dos níveis social, ambiental e econômico nas atividades humanas, sendo que as escolhas pessoais de cada indivíduo se tornam mais exigentes frente à realidade atual produtiva, extremamente capitalista e predatória de recursos naturais. Dessa forma, muitas empresas começam a repensar seus produtos e serviços como modo de reduzir os impactos ambientais (REIS, 2010). A partir da segunda metade do séc.XX, as transformações tecnológicas e científicas tiveram como resultado o desenvolvimento dos processos produtivos e o fortalecimento das práticas de consumo. Além disso, o crescimento populacional exponencial contribui para o desencadeamento de diversos problemas ambientais, relativos à sobrevivência humana, como moradia, alimentação e abastecimento de água, culminando com a ampliação de problemas ambientais tais como poluição, queimadas e desmatamentos (SEVCENKO, 2001; KAZAZIAN, 2005). Como exemplo destas práticas produtivas, tem-se a produção de alimentos por meio da agricultura. Esta vem se constituindo desde o período neolítico há cerca de 9 mil anos. Ao longo do tempo passou por diversas transformações, principalmente no que diz respeito à relação do homem com o ambiente. De fato, no decorrer da segunda metade do século XX, a revolução agrícola contemporânea (elevada
motorização-mecanização,
seleção
de variedades de plantas e de raças de animais com forte potencial de rendimento, ampla utilização dos fertilizantes, dos alimentos concentrados para o gado e produtos de tratamento das plantas e dos animais domésticos) progrediu vigorosamente nos países desenvolvidos e em alguns setores dos países em desenvolvimento
PORTUGUÊS
(MAZOYER and ROUDART, 2010, p. 27).
O Brasil é um dos líderes mundiais na produção e exportação produtos agropecuários. É o primeiro produtor e exportador de café, açúcar, etanol de cana-de-açúcar e suco de laranja, liderando o ranking das vendas externas de soja, farelo, óleo e grão (MINISTÉRIO DA AGRICULTURA, 2016). O modelo de produção de alimentos em larga escala adotado no país é a monocultura, que prevê o cultivo
de apenas um tipo de produto agrícola, o que gera sérios impactos no solo. Nesta técnica de cultivo é comum derrubar e queimar a área de plantio, interrompendo um processo natural de reposição de nutrientes, deixando o solo pobre e consequentemente diminuindo a produtividade, além de ser uma atividade que consome grande quantidade de água (CARPENEDO; MIELNICZUK, 1990). Neste tipo de produção o risco de pragas é iminente havendo um uso exagerado de agrotóxicos, o que atinge diretamente a economia e a sociedade, pois os produtos podem ser desvalorizados e toda a produção pode ser colocada em risco. A monocultura também causa o êxodo rural, já que ela reduz o uso da mão de obra, causando o progressivo desaparecimento das tradições culturais no meio rural, enfraquecendo a agricultura familiar. O êxodo rural pode culminar ao processo aglomeração nas periferias urbanas, prejudicando a qualidade de vida da população (MAZOYER e ROUDART, 2010). O cooperativismo se apresenta como uma possibilidade de fortalecimento dos pequenos produtores, frente a um cenário desfavorável. É considerada economia solidária e ressurge no contexto atual como uma reação ao desemprego e a perda de garantias sociais básicas, dando ao homem do campo autonomia. A premissa básica do cooperativismo é reunir indivíduos para troca de benefícios a partir de ajuda mútua (NAMORADO, 2006). Pode-se entender como cooperativa a organização democrática, prezando pela autogestão e a repartição dos recursos. Por isso, trabalham em busca de um bem comum, por meio de estruturas organizadas e normatizadas para produção (SCOPINHO, 2007). O presente artigo, em um primeiro momento, fundamenta as discussões sobre design e território, proposto por Krucken (2009) e design sistêmico por Bistagnino (2009). As cooperativas brasileiras analisadas Coopercuc, Cooperjap e Cooperapas são formadas por pequenos produtores agrícolas. Elas foram escolhidas para análise pela percepção e a consciência que têm em relação às questões ambientais e sociais. Essa percepção cria um ambiente propício para o uso de ferramentas do design que podem dar suporte aos seus processos e aos produtos. As três cooperativas, ao contrário da lógica de produção vigente na agricultura brasileira, apostam na produção de produtos orgânicos.
2. PROCEDIMENTOS E MÉTODOS Para fundamentar as análises da pesquisa, foi realizada uma revisão de literatura sobre ações do design para valorização de produtos locais. Partiu-se da questão de
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
Victória Carolina Pinheiro Lopes Dias, Daniel de Souza Gamarano e Davi Neiva Alves
como seus conceitos poderiam nortear aspectos inerentes à valorização do território. E de como estes territórios poderiam buscar a autonomia para suas comunidades locais, através da sustentabilidade social, cultural e ambiental em longo prazo. Cooperativas de produtores rurais foram mapeadas e analisadas, com base nos métodos estudados. As cooperativas escolhidas foram: Copacaju-CE, Cooperjap-MG e Coopercuc-BA, todas distribuídas em regiões do Cerrado e da Caatinga brasileiros e que possuem potencial para produção de alimentos orgânicos. Deve-se destacar que todas as organizações tiveram a contribuição do design para a concepção dos produtos, nos mais diversos níveis, indo da revitalização da identidade visual e embalagens, ao reposicionamento dos produtos no mercado interno e externo. As três cooperativas fazem parte da Rede Caatinga e Cerrado Comunidades Eco Produtivas, um espaço de articulação formado desde 2006 que busca criar redes entre produtores da agricultura familiar para a promoção de produtos provenientes desses dois biomas, tão característicos do país. Atualmente, a Caatinga e o Cerrado atuam em um universo de mais de 20 mil famílias, representadas em 200 empreendimentos em 20 redes situadas em 14 estados brasileiros, como apresentado na Figura 1:
trabalho de incentivar a certificação dos empreendimentos, como o selo de produção orgânica, bem como a defesa do comércio justo (CAATINGA CERRADO, 2012). São apresentadas abaixo, na Tabela 1, as informações referentes a cada cooperativa: Tabela 1: Descritivo das cooperativas analisadas
Cooperativa/Local de origem
Descrição
Copacaju/Ceará
Central de cooperativas que se concentra no beneficiamento da castanha de caju, dando a oportunidade aos vendedores se tornarem empreendedores.
Cooperjap/Minas Gerais
Cooperativa de produtores rurais e catadores de pequi, foram a primeira unidade de beneficiamento no país, hoje produzem em larga escala.
Coopercuc/Bahia
Cooperativa que trabalha com o beneficiamento de frutos típicos da caatinga, principalmente o umbu.
Figura 1: Rede de atuação da Caatinga Cerrado Comunidades Eco Produtivas no país
129
Fonte: Elaborado pelos autores
3. REFERENCIAL TEÓRICO 3.1 Cooperativismo
Fonte: Caatinga Cerrado
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
PORTUGUÊS
Além disso, a Rede Caatinga e Cerrado Comunidades Eco Produtivas possui parcerias com o governo federal brasileiro e organizações não-governamentais internacionais. Os grandes objetivos dessa organização são a articulação, a comunicação, o desenvolvimento de capacidades e o acesso aos mercados. Além disso, possuem
A força de trabalho é a essência do sistema produtivo, os trabalhadores enquanto detentores desta força, unidos, podem gerar novas possibilidades de produção. Uma das formas dos trabalhadores se unirem é através do cooperativismo. Existem várias formas de cooperativismo, estas podem ser: de crédito, educacional, habitacional, de infraestrutura, saúde, turismo, transporte, mineral, agropecuária, produção, consumo, agrícola entre outras. O cooperativismo realizado em bases agrícolas auxilia os produtores a terem acesso facilitado à compra de insumos e máquinas, o que melhora, e muito, sua realidade (ONOFRE; ONOKO,2011). As cooperativas agrícolas são identificadas enquanto fator de organização econômica e de competitividade do setor agrário e de organização democrática dos produtores, contribuindo para o êxito dos projetos de desenvolvimento local. Sua importância pode ser ressaltada no atual cenário, com a busca de novas melhorias em
Cooperativismo, produtos regionais e orgânicos: a perspectiva do design para a valorização do setor alimentício brasileiro
um ambiente que tem sofrido com o processo de globalização, que ao buscar uma produção massificada, mecanizou o campo, ocasionando o enfraquecimento da agricultura familiar e o aumento do êxodo rural. Assim, novas formas de valorização dos bens materiais e simbólicos típicos devem ser trabalhadas e promovidas, sendo estes capazes de expressar o dinamismo de uma comunidade frente ao atual cenário. Deve-se destacar que o cooperativismo permite a adaptação aos diversos tipos de demandas (MARTÍNEZ; PIRES, 2002).
3.2 Design e Território
130
Existe uma demanda atual que anseia em consumir produtos que tragam em si valores intangíveis, como a tradição e a identidade cultural, ao mesmo tempo em que promovem uma melhor qualidade de vida para o homem do campo. Ao analisar o contexto brasileiro, pode-se perceber a riqueza significativa de sua cultura, saberes, povos e costumes, bem como as riquezas naturais provenientes do território. Esta riqueza promove o fomento da produção de bens materiais fortemente ligados à origem e a comunidade local (KRUCKEN, 2009). “No entanto, muitas vezes os recursos existentes não são explorados de forma sustentável (econômica, social e ambiental) e não geram riqueza e melhoria de vida da comunidade local” (KRUCKEN, 2009, p.22). A abordagem do design orientada para questões voltadas para o território traz benefícios aos consumidores e produtores. Ações podem ser planejadas para promoção do território e para sociedade de forma que seja sustentável em longo prazo. A partir dos pressupostos teóricos das pesquisas de Krucken, o design pode contribuir para valorização de produtos locais a partir de oito ações essenciais, apresentadas na Tabela 2:
7
Desenvolver
8
Consolidar
PORTUGUÊS
1
Reconhecer
2
Ativar
as competências situadas no território;
3
Comunicar
4
Proteger
5
Apoiar
6
Promover
o produto e o território;
3.3 Design Sistêmico A industrialização transferiu o processo de projetar o produto também para o alimento. Para Bistagnino (2009), é preciso considerar a natureza como um sistema a ser compreendido e seguido, uma vez que os processos nos ecossistemas funcionam de maneira a promover a mutualidade e a complementaridade. Os profissionais do design devem trabalhar de forma a pensar as mesmas conexões aplicadas aos processos produtivos, não considerando apenas o produto final, mas todo seu processo de confecção, da obtenção da matéria prima ao seu descarte, de forma a compreender como é a interlocução de vários atores os quais compartilham os mesmo valores. Para isso, o autor afirma ser o projetista, o responsável pela interpretação das bases, por exemplo, dos inputs e dos outputs do sistema, pois podem sugerir conexões e interações vantajosas, novos usos da matéria, que podem render novas possibilidades e formas de geração de energia (BISTAGNINO, 2009). É indispensável a aplicação de ações, capazes de desenvolver o pensamento sustentável. O autor considera cinco as linhas básicas para o desenvolvimento do design sistêmico, sendo apresentados na Tabela 3. O grupo de pesquisas sobre Design Sistêmico tem apoio do movimento Slow Food. Tabela 3: Linhas básicas do Design Sistêmico
1
2
Output/Input
Os descartes de um sistema podem vir a se tornar recursos de outro.
Relações
As relações podem ser internas ou externas ao sistema foco e todas são elementos estratégicos.
Auto geração
O sistema autopoiético se sustenta e reproduz autonomamente, definindo seu próprio campo de ação.
a identidade local e o patrimônio material e imaterial; a produção local;
redes no território. Fonte: Adaptado de Krucken (2009)
Tabela 2: Pontos da valorização dos produtos locais pelo design.
as qualidades do produto e do território;
novos produtos e serviços que respeitem a vocação e valorizem o território;
3
um sistema de produção de produtos sustentáveis;
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
Continua
Victória Carolina Pinheiro Lopes Dias, Daniel de Souza Gamarano e Davi Neiva Alves
4
5
Agir localmente
No contexto onde se trabalha valorizar as pesquisas locais o homem, a cultura e a matéria.
O homem como O indivíduo relacionado ao o centro do próprio contexto ambiental, projeto social, cultural e ético. Fonte: Adaptado de Bistagnino (2009)
3.4 Movimento Slow Food O Slow Food atualmente é uma associação internacional sem fins lucrativos. O conceito primordial do movimento é o prazer da alimentação. Além de difundir o conhecimento em projetos educacionais, permite práticas que valorizem a produção local (SLOW FOOD BRAZIL, 2013). Dentre as iniciativas propostas pelo movimento no Brasil, destacam-se as Comunidades de Alimento, que são unidades produtivas, fisicamente identificáveis, as quais compartilham o interesse em valorizar a produção artesanal. Dentre as cooperativas estudadas, duas são consideradas Comunidades do Alimento, sendo a Cooperjap-MG e a Coopercuc-BA.
3.5 Certificações
4. ANÁLISES DAS COOPERATIVAS 4.1 Copacaju- Ceará A Central de Cooperativas Copacaju é uma entidade que une dez cooperativas distintas, distribuídas em municípios cearenses. O trabalho ocorre a partir do beneficiamento da castanha de caju, que é feita em mini fábricas (CAATINGA AND CERRADO, 2012). A criação e formalização da cooperativa foi de extrema importância, pois permitiu que fosse estruturada a certificação e qualificação da cajucultura como familiar e orgânica, o que abriria caminho para a exportação do produto. Além disso, o projeto garantiu a criação de identidade visual (GIRÃO et al., 2009). A empresa responsável pelas novas embalagens das castanhas foi a Herbert Perman Design, escritório de Recife, que desenvolve projetos de identidade visual, sinalização, design gráfico, material para ponto de venda e embalagens. A Copacaju pretende exportar as castanhas, e para isso, confeccionou embalagens que apresentam o produto em diferentes formas, nas opções pré-cozida, torrada e salgada, com caramelo com chocolate, como apresentado na Figura 2:
131
Figura 2: Produtos da Copacaju - Ceará
Fonte: Design Portfolio
4.2 Cooperjap – Minas Gerais A Cooperjap, Cooperativa dos Produtores Rurais e Catadores de Pequi de Japonvar localiza-se na região Norte de Minas Gerais. Em 1998, os habitantes locais decidiram criar a cooperativa de modo a institucionalizar o beneficiamento da fruta da região, transformando-o em polpa, óleo, farinha, paçoca e creme, dentre outros produtos. Eles foram a primeira unidade de beneficiamento do fruto no país, e tiveram apoio de instituições como
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
PORTUGUÊS
As certificações são de extrema importância para as cooperativas, uma vez que qualificam e demonstram a conformidade da produção mediante os critérios que são analisados. Assim, a procura de adequação as normativas referentes à produção orgânica, o comércio justo, ou a participação em alguma instituição ou movimento, como o Slow Food, validam a qualidade do produto. O alimento orgânico é, por definição, todo o produto produzido e cultivado que considera os três níveis da sustentabilidade, o social, o ambiental e o econômico. A agricultura orgânica não faz uso de agrotóxicos, hormônios veterinários, adubos químicos, antibióticos ou espécimes transgênicos em qualquer fase de produção. Para a obtenção do selo nacional, a empresa deve ser avaliada (MINISTÉRIO DA AGRICULTURA, 2016). O Fair Trade (Comércio Justo) é uma parceria pautada pelo diálogo, transparência e respeito, buscando maior igualdade no comércio internacional, ao garantir condições justas e que valorizem a produção dos trabalhadores (SEBRAE NACIONAL, 2016). A importância do Comércio Justo é o estabelecimento de contato direto entre o produtor e o comprador, desburocratizando o comércio e
a ação de atravessadores. As cooperativas incentivam a construção coletiva de conhecimento e a tomada de decisões, o que contribui para o planejamento da produção, a quantidade, qualidade e regularidade, além de um preço de venda melhor para os produtos (GIRÃO et al., 2009; SEBRAE NACIONAL, 2016).
Cooperativismo, produtos regionais e orgânicos: a perspectiva do design para a valorização do setor alimentício brasileiro
SEBRAE-MG, UFMG, a Prefeitura de Japonvar e EmaterMG, que contribuíram para o desenvolvimento das tecnologias de controle e produção. Todo o processo foi estruturado e totalmente implantado somente em 2005, quando a cooperativa passou a produzir o pequi em grande escala (ALMEIDA,2009). Existem mais de 210 cooperados, que se beneficiam da safra do pequi. A cooperativa garante novos contatos comerciais, sobretudo com a participação em eventos, que gera visibilidade e reconhecimento do trabalho, e faz com que surjam novas parcerias (ALMEIDA,2009). O projeto de design foi realizado pelo escritório Quantum Design, localizado em Belo Horizonte, MG (QUANTUM DESIGN, 2016). O projeto realizado junto com a Cooperjap foi além da revitalização da identidade visual da cooperativa e dos rótulos das embalagens, promoveram a padronização dos pesos e das medidas dos produtos comercializados, focando nos produtos que apresentavam uma maior representatividade comercial (SILVA E BENATTI, 2011). O resultado final foi a linha de produtos representada na Figura 3:
A oficialização da cooperativa foi realizada em 2004. A empresa fundada pela cooperativa, denominada Gravetero, produz geleias, compotas, sucos e doces em pasta de frutas como goiaba, manga, banana, maracujá e em especial o umbu, típico da região da Caatinga, como apresenta a Figura 4. Atualmente a empresa conta com o apoio do Slow Food Brasil, o que permitiu que organizações não governamentais internacionais investissem na construção de dezesseis mini fábricas distribuídas nas três cidades. A empresa tem certificado para a comercialização de produtos orgânicos pela União Europeia, o que permitiu que 25% da produção fossem exportadas para a França, a Itália e a Áustria. O restante é comercializado no país (MARTINS, 2016). Figura 4: Produtos Coopercuc - Gravetero
Figura 3: Produtos da Cooperjap - Japonvar Fonte: Coopercuc
132
Fonte: Central do Cerrado
PORTUGUÊS
4.3 Coopercuc – Bahia A história da Coopercuc (Cooperativa de Uauá, Curaçá e Canudos) inicia-se em 1980, na cidade de Uauá, localizada no sertão da Bahia, na região Nordeste do Brasil. Um grupo de três freiras começou a trabalhar com a comunidade, incentivando a participação das mulheres de forma a promover uma maior autonomia nas decisões políticas locais e no aumento de renda familiar. Assim, das tarefas domésticas e do cuidado de animais e hortas de subsistência, as mulheres passaram a coletar os frutos da região da Caatinga. O movimento articulou-se, e as cidades vizinhas, Curaçá e Canudos, aderiram ao movimento. Na década de 1990, o grupo já tinha conhecimento de como beneficiar as frutas e comercializá-las (COOPERCUC, 2015).
Apesar de ter como atividade principal o extrativismo do umbu, a empresa também contribui para o desenvolvimento da região, promovendo o plantio de mudas de umbuzeiro com o intuito de aumentar a produção e preservar a espécie (COOPERCUC, 2015). A empresa responsável pela produção das embalagens e parte gráfica da Coopercuc foi o escritório DoDesign Brasil, fundado em 2003. Ele é especializado em negócios orgânicos, alimentos gourmet e projetos que envolvam sócio biodiversidade, tendo projetos voltados para a agricultura orgânica e agroecológica. Possui diversos prêmios, como o Slow Pack pela Slow Food - Itália em 2014 (DODESIGN BRASIL,2015).
5. CONCLUSÕES De maneira geral, a criação de uma rede que valoriza os produtores de alimentos típicos locais se estabelece frente a uma realidade produtiva capitalista, que tende a massificar a produção e a disponibilidade de alimentos. A organização desses produtores em cooperativas, além de dar suporte à produção e comercialização do produto, permite uma produção que, em diversos níveis, contribui para a sustentabilidade econômica, social e ambiental daquele grupo. As cooperativas apoiam a formação de redes com agentes externos, de várias expertises, que
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
Victória Carolina Pinheiro Lopes Dias, Daniel de Souza Gamarano e Davi Neiva Alves
longo prazo, e verificando de que forma essas metodologias estão sendo aplicadas. A partir da análise deste fenômeno podemos observar práticas que podem servir de orientação para ações futuras em contextos semelhantes ao das cooperativas, oportunizando que projetos futuros sejam mais assertivos e possam, de fato, colaborar para a melhoria da qualidade de vida dessas pessoas. Este trabalho teve um cunho reflexivo sobre a atuação do design no contexto das cooperativas. Estudos futuros podem vislumbrar o acompanhamento de ações de design baseados nos autores Bistagnino (2009) e Krucken (2009) dentro do contexto estudado.
REFERÊNCIAS ALMEIDA, S. O ouro do Cerrado Mineiro. Revista Passo a passo, março/abril - ano XV- nº131. Belo Horizonte: Sebrae -MG, 2009. BISTAGNINO, L. Design Sistemico. Progettare la sostenibilità produttiva e ambientale. Slow Food Editore, Torino. 2009. 272p. CAATINGA & CERRADO. Site oficial. Disponível em <http://www.caatingacerrado.com.br/>. Acesso 08 Dez. 2016.
133
CARPENEDO, V.; MIELNICZUK, J. Estado de agregação e qualidade de agregados de Latossolos Roxos, submetidos a diferentes sistemas de manejo. Revista Brasileira de Ciência do Solo, Campinas, v.14, n.1, p.99-105, jan./abr. 1990. COOPERCUC. Site oficial. Disponível em <http://www. coopercuc.com.br/> Acesso 11 Dez 2016. DODESIGN BRASIL. Site oficial. Disponível em < https://www.dodesign-s.com.br/design/publicacoes/ > Acesso 07 Dez. 2016. GIRÃO, E.G.; OLIVEIRA, F.L.; KUSTER, A. PEREIRA, J.I.C. A transição agroecológica familiar no município de Barreira, Ceará, Brasil. Revista Brasileira de Agroecologia/nov 2009. Vol.4. No. 2. KAZAZIAN, T. Haverá a idade das coisas leves. São Paulo, Editora Senac , 2005. 196p. KRUCKEN, L. Design e território: valorização de identidades e produtos locais. São Paulo: Studio Nobel, 2009. 119p.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
PORTUGUÊS
possam auxiliar o desenvolvimento do grupo. É o caso, por exemplo, das monitorias recebidas de órgãos para a administração e produção do alimento e a participação em grupos similares, como o caso da Rede Caatinga e Cerrado Comunidades Eco Produtivas. O design não atua apenas na elaboração da identidade visual, embalagem e apresentação dos produtos, mas também atua de maneira estratégica em todo o sistema, assegurando melhorias dos processos e na gestão dos conhecimentos, bem como a incorporação de novos conceitos, produtos e serviços. Dentre as cooperativas analisadas, percebe-se que a Copacaju está em processo de adequação do produto com intuito de ampliação das vendas. Até o presente momento, recebeu intervenções pontuais de design, materializados, sobretudo, no desenvolvimento de sua embalagem, se comparado às outras duas cooperativas. É interessante ressaltar que as suas relações internas e externas devem ser fortalecidas em rede de forma a conseguir promover melhor a identidade da marca em relação ao público. A Cooperjap já possui certificações e participa de eventos nacionais e internacionais que dão visibilidade aos produtos e geram parcerias. O sucesso da cooperativa se deve a sua postura transdisciplinar por buscar apoio de outras instituições que detêm o conhecimento e profissionais com várias expertises, o que configura sua visão sistêmica do processo. Estas instituições contribuem para o planejamento e realizam ações, aproveitando todo o potencial do território, melhorando o produto, processo e sua comunicação para a busca de novas oportunidades. A Coopercuc está num estágio similar a Cooperjap, ambas participam da rede Slow Food. Seu sucesso se deve a uma ampla rede de parceiros e sua postura transdisciplinar. Os alimentos produzidos pelas cooperativas tendem a ser aproveitados por completo, como exemplo a Cooperjap, que produz produtos com o pequi. O pensamento de prospecção da produção pela Coopercuc, ao começar a plantar novas mudas de umbu para garantir a produção futura, bem como a disposição dos envolvidos em repassar o conhecimento para outras comunidades produtoras. Isso demonstra a percepção do ato local e a valorização do trabalho humano. A Copacaju valoriza o desenvolvimento dos colaboradores, dando-os autonomia na produção do produto. Apesar de todas as cooperativas tangenciarem de maneira distinta as linhas guias propostas por Bistagnino (2009), ressalta-se que todas possuem ambientes que podem valorizar as redes de relacionamento. A importância ao se analisar as cooperativas sob a perspectiva do design se deve a identificação dos paradigmas, avaliando se as ações tomadas são de curto ou
Cooperativismo, produtos regionais e orgânicos: a perspectiva do design para a valorização do setor alimentício brasileiro
MARTÍNEZ, I; PIRES, M. Cooperativas e revitalização dos espaços rurais: uma perspectiva empresarial e associativa. Cadernos de Ciência & Tecnologia, Brasília, v.19, n.1, p.99-118, jan/abr 2002. MARTINS, M. G. Cooperativismo, agroindústria da agricultura familiar e mercado: um estudo de caso da Coopercuc/BA, 2016. Tese de Mestrado do Programa de Pós graduação em Agronegócios da Faculdade de Agronomia e Veterinária da Universidade de Brasília (UnB).
SLOW FOOD BRASIL 2013. Site oficial. Disponível em: <http://www.slowfoodbrasil.com/> Acesso 11 Dez 2016. SILVA, A.C.M.; BENATTI, L.P. Ergonomia em projeto gráfico: embalagem para produto alimentício tradicional. 11º Ergodesign USIHC, Manaus, 2011. QUANTUM DESIGN, 2016. Disponível em <http://www. quantumdesign.com.br/>. Acesso 08 Dez. 2016.
MAZOYER, M.; ROUDART,L. História das agriculturas no mundo: do neolítico à crise contemporânea. São Paulo, Editora UNESP; Brasília, DF, 2010. 567p. MINISTÉRIO DA AGRICULTURA. O que é um alimento orgânico? Disponível em <http://www.agricultura. gov.br/portal/page/portal/Internet-MAPA/pagina-inicial/desenvolvimento-sustentavel/organicos/o-que-e-agricultura-organica/perguntas-e-respostas>. Acesso 10 Dez. 2016.
134
NAMORADO, R. Cooperativismo – um horizonte possível, 2005. Videoconferência, Coimbra. Disponível em<http://www.ces.uc.pt/publicacoes/oficina/ficheiros/229.pdf> Acesso 08 Dez. 2016. ONOFRE, G. R.; YOKOO, S.C. Cooperativismo Rural Revista GEOMAE - Geografia, Meio Ambiente e Ensino. Vol. 02, Nº 01, 1º SEM/2011 p.103-101 REIS, D. Product Design in the sustainable era. Editora Taschen GmbH, Hohenzollernring, Alemanha, 2010. 444p. SCOPINHO, R. A. Sobre cooperação e cooperativas em assentamentos rurais. Psicol. Soc. [online]. Vol.19, n.spe, pp. 84-94, 2007.
PORTUGUÊS
SERVIÇO BRASILEIRO DE APOIO ÀS MICRO E PEQUENAS EMPRESAS (SEBRAE NACIONAL). O que é Fair Trade (Comércio Justo). 2016. Disponível em <https:// www.sebrae.com.br/sites/PortalSebrae/artigos/o-que-e-fair-trade-comercio-justo,82d8d1eb00ad2410VgnVCM100000b272010aRCRD >Acesso 08 Dez. 2016. SEVCENKO, N. A corrida para o Século XXI: no Loop da Montanha Russa. São Paulo: Companhia das Letras, 2001. 144p.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.119-134 | nov. | 2017
ARTICLES
DESIGN-BASED APPROACHES TO ENGAGE YOUTH IN THE TRANSITION TO SUSTAINABILITY ABORDAGENS DE DESIGN PARA ENGAJAR OS JOVENS NA TRANSIÇÃO PARA SUSTENTABILIDADE Najla Mouchrek, PhD (Virginia Tech) Key Words Design for sustainability; Youth, Engagement; Culture; Participatory design
Palavras Chave Design para sustentabilidade; Jovens; Engajamento; Cultura; Design participativo
ABSTRACT This research aims to study how the integration of design thinking and participatory design applied to education experiences can promote engagement in sustainability and pro-environmental behavior among young students. The potential of Design to support the culture of sustainability among youth, bridging the value-action gap in pro-environmental behavior and developing sustainable competencies is investigated. The research uses a multi-method approach. This paper summarizes the findings of the exploratory phase consisting in literature review, context analysis, ethnographic observation and pilot application of Participatory Design activities in undergraduate courses. Preliminary findings show that design-based participatory approaches integrated in educational settings offer excellent opportunities to positive intervention to both engage youth in sustainability and support their development.
RESUMO Esta pesquisa visa investigar como a integração do pensamento de Design e técnicas de Design Participativo em experiências educativas pode promover engajamento em sustentabilidade e comportamento pró-ambiente entre jovens. O potencial do Design para apoiar a cultura de sustentabilidade entre os jovens, reduzindo o gap entre valores e prática em relação ao comportamento pró-ambiente e desenvolvendo competências em sustentabilidade é investigado. A pesquisa utiliza uma abordagem multi-métodos. O artigo sumariza os resultados da fase exploratória da pesquisa, que consistiu em revisão de literatura, análise de contexto, observação etnográfica e aplicação piloto de atividades de Design Participativo em disciplinas de graduação. Resultados preliminares demonstram que abordagens participativas baseadas em Design integradas a contextos pedagógicos oferecem excelentes oportunidades de intervenção positiva para, ao mesmo tempo, engajar jovens em sustentabilidade e apoiar seu desenvolvimento.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
135
Design-based approaches to engage youth in the transition to sustainability
1. INTRODUCTION In the current socio-economic-environmental context, it is increasingly important to invest in fostering a culture of sustainability among youth, developing processes and interaction strategies to create ‘contexts for change’. As Autio and Heinonen (2004, p.150) emphasize: “young people need to reflect on the future of the world and what is the meaning of ‘good life’ for them. They are the future consumers, producers and agents of change”. This research aims to study how the integration of Design thinking and Participatory Design applied to education experiences can promote engagement in sustainability and pro-environmental behavior among young students.
2. BACKGROUND 2.1 Culture of sustainability among youth
136
The concept of sustainability encompasses several dimensions: social, cultural, ecological, environmental, territorial, economic and political. In the present study, the focus is on socio-cultural and educational dimensions. The term ‘culture of sustainability’ refers to the necessity and centrality of a cultural shift in how individuals and society address economic, social and environmental issues (DUXBURY & GILLETTE 2007). The transition towards sustainability constitutes a process of social learning, which should redirect the lifestyles and the concepts of wellness aiming at the quality of life as a whole (MANZINI 2008). Duxbury and Gillette highlight the importance of engaging youth in sustainability discussions: “involving young people in educational programs on cultural, social, environmental, and economic forms of sustainability can help provide them with a more optimistic and sustainable outlook on the future” (DUXBURY & GILLETTE 2007, p. 11).
Young people are the core of our present and the key actors in the future. It is especially regarding the new generations that the changes towards healthier, integrated and sustainable lifestyles are fundamental.
2.1.1 The value-action gap in pro-environmental behavior The process of behavior change toward sustainability and social engagement is complex, as it does not correspond to a linear model in which the ecological knowledge would lead to awareness and this directly to action. We observe a value-action gap in these processes, with
barriers to behavior change (ROIZMAN 2001; BLAKE 1999; KOLLMUSS & AGYEMAN 2002). Overcome this gap would lead to a fundamental shift in behavior towards sustainability. Although some authors attribute the value-action gap to the lack of appropriate information (BLAKE 1999), other authors affirm that the gap will not be overcome simply by increasing information (BARR & GILG 2002; SAMMER & WÜSTENHAGEN 2006; ROIZMAN 2001; MOUCHREK 2014; LEITNER et al 2011; AUTIO & HEINONEN 2004). There are several other barriers, which might be personal, practical, structural and/or social (JACKSON 2005; BLAKE 1999). There are several theoretical models aimed to explain the value-action gap in pro-environmental behavior and propose strategies to bridge this gap. We would like to highlight the Kollmuss & Agyeman’s (2002) model, which lists the following aspects: • Demographic factors • External factors (institutional, economic, social and cultural) • Internal factors (motivation, environmental knowledge and awareness, emotional involvement, locus of control, responsibility and priorities Especially regarding young people, it is important to consider factors such as social norms, motivation and emotional involvement. In this phase, social and cultural context can act as barrier or facilitator for sustainable behavior (ROIZMAN 2001). Young people live contradictions between expressed sustainable values and concrete actions. It is often observed that they are aware of sustainable values and practices, but this is not necessarily evident in their attitudes and consumer behavior (LEITNER et al 2011, AUTIO & HEINONEN 2004). This does not necessarily indicate disinterest or lack of responsibility on their part, but the overall picture is so complex and the notions of citizenship and active social participation are so diluted that it might be difficult for young people to imagine themselves playing an active role in the process of transformation towards sustainable ways of living. The young person lives a period of great inner revolution, facing fundamental questions about personal identity, interpersonal relations and definition of a life pathway. Youth live sustainability related to concrete situations in real life, such as choices, decisions, academic and professional direction. A promising strategy would consist in promoting empowerment and autonomy while developing competencies related to sustainability.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
Najla Mouchrek
Empowerment is fundamental in the developing citizenship, because it enables young people to be agents of change and active subjects in problem-solving, developing autonomy and self-esteem.
2.1.2 Competencies to develop and desired outcomes In the search of ways to bridge the aforementioned value-action gap and promote youth engagement in the transition to sustainability, it is fundamental to promote the development of a set of competencies, in order to enable an active and reflective participation among youth (CENTER FOR ECOLITERACY 2006; MOUCHREK 2014, BARTH et al., 2007, FINN et al. 2013): • Critical thinking, reflection and awareness • Creative and foresighted thinking • Ability to apply ethical principles • Empathy and transcultural understanding • Self-knowledge and self-regulation • Autonomy • Problem-solving and decision making in complex scenarios • Participatory skills and ability for taking action Engaging youth in community issues and efforts toward sustainability has important implications both to positive youth development as well as for the community development (BROWNE et al 2011). It is fundamental to provide new frameworks and foster the development of new skills in order to create a culture of sustainability among youth.
2.2 Design as a catalyst for change The practice of Design is changing and there is a growing focus on Design as a process, with designers increasingly being consulted to develop strategies to deal effectively with change and complexity (CASSIM 2013). The field offers a range of potentialities and interfaces for innovative action in the context of the transition towards a sustainable culture and lifestyle. Several authors point out that Design can be a powerful catalyst in this subject, proving to be an effective methodology of intervention (MANZINI 2008). Designers can contribute towards sustainability in many directions: proposing plural solutions and designing new scenarios (KRUCKEN 2008); establishing conditions for a creative context; developing tools, equipment and infrastructure to support promising practices (MALAGUTI 2009); using their knowledge and specific tools to facilitate
convergence towards shared ideas and potential solutions (MANZINI 2008). Innovative perspectives considering Design as a way of knowing and inquiring allow for substantial progress in understanding and tackling complex issues: “thinking like a designer can transform the way you approach the world when imagining and creating new solutions for the future” (RIVERDALE COUNTRY SCHOOL & IDEO, 2011, p. 3). Design shows its potential as a methodology for intervention through a dynamic set of skills, cognitive processes, methodologies and structural aspects (BANERJEE 2008; OWEN 2005; d.SCHOOL 2010): • Applied and creative knowledge field. • Human-centered focus (human values and empathy). • Combination of various cognitive processes. • Iterative method of working (developing concepts on multiple fronts in real context). • Systemic vision. • Synthesis and ability to visualize and communicate possible futures. • Affinity for team work and radical collaboration (culture of creativity and shared vision between different disciplines). At this point, a connection with the skills required to involve young people in the transition to sustainability (as described in the previous section) is clearly observed, reinforcing the idea that Design offers an excellent opportunity for development in this field.
3. METHOD The nature of this research is qualitative; it uses a multi-method approach, using concepts and tools from Design research to combine knowledge from many disciplines. Yee and Bremner (2011) defend the idea that the ‘methodological bricolage’ is the very paradigm of Design research, due to the indeterminate nature of the field and it is also evidence that Design is moving beyond its disciplinary framework, combining, adapting and creating new connections between disciplines. The preliminary phase of the research was developed at Master’s degree level (2012-2014), being considered as an initial approach to the subject, intended to map the context and understand the general characteristics of the issue. The target audience was young people between 14-24 years, especially Design students. The methodology involved exploratory survey (literature review, interviews with experts, survey and cases studies); and experimental application of innovative interaction
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
137
Design-based approaches to engage youth in the transition to sustainability
strategies on 2 different educational settings, based on processes of co-creation in Design. The current phase is in-progress, being developed in the context of a PhD degree, and aimed to advance the research, developing a detailed study on applying Design thinking and Participatory Design in order to establish novel connections and possibilities of intervention on the youth’s engagement with the transition to sustainability. The audience is college students between 18-25 years, and the focus is on the development of empowerment as a key aspect of youth’s engagement with sustainability in the transition to adulthood. This paper summarizes the findings of the exploratory phase at the PhD level, which consisted in: (a) literature review (involving works in diverse disciplinary fields); (b) analysis of context in the light of the theoretical works both in youth development (cognitive and social development aspects) and youth contemporary culture; and (c) ethnographic observation and pilot application of participatory design activities in three undergraduate interdisciplinary courses. The following phases will involve a pilot data collection with survey and semi-structured interviews; and further development of co-design sessions with students.
138
4. FINDINGS Preliminary findings point that Design may be considered as a promising activity to engage youth in sustainability and support their development, since the application of participatory approaches based on co-creation in Design and innovative applications of Design in educational settings offer excellent opportunities for positive intervention in the field.
4.1 Participatory Design with youth Coming from a democratic tradition, Participatory Design processes are well-suited to support innovative approaches to social change and emerge as promising strategies to promote engagement in sustainability among youth. The origins of Participatory Design (PD) date back to movements toward democratization at work in Scandinavian countries in the 1970s. Participatory approaches in Design are guided by the general idea of involving the end-users as full participants in activities leading to design products, services, activities and systems. Typical features are: collective construction of knowledge, mutual learning, prototyping, and iteration. When well-managed, Participatory Design practices produce mutual learning and transformative outcomes
for all participants. The most interesting participatory processes are those that avoid hierarchical positioning and configure participants as agents with voice, resources, and authorship (WRIGHT & MCCARTHY, 2015). Codesign activities encourage systems thinking; enable people to be active participants and suppliers of solutions; reveal new ways and possibilities of doing things; and strengthen the sense of trust and mutual growth (FUAD-LUKE 2010). Considering potential strategies for engaging youth in sustainability, it is noted that: • Participatory Design processes can provide spaces for experimentation, inviting youth to reflect and enact choices in a non-serious, playful environment. • From the perspective of development, Participatory Design processes with young people can offer opportunities for peer interaction, equal participation with adults, exploration of diverse identities, and elaboration of possible futures. • Participatory processes can improve youth’s ability to understand and contribute to (trans)forming their life contexts, exercising skills for protagonism and positive intervention (youth as co-creators of public space). • Open, participatory environments are ideal to enable young people to exercise their critical and creative thinking skills and help them reflect on values and choices and constitute their own principles. Placing Participatory Design activities as opportunities for experimentation contributes to the integral development of young people. Co-creation activities are suited to develop the culture of sustainability among youth, since they contribute to: developing critical thinking to analyze complex problems and find innovative solutions; providing fields of experimentation for students to create solutions from their own resources and motivations; offering a range of tools and forms of intervention they learn collaboratively how to select and apply; developing concrete and action-oriented projects; and establishing a dynamic system, in which feedback and confirmation stimulate new cycles of project and applied action (MOUCHREK 2014).
4.2 Design as strategy for teaching and learning One possible area for intervention lies in the interconnection of Design and Education. It is observed a great congruency between the thinking and making processes in which design professionals engage and the demands today’s students will likely face as adults (DAVIS et al 1997).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
Najla Mouchrek
The current scenario highlights the importance of developing participatory skills of different natures, such as technical, critical, creative and ethical (KAFAI & PEPPLER 2011). Formative processes that include experiences in Design could answer to those needs, promoting opportunities to develop these skills, learning to how to (FONTOURA 2001; DAVIS et al., 1997): use tools and resources to materialize ideas; use strategies such as prototyping, modelling, drawing, planning; work in teams and develop social interaction abilities. Students’ involvement in the Design process can also develop important abilities of “reflection-in-action” (SCHÖN 1987). Considering potential strategies for engaging youth in sustainability, it is noted that: • The integration of designerly ways of thinking in the classroom opens opportunity to develop structured reflection and critical consciousness, both precursors of an intentional and active engagement with sustainability; • If the Design competencies are combined with a discussion focused on sustainability, the impact in the learning process is expanded, allowing students to articulate their values and discuss potential strategies for application; • Introducing tools and strategies from designerly ways of doing in the classroom allows students to learn practical skills that would be useful in their engagement in sustainability and social change in the community (such as graphic design, multimidia, verbal and visual expression, team work etc). As a subject of investigation and a mode of inquiry that makes direct connections with problem solving in daily life, the application of Design thinking and practices in learning experiences offers a genuine promise for preparing students to be thinking, informed citizens who can shape progress in the 21st century (DAVIS et al. 1997).
5. FINAL CONSIDERATIONS Social responsibility, improvement of quality of life and the role of Design in a sustainable and positive future are important considerations to human-centered designers. Therefore, the relationship between youth, engagement in sustainability and its implications for the future should be considered a relevant theme of study, research and development in the field. It matters to investigate the potential processes of learning, socialization and innovation that are able to support and encourage sustainable choices and engagement with social change among young people - and the possible strategies for design-based interventions.
ACKNOWLEDGMENTS The author would like to thank Dr. Lia Krucken and Dr. Mark Benson for the academic support during diverse stages of the research and Dr. Jill Sible (Office of Undergraduate Academic Affairs at Virginia Tech) for the funding support.
REFERENCES AUTIO, M.; HEINONEN, V. To consume or not to consume? Young people’s environmentalism in the affluent Finnish society. Young, v. 12, n. 2, p. 137-153, 2004. BANERJEE, B. Designer as Agent of Change. A Vision for Catalyzing Rapid Change. Changing the Change Conference, Torino, Italy, 2008. BARR, S.; GILG, A. Environmental communication and the cultural politics of environmental citizenship. Environment and Planning A. 30: 1445–1460, 1998. doi:10.1068/a301445. BLAKE, J. Overcoming the ‘value–action gap’ in environmental policy: tensions between national policy and local experience, Local Environment, 4(3), pp. 257– 278, 1999. doi:10.1080/ 13549839908725599. BROWNE, L., GARST, B., & BIALESCHKI, M. Engaging Youth in Environmental Sustainability: Impact of the Camp 2 Grow Program. Journal Of Park And Recreation Administration, 29(3), 2011. Available at http://js.sagamorepub.com/jpra/article/view/2256. CASSIM, F. Hands on, hearts on, minds on: design thinking within an education context. International Journal of Art & Design education, 32(2), 190-202, 2013. CENTER FOR ECOLITERACY. Education for Sustainabiity – Competences, 2006. Available at: http:// www.ecoliteracy.org/education/competences.html. d. SCHOOL. Bootcamp Bootleg. Institute of Design at Stanford University, 2010. Available at http://dschool. typepad.com/files/bootcampbootleg2010v2slim-1.pdf. DAVIS, M., HAWLEY, P., MCMULLAN, B. & SPILKA, G. Design as a Catalyst for Learning. Alexandria: Association for Supervision and Curriculum Development, 1997.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
139
Design-based approaches to engage youth in the transition to sustainability
DUXBURY, N., & GILLETTE, E. Culture as a key dimension of sustainability: Exploring concepts, themes, and models. Centre of Expertise on Culture and Communities, 2007. FINN, T., CENNAMO, K., BAUM, L. & NEWBILL, P. Creative Collaboration: Trans-disciplinary Methods to Enhance Critical and Creative Thinking. In Society for Information Technology & Teacher education International Conference (Vol. 2012, pp. 2781-2785), 2012. FONTOURA, A. M. EdaDe: a educação de crianças e jovens através do Design. Tese (Doutorado em Engenharia de Produção). Universidade Federal de Santa Catarina. Florianópolis, Brasil, 2002. FUAD-LUKE, A. Co-creation loop. Interview to Gina Lovett (online), 2010. Available at: http://marciodupont. blogspot.com/2010/02/entrevista-com-o-alastair-fuadluke.html. JACKSON, T. Motivating Sustainable Consumption: A Review of Evidence on Consumer Behaviour and Behavioural Change. A report to the Sustainable Development Research Network. London: SDRN, 2005.
140
KAFAI, Y. & PEPPLER, K. Youth, Technology, and DIY: Developing Participatory Competencies in Creative Media Production. In V. L. Gadsden, S. Wortham, and R. Lukose (Eds.), Youth Cultures, Language and Literacy. Review of Research in Education, 35(1), pp. 89-119, 2011. KOLLMUSS, A. & AGYEMAN, J. Mind the Gap: Why do people act environmentally and what are the barriers to pro-environmental behavior?, Environmental Education Research, 8:3, 239-260, 2002. doi: 10.1080/13504620220145401. KRUCKEN, L. Competências para o Design na sociedade contemporânea. In: Cadernos de Estudos Avançados em Design Sustentabilidade - Transversalidade. 1 ed. Belo Horizonte: Santa Clara, v. 1, 2008. LEITNER, M.; CHRISTANELL, A.; BERTSCH, C.; BRUNNER, K. My life – my style – my future. Nachhaltige Lebensstile und jugendliche Lebenswirklichkeiten. Final report. Vienna: Institute for Sustainable Development, 2011.
Avançados em Design Sustentabilidade I. 1 ed. Barbacena: EdUEMG, v.1, 2009. MANZINI, E. Design para a inovação social e sustentabilidade: comunidades criativas organizações colaborativas e novas redes projetuais. Rio de Janeiro: Cadernos do Grupo de Altos Estudos, v. 1, 2008. MOUCHREK, N. Estratégias e competências de Design para promover a cultura de sustentabilidade entre jovens. Dissertação (Mestrado). Escola de Design, Programa de Pós-Graduação em Design da Universidade do Estado de Minas Gerais, Belo Horizonte, Brasil, 2014. OWEN, C. L. Design Thinking. What It Is. Why It Is Different. Where It Has New Value. Life and Design in the Future Conference, Keynote address. South Korea, 2005. RIVERDALE COUNTRY SCHOOL & IDEO. Design Thinking for Educators. New York, 2011. Available at http://www.designthinkingforeducators.com. ROIZMAN, L. G. Sustentabilidade e ética ecológica: valores, atitudes e a formação ambiental de educadores. Tese de Doutorado. Universidade de São Paulo, 2001. SAMMER, K.; WÜSTENHAGEN R. The Influence Of Eco-Labelling On Consumer Behaviour – Results Of A Discrete Choice Analysis For Washing Machines. Business Strategy and the Environment Special Issue: Sustainability Marketing. 15 (2): 185–199, 2006. SCHÖN, D. A. Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. San Francisco, CA, 1987. WRIGHT, P., & MCCARTHY, J. The politics and aesthetics of participatory HCI. Interactions, 22(6), 26-31, 2015. YEE, J. & BREMNER, C. Methodological bricolage: What does it tell us about design? In: Doctoral Design education Conference, 23-25 May 2011, Hong Kong Polytechnic, Hong Kong, 2011.
MALAGUTI, C.S. Design e valores materializados cultura, ética e sustentabilidade. In: Cadernos de Estudos
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
ARTIGOS
ABORDAGENS DE DESIGN PARA ENGAJAR OS JOVENS NA TRANSIÇÃO PARA SUSTENTABILIDADE DESIGN-BASED APPROACHES TO ENGAGE YOUTH IN THE TRANSITION TO SUSTAINABILITY Najla Mouchrek, PhD (Virginia Tech) Palavras Chave Design para Sustentabilidade; Jovens; Engajamento; Cultura; Design Participativo
Key Words Design for Sustainability; Youth, Engagement; Culture; Participatory Design
RESUMO Esta pesquisa visa investigar como a integração do pensamento de Design e técnicas de Design Participativo em experiências educativas pode promover engajamento em sustentabilidade e comportamento pró-ambiente entre jovens. O potencial do Design para apoiar a cultura de sustentabilidade entre os jovens, reduzindo o gap entre valores e prática em relação ao comportamento pró-ambiente e desenvolvendo competências em sustentabilidade é investigado. A pesquisa utiliza uma abordagem multi-métodos. O artigo sumariza os resultados da fase exploratória da pesquisa, que consistiu em revisão de literatura, análise de contexto, observação etnográfica e aplicação piloto de atividades de Design Participativo em disciplinas de graduação. Resultados preliminares demonstram que abordagens participativas baseadas em Design integradas a contextos pedagógicos oferecem excelentes oportunidades de intervenção positiva para, ao mesmo tempo, engajar jovens em sustentabilidade e apoiar seu desenvolvimento.
ABSTRACT This research aims to study how the integration of design thinking and participatory design applied to education experiences can promote engagement in sustainability and pro-environmental behavior among young students. The potential of Design to support the culture of sustainability among youth, bridging the value-action gap in pro-environmental behavior and developing sustainable competencies is investigated. The research uses a multi-method approach. This paper summarizes the findings of the exploratory phase consisting in literature review, context analysis, ethnographic observation and pilot application of Participatory Design activities in undergraduate courses. Preliminary findings show that design-based participatory approaches integrated in educational settings offer excellent opportunities to positive intervention to both engage youth in sustainability and support their development.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.xx-xx | nov. | 2017
141
Abordagens de design para engajar os jovens na transição para sustentabilidade
1. INTRODUÇÃO No atual contexto socio-econômico-ambiental, é cada vez mais importante investir na promoção da cultura de sustentabilidade entre os jovens, desenvolvendo processos e estratégias de interação para criar “contextos de mudança”. Como Autio e Heinonen (2004, p.150) enfatizam: “os jovens precisam refletir sobre o futuro do mundo e qual é o significado de ‘uma vida boa’ para eles. Eles são os futuros consumidores, produtores e agentes de mudança” . Esta pesquisa pretende estudar como a integração do pensamento de Design e do Design Participativo aplicados a experiências educativas pode promover o engajamento em sustentabilidade e comportamento pró-ambiente entre jovens estudantes.
2. FUNDAMENTAÇÃO TEÓRICA 2.1 Cultura de Sustentabilidade entre jovens
142
O conceito de sustentabilidade abrange várias dimensões: social, cultural, ecológica, ambiental, territorial, econômica e política. O presente estudo tem foco nas dimensões sócio-cultural e educativa. O termo “cultura de sustentabilidade” refere-se à necessidade e à centralidade de uma mudança cultural em como indivíduos e sociedade abordam questões econômicas, sociais e ambientais (DUXBURY & GILLETTE 2007). A transição para a sustentabilidade constitui um processo de aprendizagem social, que deve redirecionar os estilos de vida e os conceitos de bem-estar visando a qualidade de vida como um todo (MANZINI 2008). Duxbury e Gillette destacam a importância de envolver jovens em discussões de sustentabilidade: "envolver os jovens em programas educacionais sobre formas culturais, sociais, ambientais e econômicas de sustentabilidade pode ajudar a fornecer-lhes uma visão mais otimista e sustentável do futuro" (DUXBURY & GILLETTE 2007, p. 11).
Os jovens são o núcleo do nosso presente e os principais atores no futuro. É especialmente em relação às novas gerações que as mudanças em direção a estilos de vida mais saudáveis, integrados e sustentáveis são fundamentais.
PORTUGUÊS
2.1.1 Gap entre valores e práticas em relação ao comportamento pro-ambiental O processo de mudança de comportamento em direção à sustentabilidade e ao engajamento social é complexo, não corresponde a um modelo linear em que o conhecimento ecológico levaria à conscientização e isto
diretamente à ação. Observa-se um gap entre valores e práticas nesses processos, com barreiras à mudança de comportamento (ROIZMAN 2001; BLAKE 1999; KOLLMUSS & AGYEMAN 2002). Superar esse gap levaria a uma mudança fundamental no comportamento em direção à sustentabilidade. Embora alguns autores atribuam o gap entre valores e práticas à falta de informações apropriadas (BLAKE 1999), outros autores afirmam que o gap não será superado simplesmente pelo aumento da informação (BARR & GILG 2002; SAMMER & WÜSTENHAGEN 2006; ROIZMAN 2001; MOUCHREK 2014 LEITNER et al 2011; AUTIO & HEINONEN 2004). Existem várias outras barreiras, que podem ser pessoais, práticas, estruturais e/ou sociais (JACKSON 2005; BLAKE 1999) Existem vários modelos teóricos que visam explicar o gap entre valores e práticas no comportamento pró-ambiente e propor estratégias para superar essa lacuna. Gostaríamos de destacar o modelo de Kollmuss & Agyeman (2002), que enumera os seguintes aspectos: • Fatores demográficos • Fatores externos (institucionais, econômicos, sociais e culturais) • Fatores internos (motivação, conhecimento e consciência ambiental, envolvimento emocional, locus de controle, responsabilidade e prioridades Especialmente em relação aos jovens, é importante considerar fatores como normas sociais, motivação e envolvimento emocional. Nesta fase, o contexto social e cultural pode atuar como barreira ou facilitador de um comportamento sustentável (ROIZMAN 2001). Os jovens vivem contradições entre valores sustentáveis expressos e ações concretas. Muitas vezes observa-se que eles estão conscientes de valores e práticas sustentáveis, mas isso não é necessariamente evidente em suas atitudes e seu comportamento de consumo (LEITNER et al 2011, AUTIO & HEINONEN 2004). Isso não indica necessariamente desinteresse ou falta de responsabilidade de sua parte, mas o quadro geral é tão complexo e as noções de cidadania e participação social ativa são tão diluídas que pode ser difícil para os jovens se imaginarem desempenhando um papel ativo na processo de transformação para modos de vida sustentáveis. O jovem vive um período de grande revolução interior, enfrentando questões fundamentais sobre identidade pessoal, relações interpessoais e definição de um caminho de vida. Os jovens vivem a sustentabilidade relacionada a situações concretas na vida real, como escolhas,
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
Najla Mouchrek
decisões, orientação acadêmica e profissional. Uma estratégia promissora consistiria em promover o empoderamento e a autonomia ao desenvolver competências relacionadas à sustentabilidade. O empoderamento é fundamental no desenvolvimento da cidadania, porque permite que os jovens sejam agentes de mudança e sujeitos ativos na resolução de problemas, desenvolvendo autonomia e auto-estima.
2.1.2 Competências a desenvolver e resultados desejados Em busca de caminhos para superar a lacuna entre valores e práticas e promover o engajamento dos jovens na transição para sustentabilidade, é fundamental promover o desenvolvimento de um conjunto de competências, para permitir a participação ativa e reflexiva dos jovens (CENTER FOR ECOLITERACY 2006; MOUCHREK 2014, BARTH et al., 2007, FINN et al. 2013): • Pensamento crítico, reflexão e conscientização • Pensamento criativo e prospectivo • Habilidade para aplicar princípios éticos • Empatia e compreensão transcultural • Auto-conhecimento e auto-regulação • Autonomia • Solução de problemas e tomada de decisões em cenários complexos • Habilidades participativas e práticas Engajar os jovens em questões comunitárias e em esforços em direção à sustentabilidade tem importantes implicações tanto para o seu desenvolvimento individual quanto para o desenvolvimento da comunidade. (BROWNE et al 2011). É fundamental prover novos quadros de ação e promover o desenvolvimento de novas habilidades para criar uma cultura de sustentabilidade entre jovens.
2.2 Design enquanto um catalisador de mudanças
143
Nesse ponto, é claramente observada uma conexão com as habilidades necessárias para envolver os jovens na transição para a sustentabilidade (conforme descrito na seção anterior), reforçando a idéia de que o Design oferece uma excelente oportunidade de desenvolvimento neste campo.
3. MÉTODOS A natureza desta pesquisa é qualitativa, em uma abordagem multi-métodos que utiliza conceitos e ferramentas da pesquisa de design para combinar conhecimento de diversas disciplinas. Yee e Bremner (2011) defendem a idéia de que a “bricolagem metodológica” é o próprio paradigma da pesquisa do Design, devido à natureza indeterminada do campo e também é evidência de que o
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
PORTUGUÊS
A prática do Design está mudando e há um foco crescente no Design como um processo, com os designers sendo cada vez mais consultados para desenvolver estratégias para lidar efetivamente com mudança e complexidade (CASSIM 2013). O campo oferece uma gama de potencialidades e interfaces para ações inovadoras no contexto da transição para uma cultura e um estilo de vida sustentáveis. Vários autores apontam que o Design pode ser um catalisador poderoso neste campo, provando ser uma
metodologia efetiva de intervenção (MANZINI 2008). Os designers podem contribuir para a sustentabilidade em muitas direções: proporndo soluções plurais e projetando novos cenários (KRUCKEN 2008); estabelecendo condições para um contexto criativo; desenvolvendo ferramentas, equipamentos e infra-estrutura para apoiar práticas promissoras (MALAGUTI 2009); usando seus conhecimentos e ferramentas específicas para facilitar convergência em direção a idéias compartilhadas e soluções potenciais (MANZINI 2008). Perspectivas inovadoras que consideram o Design como uma forma de conhecimento e pesquisa permitem um progresso substancial na compreensão e abordagem de questões complexas: “pensar como um designer pode transformar a maneira como você se aproxima do mundo ao imaginar e criar novas soluções para o futuro” (RIVERDALE COUNTRY SCHOOL & IDEO, 2011, p.3). Design mostra seu potencial como metodologia de intervenção através de um conjunto dinâmico de habilidades, processos cognitivos, metodologias e aspectos estruturais (BANERJEE 2008; OWEN 2005; d.SCHOOL 2010): • Campo de conhecimento aplicado e criativo • Foco centrado no ser humano (valores humanos e empatia). • Combinação de vários processos cognitivos. • Método iterativo de trabalho (desenvolvimento de conceitos em frentes múltiplas e em contexto real). • Visão sistêmica. • Síntese e capacidade de visualizar e comunicar possíveis futuros. • Afinidade pelo trabalho em equipe e colaboração (cultura de criatividade e visão compartilhada entre diferentes disciplinas).
Abordagens de design para engajar os jovens na transição para sustentabilidade
144
Design vai além do seu quadro disciplinar, combinando, adaptando e criando novas conexões entre disciplinas. A fase preliminar da pesquisa foi desenvolvida no nível de Mestrado (2012-2014), sendo considerada como uma abordagem inicial do assunto, destinada a mapear o contexto e a compreender as características gerais da questão. O público-alvo consistiu de jovens entre 14 e 24 anos, especialmente estudantes de Design. A metodologia envolveu pesquisa exploratória (revisão da literatura, entrevistas com especialistas, pesquisa e estudos de casos); e aplicação experimental de estratégias de interação inovadoras em dois contextos educativos diferentes, com base em processos de co-criação em Design. A fase atual está em progresso, sendo desenvolvida no contexto de um programa de doutorado e visando avançar a pesquisa, incluindo um estudo detalhado sobre a aplicação de pensamento de Design e Design Participativo a fim de estabelecer novas conexões e possibilidades de intervenção para o engajamento dos jovens na transição para a sustentabilidade. A audiência consiste em estudantes universitários de 18 a 25 anos e o foco é o empoderamento como um aspecto fundamental do envolvimento dos jovens com a sustentabilidade na transição para a idade adulta. Este artigo resume os resultados da fase exploratória no nível de doutorado, que consistiu em: (a) revisão da literatura (envolvendo trabalhos em diversos campos disciplinares); (b) análise de contexto à luz dos trabalhos teóricos tanto em desenvolvimento humano (aspectos de desenvolvimento cognitivo e social) quanto em cultura juvenil contemporânea; (c) observação etnográfica e aplicação piloto de atividades de Design Participativo em três cursos interdisciplinares de graduação. As seguintes fases envolverão uma coleta de dados piloto incluindo questionários e entrevistas semi-estruturadas; e desenvolvimento de sessões de co-design com estudantes.
4. CONCLUSÕES Os resultados preliminares apontam que o Design pode ser considerado uma atividade promissora para engajar os jovens na sustentabilidade e apoiar seu desenvolvimento, uma vez que a aplicação de abordagens participativas baseadas na co-criação em Design e aplicações inovadoras de Design em ambientes educacionais oferecem excelentes oportunidades de intervenção positiva nesses campos.
PORTUGUÊS
4.1 Design Participativo com jovens Originados a partir da tradição democrática, os processos de Design Participativo são adequados para apoiar
abordagens inovadoras buscando mudanças sociais, emergindo como estratégias promissoras para promover o engajamento dos jovens em relação à sustentabilidade. As origens do Design Participativo datam dos movimentos para a democratização no trabalho promovidos nos países escandinavos na década de 1970. As abordagens participativas no Design são orientadas pela idéia geral de envolver os usuários finais como participantes em atividades que conduzem a produtos, serviços, atividades e sistemas de Design. Características típicas são: construção coletiva de conhecimento, aprendizagem mútua, prototipagem e iteração. Quando bem gerenciados, as processos de Design Participativo produzem aprendizado mútuo e resultados transformadores para todos os participantes. Os processos participativos mais interessantes são aqueles que evitam o posicionamento hierárquico e que configuram os participantes como agentes com voz, recursos e autoria (WRIGHT & MCCARTHY, 2015). As atividades de co-design incentivam o pensamento sistêmico; permitem que as pessoas sejam participantes ativas e fornecedoras de soluções; revelam novos modos e possibilidades de fazer as coisas; e fortalecem o senso de confiança e crescimento mútuo (FUAD-LUKE 2010). Considerando estratégias potenciais para envolver os jovens em sustentabilidade, nota-se que: • Processos de Design Participativo podem fornecer espaços para experimentação, convidando jovens a refletir e encenar escolhas em um ambiente lúdico e descontraído. • Do ponto de vista do desenvolvimento, os processos de Design Participativo com jovens podem oferecer oportunidades para interação entre pares, participação igualitária com adultos, exploração de diversas identidades e elaboração de futuros possíveis. • Os processos participativos podem melhorar a capacidade dos jovens de compreender e contribuir para (trans) formar seus contextos de vida, exercitar habilidades para protagonismo e intervenção positiva (jovens como co-criadores do espaço público). • Os ambientes abertos e participativos são ideais para permitir que os jovens exerçam suas habilidades de pensamento crítico e criativo, reflitam sobre valores e escolhas e constituam seus próprios princípios. Posicionar atividades de Design Participativo como oportunidades de experimentação contribui para o desenvolvimento integral dos jovens. As atividades de co-criação são propícias para desenvolver a cultura da sustentabilidade entre os jovens, pois contribuem para: desenvolver o pensamento crítico para
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
Najla Mouchrek
analisar problemas complexos e encontrar soluções inovadoras; fornecer campos de experimentação para que os alunos criem soluções a partir de seus próprios recursos e motivações; oferecer uma variedade de ferramentas e formas de intervenção que os estudantes aprendem de forma colaborativa como selecionar e aplicar; desenvolver projetos concretos e orientados para a ação; e estabelecer um sistema dinâmico, no qual feedback e confirmação estimulam novos ciclos de projeto e ação aplicada (MOUCHREK 2014).
4.2 Design como estratégia de aprendizado
5. CONSIDERAÇÕES FINAIS Responsabilidade social, melhoria da qualidade de vida e o papel do Design em um futuro sustentável e positivo são considerações importantes para os designers centrados no ser humano. Portanto, a relação entre a juventude, seu envolvimento na sustentabilidade e suas implicações para o futuro deve ser considerada um tema relevante de estudo, pesquisa e desenvolvimento no campo. É importante investigar os processos potenciais de aprendizagem, socialização e inovação capazes de apoiar e encorajar escolhas sustentáveis e o envolvimento com a mudança social entre os jovens - e as possíveis estratégias para intervenções baseadas em design.
AGRADECIMENTOS A autora gostaria de agradecer a Dra. Lia Krucken e o Dr. Mark Benson pelo apoio acadêmico durante diversas etapas da pesquisa e a Dr. Jill Sible (Office of Undergraduate Academic Affairs at Virginia Tech) pelo apoio financeiro à pesquisa.
145
REFERÊNCIAS AUTIO, M.; HEINONEN, V. To consume or not to consume? Young people’s environmentalism in the affluent Finnish society. Young, v. 12, n. 2, p. 137-153, 2004. BANERJEE, B. Designer as Agent of Change. A Vision for Catalyzing Rapid Change. Changing the Change Conference, Torino, Italy, 2008. BARR, S.; GILG, A. Environmental communication and the cultural politics of environmental citizenship. Environment and Planning A. 30: 1445–1460, 1998. doi:10.1068/a301445. BLAKE, J. Overcoming the ‘value–action gap’ in environmental policy: tensions between national policy and local experience, Local Environment, 4(3), pp. 257– 278, 1999. doi:10.1080/ 13549839908725599.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
PORTUGUÊS
Uma área possível para intervenção reside na interconexão de Design e Educação. Observa-se uma grande congruência entre os processos de pensamento e de criação em que os profissionais de design se envolvem e as demandas que os estudantes de hoje provavelmente enfrentarão como adultos (DAVIS et al 1997). O cenário atual destaca a importância de desenvolver habilidades participativas de natureza técnica, crítica, criativa e ética (KAFAI e PEPPLER 2011). Os processos formativos que incluem experiências em Design podem responder a essas necessidades, promovendo oportunidades para desenvolver essas habilidades, aprendendo como (FONTOURA 2001; DAVIS et al., 1997): usar ferramentas e recursos para materializar idéias; aplicar estratégias como prototipagem, modelagem, desenho, planejamento; trabalhar em equipes e desenvolver habilidades de interação social. O envolvimento dos alunos no processo de Design também pode desenvolver habilidades importantes de “reflexão-em-ação” (SCHÖN, 1987). Considerando estratégias potenciais para envolver os jovens em sustentabilidade, nota-se que: • A integração de técnicas baseadas no pensamento de Design na sala de aula abre oportunidades para desenvolver reflexão estruturada e consciência crítica, ambas precursoras de um envolvimento intencional e ativo com a sustentabilidade; • Se as competências de Design são combinadas a uma discussão focada em sustentabilidade, o impacto no processo de aprendizagem é expandido, permitindo que os alunos articulem seus valores e discutam estratégias potenciais de aplicação; • Introduzir ferramentas e estratégias baseadas em métodos e práticas de Design na sala de aula permite que os alunos aprendam habilidades práticas úteis em seu engajamento na sustentabilidade e mudanças sociais na comunidade (como design gráfico, multimídia, expressão verbal e visual, trabalho em equipe, etc. ).
Como um tema de estudo e um método de pesquisa que faz conexões diretas com a resolução de problemas na vida cotidiana, a aplicação do pensamento e das práticas do Design em experiências de aprendizagem oferece uma possibilidade genuína de preparar estudantes para serem cidadãos autnônomos, informados e com pensamento crítico para moldar o progresso no século XXI (DAVIS et al., 1997).
Abordagens de design para engajar os jovens na transição para sustentabilidade
BROWNE, L., GARST, B., & BIALESCHKI, M. Engaging Youth in Environmental Sustainability: Impact of the Camp 2 Grow Program. Journal Of Park And Recreation Administration, 29(3), 2011. Available at http://js.sagamorepub.com/jpra/article/view/2256.
KAFAI, Y. & PEPPLER, K. Youth, Technology, and DIY: Developing Participatory Competencies in Creative Media Production. In V. L. Gadsden, S. Wortham, and R. Lukose (Eds.), Youth Cultures, Language and Literacy. Review of Research in Education, 35(1), pp. 89-119, 2011.
CASSIM, F. Hands on, hearts on, minds on: design thinking within an education context. International Journal of Art & Design education, 32(2), 190-202, 2013.
KOLLMUSS, A. & AGYEMAN, J. Mind the Gap: Why do people act environmentally and what are the barriers to pro-environmental behavior?, Environmental Education Research, 8:3, 239-260, 2002. doi: 10.1080/13504620220145401.
CENTER FOR ECOLITERACY. Education for Sustainabiity – Competences, 2006. Available at: http:// www.ecoliteracy.org/education/competences.html. d. SCHOOL. Bootcamp Bootleg. Institute of Design at Stanford University, 2010. Available at http://dschool. typepad.com/files/bootcampbootleg2010v2slim-1.pdf.
146
DAVIS, M., HAWLEY, P., MCMULLAN, B. & SPILKA, G. Design as a Catalyst for Learning. Alexandria: Association for Supervision and Curriculum Development, 1997.
LEITNER, M.; CHRISTANELL, A.; BERTSCH, C.; BRUNNER, K. My life – my style – my future. Nachhaltige Lebensstile und jugendliche Lebenswirklichkeiten. Final report. Vienna: Institute for Sustainable Development, 2011.
DUXBURY, N., & GILLETTE, E. Culture as a key dimension of sustainability: Exploring concepts, themes, and models. Centre of Expertise on Culture and Communities, 2007.
MALAGUTI, C.S. Design e valores materializados cultura, ética e sustentabilidade. In: Cadernos de Estudos Avançados em Design Sustentabilidade I. 1 ed. Barbacena: EdUEMG, v.1, 2009.
FINN, T., CENNAMO, K., BAUM, L. & NEWBILL, P. Creative Collaboration: Trans-disciplinary Methods to Enhance Critical and Creative Thinking. In Society for Information Technology & Teacher education International Conference (Vol. 2012, pp. 2781-2785), 2012.
MANZINI, E. Design para a inovação social e sustentabilidade: comunidades criativas organizações colaborativas e novas redes projetuais. Rio de Janeiro: Cadernos do Grupo de Altos Estudos, v. 1, 2008.
FONTOURA, A. M. EdaDe: a educação de crianças e jovens através do Design. Tese (Doutorado em Engenharia de Produção). Universidade Federal de Santa Catarina. Florianópolis, Brasil, 2002. FUAD-LUKE, A. Co-creation loop. Interview to Gina Lovett (online), 2010. Available at: http://marciodupont. blogspot.com/2010/02/entrevista-com-o-alastair-fuad-luke.html. JACKSON, T. Motivating Sustainable Consumption: A Review of Evidence on Consumer Behaviour and Behavioural Change. A report to the Sustainable Development Research Network. London: SDRN, 2005.
PORTUGUÊS
KRUCKEN, L. Competências para o Design na sociedade contemporânea. In: Cadernos de Estudos Avançados em Design Sustentabilidade - Transversalidade. 1 ed. Belo Horizonte: Santa Clara, v. 1, 2008.
MOUCHREK, N. Estratégias e competências de Design para promover a cultura de sustentabilidade entre jovens. Dissertação (Mestrado). Escola de Design, Programa de Pós-Graduação em Design da Universidade do Estado de Minas Gerais, Belo Horizonte, Brasil, 2014. OWEN, C. L. Design Thinking. What It Is. Why It Is Different. Where It Has New Value. Life and Design in the Future Conference, Keynote address. South Korea, 2005. RIVERDALE COUNTRY SCHOOL & IDEO. Design Thinking for Educators. New York, 2011. Available at http://www.designthinkingforeducators.com. ROIZMAN, L. G. Sustentabilidade e ética ecológica: valores, atitudes e a formação ambiental de educadores. Tese de Doutorado. Universidade de São Paulo, 2001.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
Najla Mouchrek
SAMMER, K.; WÜSTENHAGEN R. The Influence Of Eco-Labelling On Consumer Behaviour – Results Of A Discrete Choice Analysis For Washing Machines. Business Strategy and the Environment Special Issue: Sustainability Marketing. 15 (2): 185–199, 2006. SCHÖN, D. A. Educating the reflective practitioner: Toward a new design for teaching and learning in the professions. San Francisco, CA, 1987. WRIGHT, P., & MCCARTHY, J. The politics and aesthetics of participatory HCI. Interactions, 22(6), 26-31, 2015. YEE, J. & BREMNER, C. Methodological bricolage: What does it tell us about design? In: Doctoral Design education Conference, 23-25 May 2011, Hong Kong Polytechnic, Hong Kong, 2011.
147
PORTUGUÊS
Mix Sustentável | Florianópolis | v.3 | n.4 | p.135-147 | nov. | 2017
ARTICLES
SUSTAINABLE PRODUCT SERVICE SYSTEMS DESIGN: TOOLS FOR STRATEGIC ANALYSIS PROJETO SUSTENTÁVEL DE SISTEMAS DE SERVIÇOS DE PRODUTOS: FERRAMENTAS PARA ANÁLISE ESTRATÉGICA Aguinaldo dos Santos, Dr. (UFPR) Naotake Fukushima, M.Sc. (UFPR) Key Words PSS design; Strategic analysis; Service design; Strategic design; Tools; Method
Palavras Chave Design PSS; Análise estratégica; Design de serviço; Design estratégico; Ferramentas; Método
ABSTRACT The present paper discusses the tools for phase of Strategic Analysis for the process of Sustainable Product-Service System Design. It explores the cumulative experience obtained at the Design & Sustainability Research Center of UFPR, on case studies developed with companies on the period between 2006 to 2016. When compared with the MSDS Method the case studies presented a stronger emphasis on tools derived from administration (ex: Ansoff matrix, BCG matrix, Canvas, SWOT chart, Slack matrix, Polarity Diagram) and, very importantly, from the service design community (ex: bluepring, customer journey, touchpoint matrix).
RESUMO O presente artigo discute as ferramentas para a fase de Análise Estratégica para o processo de Design Sustentável do Produto-Serviço. Ele explora a experiência cumulativa obtida no Centro de Pesquisa de Design e Sustentabilidade da UFPR, em estudos de caso desenvolvidos com empresas no período entre 2006 a 2016. Quando comparado com o Método MSDS, os estudos de caso apresentaram maior ênfase nas ferramentas derivadas da administração (ex : Matriz Ansoff, matriz BCG, tela, gráfico SWOT, matriz frouxa, Diagrama de polaridade) e, muito importante, da comunidade de design de serviços (ex: bluepring, jornada do cliente, matriz de ponto de contato).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
149
Sustainable product service systems design: tools for strategic analysis
1. INTRODUCTION
150
Moving our society to more sustainable patterns of consumption and production has several possible strategies, from the mere revision of material flows on the supply chain or redesign of existing products to the design of product-service systems or changes in life style. Such strategies often demand and result on technological innovations (e.g.: new materials, new ICT protocols) as well as social innovations (e.g.: initiatives of creative communities), or a combination of both on socio-technical innovations (e.g.: distributed approaches for production). There is a reasonable consolidated body of knowledge on methods and tools for designing artefacts, which is widely used across the Design schools around the world. Such knowledge is increasingly being repositioned and redirected towards sustainability goals. However, when dealing with more complex issues such as product-service systems or new life style scenarios the body of knowledge is still evolving. A clear indicator of such situation is the reduced amount of didactic material available to lecturers on Design schools. It is within this context that it was implemented the LeNSin Project (the International Learning Network of networks on Sustainability (2015-2018)). It is an EU-supported (ERASMUS+) project involving 36 universities from Europe, Asia, Africa, South America and Central America, aiming at the promotion of a new generation of designers (and design educators) capable to effectively contribute to the transition towards a sustainable society for all. The main ambition of LeNSin Project is the internationalisation, intercultural cross-fertilisation and accessibility of higher education on Design for Sustainability (DfS). The project focuses on Sustainable Product-Service Systems (S.PSS) and Distributed Economies (DE) – considering both as promising models to couple environmental protection with social equity, cohesion and economic prosperity – applied in different contexts around the world. LeNSin connects a multi-polar network of Higher Education Institutions adopting and promoting a learning-by-sharing knowledge generation and dissemination, with an open and copyleft ethos (LeNSin, 2017). In order to contribute with the goals of the LeNSin Project this article presents a set of propositions on Methods and Tools for Product Service System Design, focusing on the Strategic Phase. The propositions come after several case studies developed at the Design & Sustainability Research Centre, in partnership with different companies profiles, on the period between 2005 and 2016. The paper compares the propositions against the
methods and tools proposed by VanHalen, Vezzoli and Wimmer (2005) and PDPNet reference model described in Amaral & Rozenfeld (2007).
2. THE STRATEGY PHASE IN PSS DESIGN 2.2 The PDPNet Model Perspective At the Design & Sustainability Research Center the general structure for the development of product-service systems adopts the propositions of the PDPNet reference model. This model was devised by a network of research groups and professionals from the field of product development management, depicting best practices for managing the product development processes. It is equivalent to a Body of Knowledge (BOK) on product development, arranged in phases. It presents phases and activities and several practices and methods available in the field, integrating the best available practices and elucidating them in detail irrespective of the company’s evolution level (AMARAL & ROZENFELD, 2007). PDPNet is divided into three macro-phases: pre-development, development and postdevelopment. Each macro-phase is divided into phases, activities and tasks. Figure 1 represents macro-phases, phases and support processes. Figure 1. Macro-phases and phases of PDPNet process reference model (source: Amaral & Rozenfeld, 2007).
The Strategic Phase on the PDPNet Model occurs on the “Pre-development macro-phase (blue)”, linking the projects developed by the organization and its goals. In the case of companies this phase deals with the Corporation or Business Unit Strategic Plan deployments on project portfolio, with the evaluation and track of selected projects.
2.2 The MSDS Model Perspective According to Vezzoli et al., (2014) the MSDS (Method for System Design for Sustainability) was devised to support and orient the entire process of system innovation
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
Agnaldo dos Santos
development towards sustainability. It was conceived for designers and companies but is also appropriate for public institutions and NGOs. It can be used by an individual designer or by a wider design team. In all cases special attention has been paid to facilitating co-designing processes both within the organisation itself (between people from different disciplinary backgrounds) and outside, bringing different socio-economic actors and end-users into play. The method is organised in stages, processes and sub-processes. Like the PDPNet Model it is characterised by a flexible modular structure so that it can easily be adapted to the specific needs of designers /companies and to diverse design contexts and conditions. Its modular structure includes procedures, tools, allowing to choose which dimension of sustainability to operate and the integration of design tools that have not been specifically developed for it. It is also possible to modify existing activities or add new ones according to the particular requirements of the design project (VEZZOLI et al, 2014):. The basic structure of MSDS consists of four main stages: a) Strategic analysis; b) Exploring opportunities c) Designing system concepts; d) Designing (and engineering) a system. A Communication stage can be added, across the others, of drawing up documents to report on the sustainability characteristics of the solution designed (VEZZOLI et al, 2014). The aim of the Strategic Analysis phase is to obtain the information necessary to facilitate the generation of sustainable system innovation ideas. According to Vezzoli et al., (2014) in order to achieve this goal the method requires analysis of the project proposers; outline the intervention context; the context of reference; the carrying structure of the system; cases of sustainable best practice; sustainability of existing system; priorities for the design intervention in view of sustainability; sufficiency need assessment. The aim of the first part of the method is to collect and process all the background information necessary to the generation of a set of potentially sustainable ideas. On one hand the goal is to understand the existing situation and find out more about the project proposers, the socio-economic context in which they operate and the dynamics (socio-economic, technological and cultural macro-trends) that influence that context; on the other hand, the goal is to process information by which to steer the designing process towards the generation of promising solutions (VEZZOLI et al, 2014). a) Defining the context of intervention and analysing the project proposers: regardless the type or organization,
the aim of this activity is first and foremost to define the scope of the design intervention, or rather the demand for well-being to be met (e.g. provide clean clothes). At this point the characteristics of the project proposers are examined carefully: their ‘mission’, their main areas of expertise, their strength and weaknesses, opportunities and threats, in relation to the area of intervention. In addition, particularly if the proposer is a company, the value chain will be analysed to understand how this is structured, what are the key stakeholders, what problems (environmental, socio-ethic and economic) may be met. Key questions include (VEZZOLI et al, 2014): • What is the demand to be met? • What are the key areas of expertise of the project promoters? • What are their main strengths and weaknesses? • Who are the main actors? What is the relationship between/among them? • What are the main environmental, socio-ethical and economic problems associated with the value chain? • What is the value for the client and/or end user? b) Analysing the context of reference: the aim of this activity is to analyse the context, or rather the socio-technical regime, of which the new innovation will become a part. First of all, the structure of the production and consumption system (the scope of intervention) is analysed: what actors come into play (companies, institutions, NGOs, consumers etc.) and what the relationships are between them, as well as what specific dynamics (technological, cultural, economic and regulatory) characterise the system itself. Special attention is also paid to current and potential competitors (analysing their characteristics and offers) and to clients and/or end users (analysing their needs). Key questions include (extracted from VEZZOLI et al, 2014): • How is the entire production and consumption chain structured in relation to the scope of intervention (satisfaction unit)? Who are the main actors (public and private) and their respective interests? • What are the technological, cultural and regulatory dynamics influencing, or of potential influence to, the characteristics of the production and consumption chain? • Who are the main competitors? What are their offers and how do these differ from those of the project proposers? • Who are the potential clients and end users? What are their needs? Are their needs satisfied?
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
151
Sustainable product service systems design: tools for strategic analysis
c) Analysing the carrying structure of the system: the aim of this activity is to identify and analyse the general macro-trends (social, economic and technological) that lie behind the reference context. It is important to understand these in order to understand what potentially influences the context (or socio-technical regime) that will be the object of the intervention. Key question include (VEZZOLI et al, 2014): • What are the main social, economic and technological macro-trends? How may these influence the reference context and consequently the design options?
152
d) Analysing cases of excellence for sustainability (best practices): the aim of this activity is to analyse in detail cases of excellence (not necessarily concerning the area of intervention) that could act as a stimulus during the generation of ideas. The result will be a document summarising the offer in each case of excellence, interactions with the user, the offer producers and providers, and its sustainability characteristics. The supporting tools include the SDO toolkit for analysing sustainability characteristics, the System Map and the Interaction table for the general case description. Key questions on this activity include (VEZZOLI et al, 2014): • What is the offer, in terms of products and services? How does the user interact with the offer? • Who are the actors in the offer system? What are their intentions? • What are the environmental, socio-ethical and economic advantages? e) Analyse sustainability of existing system and determine priorities for the design intervention in view of sustainability: the aim of this activity is to analyse the existing context from an environmental, socio-ethical and economic point of view in order to identify the design priorities (in other words, where it is most important to intervene in order to reduce the environmental, socio-ethical and economic impact to the greatest degree). This operation is fundamental to steering the design process towards the solutions that are the most able to foster sustainability. The result will be a document summarising the environmental, socio-ethical and economic analysis and defining design priorities. One supporting tool for this process is the SDO toolkit (Sustainable Design Orienting Toolkit). Key questions include (VEZZOLI et al, 2014): • What is the situation in the existing context regarding environmental, socio-ethical and economic sustainability?
• What are the design priorities for each dimension of sustainability? f) Sufficiency need assessment: the aim of this activity is to thoroughly assess the existing situation with respect to the Sufficiency Economy Philosophy (SEP)’s three components: Reasonableness, Moderation and Self-Immunity. It is the first stage in the Design for a Sufficiency Economy (DSE) approach: planning/design and implementation processes aimed at achieving sufficient living and sustainable well-being for individuals, communities and societies. The assessment should yield robust knowledge on the current situation: who the stakeholders are within the system; their behaviours and interactions; and how the existing system operates. It is also essential to detect any recent changes that may lead to a particular future trend. The most crucial task is to assess whether the conducts (both of users and product/service providers) in the existing situation are aligned with the principles of the SEP. The result will be a document that clarifies the current sufficiency level and illustrates if the existing system displays a balance (or imbalance) in the four dimensions of People, Planet, Profit and Technology, an imbalance implying weak aspects that need to be addressed. Tools for this step include task analysis, DSE Checklists (Part 1), and Evaluation of the Sufficiency Levels (Part 2) (VEZZOLI et al, 2014).
3. RESEARCH METHOD The present research uses “case study” as the main research strategy in investigating the scope of tools on Strategic Phase of PSS Design. Yin (2008) defines “case study” as an empirical investigation into contemporary phenomenon operating in a real-life context. It is particularly valuable when there is not a clear delimitation between the phenomenon and the context itself. Thus, this research strategy is suitable explore tools that contribute to provide the strategic direction to PSS Design because it incorporates all the normal uncertain conditions faced by practitioners (Robson, 2016; Yin, 2008).
4. RESULTS & ANALYSIS A total of five six case studies have been analysed (see next Table), covering a period of ten year of research projects focused on the issue of PSS design. These case studies included both small as well as large organizations, dealing with a variety of themes, from rainwater harvesting to low income houses (Tigre) to the provision of office working spaces (Globusiness).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
Agnaldo dos Santos
Table 1: General Profile of the Case Studies.
Partner
Period
PSS Type
Focus
Volkswagen
2006-2008 ResultOriented
Packaging
Globusiness
2008-2010 ResultOriented
Working space
Tigre
2010-2011
ProductOriented
Rainwater Harvesting
Cohapar
2011-2014
ProductOriented
Light
Whirlpool
2012-2014
Use-Oriented Laundry
Accord
2014-2016
ProductOriented
System Map (see Figure below) remains in all case studies as a key tool to support the identification of key stakeholders and their material, information, money and work flows, for the provision of a given “satisfaction unit”. Figure 2: System Map Polarity Diagram using cards with scenarios (Case Study Globusiness).
Light
Most case studies have shown the need, event among large companies, of developing an “elicitation” of the company strategy. Indeed, in the Brazilian context it is not uncommon to find companies that do not have a strategic planning process or deficient communication of the current strategic plan. For that regard the projects at NDS/UFPR has adopted the set of tools presented below, aiming at enhance the understanding on the current long term directions of the company: • Questionnaire for Strategic Elicitation focusing on identifying the organization core business, its mission, principles and strategic objectives. • SWOT matrix complements the questionnaire with an internal perspective on the Strength and Weakness as well as an external perspective on the Opportunities and Threats to the organization; • BCG matrix (or Growth-Share matrix): a chart that help to analyze the portfolio of a given business unit, categorizing products/services in “Cash cows” (high market share in a slow-growing industry), “Dogs” (low market share in a mature, slow-growing industry), “Question marks” (operating with a low market share in a high-growth market) and “Stars” (high market share in a fast-growing industry). • SLACK matrix (or importance x performance matrix): it uses a list of competitive criteria such as quality, flexibility, cost, etc, comparing the organization performance vis a vis its importance for each criteria; • ANSOFF Matrix: helps to understand the growth strategy of the organization, with quadrants on Market penetration, Market development, Product development and Diversification; • Porter´s 5 Forces Model: analysis of barriers and bargain power of the organization regarding Clients, Potential Entrants, Direct Competitors, Suppliers and Substitutes;
The use of the Polarity Diagram on the MSDS occurs on the phase of “Exploring Opportunities”. However, the experience at NDS/UFPR have shown the need to bring this tool to the Strategic Analysis phase. Such approach happens due to the need for the organizations to understand the strategic implications of PSS and the choices that the organization will have to make (see next image). The best experiences on this tool involved the production of cards with scenarios. In such cards the company representatives can present their point of view by voting with circular stickers (red = not possible; yellow = difficult but possible, green = possible). Figure 3: Polarity Diagram using cards with scenarios.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
153
Sustainable product service systems design: tools for strategic analysis
The case studies developed at NDS/UFPR have also extensively used Benchmarking, focusing on the “satisfaction unit” and looking into benchmark organizations in the same sector or, alternatively, benchmarks of other sectors with the provision of similar “satisfaction units”. This Benchmarking provides the information to prepare the Service Distribution Map tool, where the company representatives present their perspective regarding the range of service that can (or will) be offered. The tool enables the participants to “play” with a full range of possibilities of services, including those that already exist on the organization as well as those identified during the Benchmarking process. In one quadrant the participants place the services that would be provided by the company whilst in the other are those services that would be outsourced. Also, the participants need to show how direct is the relationship of these services with the users/clients.
services will be required. Also, it enables to envisage possible requirements of the PSS on workforce, equipments, softwares and other key points of contact. Figure 5: Theatre layout as an analogy for a Blueprint Exercise
Figure 4: Service Distribution Map.
154
The Blueprint Tool structure also have shown to be quite useful on enabling a more empathic understanding on the long term implications of integrating new services on the organization (STICKDORN; SCHNEIDER, 2011). However, its conventional form is not easily understood and results in little empathy possibilities. Because of that in some exercises the research group has adopted the actual structure of a theatre as the background for the group dynamics (see next image). Blueprint contributes to provoke a reflection on the organization regarding what would be the user activities; what would be in the line of visualization (onstage); which services would be on the backstage; which supporting
However, the actual meaning of a PSS for the organization often is not fully understood and can result on poor strategic decisions. In order to facilitate this the researchers have widely use Storyboards, either using digital sketches or actual photos that provide the background of the places where the products/services would operate.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
Agnaldo dos Santos
Figure 6: Storyboard of a Product-Service System concept.
In order to bring further realistic perception to the company regarding the market implications of new product/service offers, the researchers at NDS/UFPR have increasingly used the idea of a meta-PSS, a generic concept of a PSS, to establish a dialogue with the organization representatives. Next figure shows an example of a meta-PSS on the form a “fake folder” that exemplifies a scenario for a set of products and services. Figure 7: “Fake folder” as an instrument to establish a dialogue on the strategic implications of alternative PSS concepts.
Figure 8: Rough Service Prototype1 (Case Study Whirlpool).
The discussion on the strategic implications of the PSS can be discussed using the “Structured What If Technique (SWIFT)” which consists of structured brainstorming using guide words and prompts to identify risks and possible actions to mitigate them.
5. CONCLUSION The projects developed at the Design & Sustainability Research Center at UFPR have adopted a set of tools derived from administration as well as from Service Design which are not seen on the MSDS Method. Table 2: Range of Tools for the Strategic Analysis Phase
Tools Strategic Elicitation Questionnaire ANSOFF matrix Rough Service Prototypes, such as the one presented on the video illustrated on the next figure, can also be useful on this Strategic Analysis phase. This Design Science abductive approach uses artefacts (services/products) to gather the perspective of decision makers on long term issues. This technique (particularly when involving the actual decision makers on the rough prototype) enables a more emphatic discussion of issues such as the suitability of the new services derived from a PSS project on the company branding strategy; the need to bring on board new business partners on the project; the scope of the PSS regarding the company mission.
BCG matrix SLACK matrix SWOT matrix1 miniDOC System Map2 Porter´s 5 Forces Model Benchmarking Preparatory company questionnaire3 Blueprint Customer Journey Service Distribution Map Touchpoint Matrix Rough Service Prototype Structured What If Technique (SWIFT) Exploring Customer Needs4
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
MSDS
NDS
155
Sustainable product service systems design: tools for strategic analysis
Sustainability Design-Orienting (SDO) toolkit5—checklist best practice Interaction table (storyboard)6 Animatic DSE Worksheet 1: User observation & Task analysis flow chart
STICKDORN, Marc; SCHNEIDER, Jakob. This is service design thinking: Basics, tools, cases. Hoboken, NJ: Wiley, 2011. VEZZOLI, C.; KOHTALA, C.; SRINIVASAN, A.; DIEHL, J.C.; FUSAKUL, S. M.; XIN, L.; SATEESH, D. Product-Service System Design for Sustainability. Greenleaf, 2014.
DSE Worksheet 2 DSE Worksheet 3: (System Map) DSE Worksheet 4: (PESTE Analysis) DSE Worksheet 5: Part 1 Checklists & Part 2 Sufficiency level
YIN, R. Case Study Research: Design and Methods (Applied Social Research Methods), SAGE Publications, Inc; 4th edition, 2008.
DSE Worksheet 13: Sufficiency Economy Balance Tool
156
Integrating the tools derived from Service Design on the MSDS method proposed by VanHalen, Vezzoli and Wimmer (2005) (Blueprint, Touchpoint Matrix, Customer Journey) have shown on the case studies the benefit of increase the depth of the analysis, enabling a more emphatic Strategic Analysis. Using a Design Science approach NDS/UFPR brought the phase of “exploring opportunities” of the MSDS Method into the Strategic Analysis phase. Understanding the possible implications of introducing new products/services on the company portfolio using meta-concepts enables decision makers to have a more comprehensive understanding on the strategic implications of PSS throughout the organization on the long term.
ACKNOWLEDGMENTS Acknowledgments to the Brazilian research funding agencies CAPES, CNPq and FINEP as well as to all business partners of NDS/UFPR (Volkswagen, Globusiness, Tigre, Cohapar, Whirlpool, Accord) on its venture to develop knowledge on PSS Design.
REFERENCES AMARAL, D. C. & ROZENFELD, H. Integrating new product development process references with maturity and change management models. International Conference on Engineering Design, ICED`07, Cite Des Sciences et de L´Industrie, Paris, France, 2007. ROBSON, C. & McCARTAN, K. Real World Research, 4th Edition, Wiley, 2016. ROZENFELD, H. . Reference model for managing product development. In: Günther Seliger. (Org.). Sustainability in Manufacturng. 1 ed. Berlim: Springer, 2007, v. , p. 193-206.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.149-156 | nov. | 2017
ARTICLES
SUSTAINABLE FASHION STRATEGIES: A STUDY APPLIED TO THE DEVELOPMENT OF CLOTHING PRODUCTS ESTRATÉGIAS SUSTENTÁVEIS DE MODA: UM ESTUDO APLICADO AO DESENVOLVIMENTO DE PRODUTOS DE VESTUÁRIO Larissa Aparecida Wachholz (UEM) Eliane Pinheiro, M.Sc. (UEM) Key Words Sustainable; Clothing industry; Product development
Palavras Chave Sustentabilidade; Indústria do vestuário; Desenvolvimento de produtos
ABSTRACT The current productive methods and the exaggerated consumption generate a socio-environmental crisis to the planet. However, industries gradually seek to incorporate sustainable practices in order to meet the needs of new consumers who are concerned with environmental and social issues in product consumption. Therefore, the present study have as an objective to identify how sustainable strategies contribute to the development of clothing products that reduce environmental impacts. For this study, a systematized and exploratory review was used, through bibliographic research, with the application of qualitative methods. Finally, we present sustainable strategies related to the product methodology that provide the reduction of harm caused to the environment by the production and excessive consumption of garments.
RESUMO Os métodos produtivos vigentes e o consumo exacerbado geram uma crise socioambiental ao planeta. No entanto, gradativamente, as indústrias buscam a incorporação de práticas sustentáveis a fim de atender às necessidades dos novos consumidores que se preocupam com questões ambientais e sociais no consumo de produtos. Diante disso, o presente estudo teve como objetivo identificar como as estratégias sustentáveis podem favorecer o desenvolvimento de produtos de vestuário reduzindo, assim, os impactos ambientais. Para o estudo, foi utilizada uma revisão sistematizada e exploratória, por meio de pesquisa bibliográfica, com a aplicação de métodos qualitativos. Por fim, observou-se o surgimento de novos conceitos que buscam a redução dos malefícios causados ao ambiente pelos processos produtivos da indústria de vestuário.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
157
Sustainable fashion strategies: a study applied to the development of clothing products
1. INTRODUCTION The socio-environmental crisis generated over the years by the current industrial production methods and over-consumption, which aim primarily at economic growth, gain new perspectives with the emergence of the concept of sustainability applied to production processes and ways of consumption. As a result, industries increasingly seek to integrate into the sustainable market, moving towards practices that reduce environmental and social impacts, a need accentuated by the presence of new consumers who are concerned about the damages that their consumption can cause to the environment and society in general (GWILT, 2014; REFOSCO et al. 2011). Clothing industry has shown greater concerns regarding the damage caused to nature and social welfare, seeking to gradually integrate sustainable practices in its productive processes that combine the individual characteristics of fashion products with the concepts of sustainability (GWILT, 2014). Thus, the present study aims to identify how sustainable strategies contribute to the development of clothing products that reduce environmental damage.
158
2. SUSTAINABLE FASHION Fashion products are defined as items that combine properties of creation, quality, dressability, appearance and price, following the needs and desires of target consumers (RECH, 2002). The production process of these products begins in the production of raw material and goes through several stages until reaching the final consumer, which, despite guaranteeing employment opportunities for various sectors of the economy, can influence the system to become unsustainable (BERLIM, 2012; FABRI; RODRIGUES, 2015). However, practices and movements gradually emerge in order to minimize the impacts generated by the textile and clothing industry, such as: eco-fashion, ethical fashion and slow fashion. The concept of eco-fashion presents the use of organic raw materials, that is, produced without the use of pesticides and pesticides. This idea is considered as essential for sustainable practices in the garment industry, since the textile raw material has several impacts such as: “climate change; Adverse effects on water and its cycles; Chemical pollution; Loss of biodiversity; Excessive or inappropriate use of non-renewable resources; creation of waste”; and others (FLETCHER; GROSE 2011, p. 13). Also in relation to the textile raw material, scientific research is made in order to find solutions that minimize
environmental, social and ethical problems. Consequently, several materials are considered as having low environmental impact, biodegradable and recyclable are created (GWILT, 2014). Therefore, the relevance of the use of textile fibers in the making of clothing is emphasized, since the impacts generated by the production of these materials are extremely negative for the environment. The concept of ethical fashion demonstrates the concern with environmental and social aspects, seeking to ensure the well-being and health of consumers, as well as employees inserted in the production chain (SALCEDO, 2014). Thus, it aims at minimizing environmental impacts and maximizing positive effects for society in general, focusing on reducing poverty, as well as creating a sustainable lifestyle (ETHICAL... 2016). According to Rodrigues and Fabri (2016, p. 7), ethical fashion must influence consumers in such a way that they will obtain a global understanding of the productive chain of the clothing industry, which “can cause great social, environmental, economic, cultural, ecological, educational and spiritual transformation”. Consequently, it is observed that the concept of ethical fashion values reducing negative impacts on the environment by increasing the benefits to society in general and nature supporting sustainable lifestyles. This way, it helps the transformation of the consumer’s vision towards the productive chain, from the acquisition of raw materials to the consumption and disposal of clothing products. The slow fashion movement in its fashion sector represents a perception of sustainability based on values and goals that want to change the structure of production of fashion articles, as well as a reduction in the volume of goods produced. It is also observed how organizations are producing, how they structure supply chains, and the product development process (FLETCHER, 2010; JOHANSSON, 2010). Therefore more sustainable production processes that respect the environmental conditions and the professionals involved and value local production influence production to occur in a slower and controlled way, valuing the region’s manpower and material resources.
2.1. Product development: processes and design stages The design process involves all stages of a project, from the recognition of the problem, its analysis and creation of alternatives to the solution, the product design, the development, and finally, the viability in the market (FONTOURA, 2002; LÖBACH, 2011). So, in order for all phases of product development to be carried out in an
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
Larissa Aparecida Wachholz e Eliane Pinheiro
appropriate manner, it is necessary to use process-related parameters, in example the use of the project methodology (MARTINS, 2004). Fontoura (2002) points out that in addition to methodology, the design uses methods and techniques both in theoretical production and in the practical development of projects. The method presents the recommendations for solving the problem, the methodology helps the designer to define the sequence of what should be done and in what moments, and the techniques are considered as the specific procedures that should be used. Löbach (2001) presents a sequence for the design process, which is divided into four phases, which can overlap one another in the process. The initial step is called analysis of the design problem, in this stage the problem to be solved is recognized, in order to collect the greatest amount of information about the problem. This information is analyzed so that define the problem and its clear visualization. In the second phase the generation of alternatives is performed, that is, ideas are produced based on information already acquired. At this step first the choice of the methods for the solution of the problems is made, and consequently, the alternatives are generated. The third phase represents the evaluation of the alternatives, with the comparison of and selection of the most plausible alternative. In the last stage the materialization of the established alternative occurs, or the combination of the best characteristics of different alternatives, that is, the problem’s solution. At this step the designer reviews and perfects the idea, elaborating it in the smallest detail (LÖBACH, 2001). Baxter (2003) presents four stages pertaining to the development of new products. The process begins with a market test presenting the initial ideas, in the form of a drawings presentation, for a portion of potential consumers and sellers. Then, it presents the stage of “specifying the opportunity, specifying the project and then turning to the conceptual project to select the best concept” (BAXTER, 2003, p. 15). In the third phase a second market test, similar to the initial one, is carried out, which will indicate if the results were satisfactory to start the configuration of the product. If there is a need for a technical change, it will be necessary to take a few steps backwards in order to verify the viability of the product again. With the approval of the product, detailed drawings are made to assist in its manufacture and construction of the prototype and with the final approval of the prototype, the production and commercialization of the product begins (BAXTER, 2003).
Consequently, it is observed the relevance of the methodology for the product development process, since this will lead the designer to follow steps that focus on guaranteeing more clarity in the process, and a reduction of risks and uncertainties.
3. METHODOLOGY This study focuses on the perspective of sustainable strategies in the development of clothing products. The delimitation used was the systematized and exploratory review, through bibliographical research. Qualitative methods were used to analyze sustainable strategies and their insertion in the development of clothing products through methodologies, in order to obtain perceptions that favor the understanding of the relevance of sustainable practices for the design of garments, based on literature. The knowledge of the stages of the design process, methodology and strategies are directed to the development of clothing products, as well as their interrelationship with the consumption of these products, present parameters for theoretical discussion and proposition of actions that optimize the insertion of sustainable strategies. The results and conclusions can contribute to the insertion of sustainable strategies, aiming to optimize the product’s life cycle. With this, it is verified that identifying how sustainable strategies are inserted through methodologies in the development of garments contributes with the research focused on the minimization of environmental impacts occurred with the excessive consumption of clothing.
4. RESULTS AND ARGUMENTS The implementation of innovative strategies in the apparel industry seeks to minimize the use of resources, the choice of processes and raw materials with low impact, the improvement of production techniques and distribution methods, as well as the product’s life span (GWILT, 2014). According to Niinimäki (2011b), sustainable fashion must take into account the phases of design, manufacturing, logistics, sales, use and disposal, implementing strategies that increase the time of use of the product, ensuring that it can be modified, and if the raw material can be recycled, sustainable strategies to product development of clothing will be presented and afterwards these will be related to a product methodology. The importance of the implementation of strategies that mainly guarantee greater interaction between product and consumer, creating an emotional bond, and thus, influencing the increase of the useful life of the products,
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
159
Sustainable fashion strategies: a study applied to the development of clothing products
is emphasized. Among them, we highlight Open design and Co-creation, Customization, Upcycling, Modular Design and Sharing. Each of these strategies, among others, is discussed below (Table 1). Table 1: Sustainable strategies applied to clothing industry
Strategy
Characteristics
Open design and co-creation
Interference of stakeholders in product development, with direct involvement of consumers in the creation.
Customization
It seeks to satisfy the needs and desires of the largest number of consumers, guaranteeing the creation of emotional ties between product and customer.
Upcycling
Development of products by means of leftovers of fabrics and objects, through reconstruction or the insertion of decorative flaps.
Modular Design
Creation of products from the combination of small components, ensuring that consumers can modify their products.
Sharing
It aims at the use of a single article by several individuals.
160
Source: Adapted from: Eichentopf, 2011; Ferronato and Franzato, 2015; Morais et al. 2012; Blecker et al. 2004; Salcedo, 2014; Gwilt, 2014; Ferreira et al. 2012; Martins, 2002; Karell, 2011; Fletcher and Grose, 2011; Gimenez and Carvalhaes, 2016
The concept of open design evidences the co-creation of value to products through the involvement of stakeholders in the product development process, such as suppliers, consumers and commercial partners (FERRONATO; FRANZATO 2015). To Eichentopf (2011), the idea of co-creation arose from the recognition of a role change of consumers who were passive to active individuals. And so, they have influenced the emergence of conception, engaging in various stages of the value creation process. In the face of involvement and satisfaction, consumers use their products for a longer period of time, and become loyal to brands and contribute to the slowdown in consumption and to sustainable business (NIINIMÄKI, 2011a). Thus, it is observed that the co-creation inserted in the fashion industry brings benefits to consumers, who can help in the design process by inserting their preferences and desires in the products, contributing to the increase
of the user’s commitment to the product, and to its life span extension. The customization strategy is associated to the concept of adaptability, allowing the consumer to intervene in the configuration of the product, from which the term Do it Yourself (DIY) is derived, which promotes the self-production of clothing, involving the consumer and the product creation process (MORAIS; CARVALHO and BROEGA 2012). In addition to this strategy, there is the concept of mass customization, which aims to satisfy the individual needs of as many consumers as possible, differing from mass production (BLECKER et al. 2004). The introduction of mass customization in industries has three main motivations: free and dynamic global markets; market fragmentation; and gradually the shorter product’s life cycle. (RUOHONEN; RIIHIMAA and MÄKIPÄÄ, 2003). In this way, it is believed that the main factor that links the strategy to sustainability is the increase in the useful life of the products through the creation of emotional ties between the product and the consumer, which guarantees a greater commitment between both, opposing the conception of programmed obsolescence (SALCEDO, 2014). In design with sustainable approaches, adaptability is one of the strategies used in order to increase the efficiency of products and consequently their total time of usage, ensuring a greater use of items in different situations. In addition, it can be seen as a motivation to make the consumer more active, taking into account their interaction with the product, by changing their forms (FLETCHER; GROSE, 2011). Linked to this strategy is the modular design, which is defined as the strategy of building systems or products from the union of small components, which can be developed separately, but which function as an interconnected assembly. When adapted to fashion, the modular design offers pieces of clothing that can be modified by consumers (MARTINS, 2002; KARELL, 2011). Through its fickle characteristics, modular clothing provides users with a vision of clothing renewal, without the exchange of parts, ensuring an increase in the time of use of the product (KARELL, 2011). Thus, modularity allows consumer’s participation using their creativity, their desires and needs to change the different pieces of clothing, which can help generate durable satisfaction (FLETCHER; GROSE, 2011). Therefore, modular clothing can be understood as a strategy of adaptability in clothing, in addition to offering an interaction with its users, increase their ways of use and time of usage, thus ensuring benefits to the environment and influencing the possibility of new ways of consumption.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
Larissa Aparecida Wachholz e Eliane Pinheiro
The upcycling concept refers to the technique of extending the value of a product that would be discarded. Articles produced through upcycling improve the use of materials, or of the product itself, differing from recycling, which may promote the devaluation of articles (GWILT, 2014). Upcycling can be applied through the development of new pieces of clothing using fabric leftovers or objects, fixtures, and by means of reforms or insertion of decorative flaps into existing articles. The entire process, from the separation and choice of materials to be reused, through preparation for use, until it becomes a new raw material, demands a long period of time, which consequently increases the cost of the products (GWILT, 2014). Despite of the high cost, pieces produced by this technique provide a “new integration into the daily life of different individuals based on one’s lifestyle” (FERREIRA; BROEGA and PROVIDÊNCIA 2012, p. 4). In this way, it is noticed that the upcycling aims at increasing the lifespan of materials, giving them greater value, taking into account that the waste from various industries, especially the textile sector, receive a new utility and contribute to sustainability in fashion industry. Sharing strategy emerged with the Great Recession of the United States in 2008 that was seen as an alternative to the economic crisis that promoted new forms of consumption that guaranteed extra income to those who offered the services and lower prices to those who purchased them. The concept of sharing emphasizes the idea of a correlation between users, that is, a collective action, which influences the dialogue “against hyperconsumption, accumulation of possessions and irresponsible disposal of products” (GIMENEZ; CARVALHAES, 2016, p. 4). The sharing strategy is also seen as a way to increase the lifespan of products as well as their use, since a single item can be used several times by different people, considered as such, a practice favorable to sustainability (MANZINI; VEZZOLI, 2005). Sharing is considered then as a sustainable strategy for the sector of the garment industry, since the concept seeks to combat the exaggerated consumption of clothes through the collective use. It is also worth mentioning the need for the practice to be popularized among consumers so that they are aware of its advantages in relation to cost and sustainable issues. In regards to the application of the presented sustainable strategies it is imperative that a methodology for the development of products is used, since the viability of the insertion of these tools must be evaluated from the beginning of the creation process.
Combining the methodology presented by Löbach (2001), divided into problem analysis, generation of alternatives, evaluation and solution of the problem, with the strategy of open design and co-creation, it is observed the relevance of the use of the methodology from the initial phase to the product development, since consumers are involved in all stages of creation, and thus, with the use of a sequence of what must be done, the process becomes clearer and safer. In order to introduce the customization strategy, it is understood that consumers’ opinions, needs and desires must be taken into account throughout the creation process, thus, the evaluation phase proposed by Löbach (2001) and market tests presented by Baxter (2003) are significant for the development process, since evaluations can be made based on the response to consumer expectations. In regards to the upcycling strategy, the methodology evidences its relevance from the initial moment of the design process, since the products made from the reutilization of materials must be designed according to the available raw materials of reutilization, trying to avoid wasting materials to the maximum. Therefore, the designer must analyze the problem with these restrictions. For products with modular design, the importance of the methodology is also present from the beginning of the creation process, aiming to apply modularity as one of the solutions for the product. In addition, it is observed that the test phases proposed by Baxter (2003), guarantee the adaptability for the interaction between consumers and products. As for the sharing strategy, the product design’s methodology implementation will help the designer, in order to meet the expectations of several publics and in the initial phase, to think about the use of durable raw materials, so that the greatest number of individuals can use the product.
5. CONCLUSION The current study sought to identify how sustainable strategies combined with methodologies favor the development of clothing products that reduce environmental impacts. The importance of the methodology was taken into consideration so that the designer can carry out his activities with clarity, reducing the risks and uncertainties for the company. In case of fashion products, the methodology will aid production processes in order to reconcile the creation, quality, dress, appearance and price to the desires of the target consumers. It was noted that the fashion industry can contribute considerably to an unsustainable production system, generating negative impacts on nature and society in general.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
161
Sustainable fashion strategies: a study applied to the development of clothing products
Nonetheless, new concepts gradually aim to minimize the harm caused to the environment by the textile and clothing industries, such as Eco-fashion, which seeks to use raw materials that are not as harmful to the environment, Ethical Fashion, which takes into account mainly the well-being and health of producers and consumers, and Slow Fashion, which seeks productions with local communities, to a lesser extent, in a less accelerated manner. In regards to the sustainable strategies applied in the garment industry, there is a need for them to be employed covering all product phases, thus favoring the controlled use of resources, the choice of low impact raw materials, changes in distribution systems, as well as increasing the life of the product. It is considered relevant that consumers become more active in the production processes, ensuring greater commitment of the user to the product, as presented in the strategies of Open design and Co-creation, Modular Design, Customization, Upcycling and Sharing.
ACKNOWLEDGMENTS The authors gratefully acknowledge the Scientific Initiation Program (PIC) promoted by the State University of Maringá (UEM).
162
REFERENCES BAXTER, M. Projeto de produto: guia prático para desenvolvimento de novos produtos. 2nd ed. São Paulo, Edgard Blücher, 2003. BERLIM, L. Moda e sustentabilidade: uma reflexão necessária. São Paulo, Estação das Letras e Cores, 2012. BLECKER, T. et. al. Mass customization vs. complexity: a gordian knot?. In: International Conference “An Enterprise Odyssey: Building Competitive Advantage”, 2., 2004, p. 890-903. Avaiable online: <http:// www.manufacturing.de/download/zagreb_complexity. pdf>. Access in: 30 Sep. 2016. EICHENTOPF, T. How should co-creation be adopted in a triadic relation ship in order to develop a Strong brand?, 2011. Avaiable online: <http://marketing.conference-services. net/resources/327/2958/pdf/AM2012_0138_paper.pdf>. Access in: 09 Sep. 2016. ETHICAL Fashion. Avaiable online: <http://www.ethicalfashionforum.com/the-issues/ethical-fashion>. Access in: 03 Oct. 2016.
FABRI, H. P.; RODRIGUES, L. V. Slow fashion: perspectivas para um futuro sustentável. In: Colóquio de Moda, 11., 2015, Curitiba. Anais... Curitiba: Universidade Positivo, 2015. ISSN: 1982-0941. FERREIRA, J.; BROEGA, A. C.; PROVIDÊNCIA, B. Redesign de vestuário: mais um passo no slow design. In: Congresso Internacional de Moda e Design, 1.,2012, Guimarães. Anais... Guimarães: Universidade do Minho, 2012. ISBN 978-972-8692-72-8. FERRONATO, P. B.; FRANZATO, C. Open design e slow fashion para a sustentabilidade no sistema moda. Mod. Pal. e-periódico, v. 9, Oct. 2015, p. 103-115. doi: http://dx. doi.org/10.5965/1982615x09012015104. FLETCHER, K. Slow fashion: an invitation for systems change. Fashion Pratice, 2:2, Apr. 2015, p. 259-265. doi: 10. 2752/175693810X12774625387594. FLETCHER, K; GROSE, L. Moda & sustentabilidade: design para mudança. São Paulo, Ed. Senac, 2011. FONTOURA, A. M. EdaDe - Educação de crianças e jovens através do design. 337 f. Doctoral Thesis in Production Engineering, Universidade Federal de Santa Catarina, Florianópolis, 2002. Avaiable online: <https://repositorio. ufsc.br/handle/123456789/82554>. Access in: 18 Jul. 2016. GIMENEZ, A. C.; CARVALHAES, A. G. O compartilhamento como alternativa sustentável na moda: guarda-roupa compartilhado. In: Colóquio de Moda, 12., 2016, João Pessoa. Anais... João Pessoa: Unipê, 2016. ISSN: 1982-0941. GWILT, A. Moda sustentável: um guia prático. São Paulo: Gustavo Gilli, 2014. JOHANSSON, E. Slowfashion: the answer for a sustainable fashion industry?. Degree of Master in Applied Textile Management. The Swedish School of Textiles, 2010. Avaiable online: <http://bada.hb.se/bitstream/2320/6776/1/2010.9.15.pdf>. Access in: 27 Sep. 2016. KARELL, E. Planned continuity: multi-life garments through modular strctures & supplemental services. In: NIINIMÄKI, K. (ed.). Sustainable fashion: new approaches. Finland: Unigrafia, 2011. p. 110-123. ISBN 978-952-60-5573-2.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
Larissa Aparecida Wachholz e Eliane Pinheiro
LÖBACH, B. Design Industrial: bases para a configuração dos produtos industriais. 1st ed. São Paulo, Edgard Blücher Ltda, 2001. MANZINI, E.; VEZZOLI C. O desenvolvimento de produtos sustentáveis: os requisitos ambientais dos produtos industriais. 1st ed. São Paulo, Editora da Universidade de São Paulo, 2005.
RUOHONEN, M.; RIIHIMAA, J.; MÄKIPÄÄ, M. Knowledge based mass customization strategies: cases from Finnish metal and electronics industries. 2003. doi: 10.1504/ IJMASSC.2006.008629. SALCEDO, E. Moda ética para um futuro sustentável. Espanha, GG Moda, 2014.
MARTINS, J. C. M. Introdução ao design do produto modular: considerações funcionais, estéticas e de produção. 116 f. Masters Dissertation. Faculdade de Engenharia da Universidade do Porto, 2002. Avaiable online: <https://repositorio-aberto.up.pt/bitstream/10216/12110/2/Texto%20integral.pdf>. Access in: 02 Oct. 2016. MARTINS, R. F. de F. A Gestão de Design como uma Estratégia Organizacional: um modelo de integração do design em organizações. 187 f. Doctoral Thesis in Production Engineering. Universidade Federal de Santa Catarina, Florianópolis, 2004. Avaiable online: <https://repositorio. ufsc.br/bitstream/handle/123456789/87100/208973.pdf?sequ>. Access in: 18 Jul. 2016. MORAIS, C.; CARVALHO, C.; BROEGA, C. Optimização da função e da forma no eco-design de vestuário. In: P&D Design, 10., São Luís, 2012. Anais..., São Luís: UFM, 2012. NIINIMÄKI, K. New values - new business opportunities. In: NIINIMÄKI, K. (ed.). Sustainable fashion: new approaches. Finland, Unigrafia, 2011a. p. 126-133. ISBN 978-952-60-5573-2. ______. Tenents of sustainable fashion. In: NIINIMÄKI, K. (ed.). Sustainable fashion: new approaches. Finland: Unigrafia, 2011b. p. 12-29. ISBN 978-952-60-5573-2. RECH, S. Moda: por um fio de qualidade. Florianópolis, Udesc, 2002. 133 p. REFOSCO, E. et al. O novo consumidor de moda e a sustentabilidade. In: COLÓQUIO DE MODA, 7., 2011, Maringá, 2011. Anais... Maringá: Unicesumar, 2011. ISSN: 1982-0941. RODRIGUES, L. V; FABRI, H. P. Consumo e moda ética para um futuro sustentável. In: Colóquio de Moda, 12., 2016, João Pessoa. Anais... João Pessoa: Unipê – Centro Universitário de João Pessoa, 2016. ISSN: 1982-0941.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
163
ARTIGOS
ESTRATÉGIAS SUSTENTÁVEIS DE MODA: UM ESTUDO APLICADO AO DESENVOLVIMENTO DE PRODUTOS DE VESTUÁRIO SUSTAINABLE FASHION STRATEGIES: A STUDY APPLIED TO THE DEVELOPMENT OF CLOTHING PRODUCTS Larissa Aparecida Wachholz (UEM) Eliane Pinheiro, M.Sc. (UEM) Palavras Chave Sustentabilidade; Indústria do vestuário; Desenvolvimento de produtos
Key Words Sustainable; Clothing industry; Product development
RESUMO Os métodos produtivos vigentes e o consumo exacerbado geram uma crise socioambiental ao planeta. No entanto, gradativamente, as indústrias buscam a incorporação de práticas sustentáveis a fim de atender às necessidades dos novos consumidores que se preocupam com questões ambientais e sociais no consumo de produtos. Diante disso, o presente estudo teve como objetivo identificar como as estratégias sustentáveis podem favorecer o desenvolvimento de produtos de vestuário reduzindo, assim, os impactos ambientais. Para o estudo, foi utilizada uma revisão sistematizada e exploratória, por meio de pesquisa bibliográfica, com a aplicação de métodos qualitativos. Por fim, observou-se o surgimento de novos conceitos que buscam a redução dos malefícios causados ao ambiente pelos processos produtivos da indústria de vestuário.
ABSTRACT The current productive methods and the exaggerated consumption generate a socio-environmental crisis to the planet. However, industries gradually seek to incorporate sustainable practices in order to meet the needs of new consumers who are concerned with environmental and social issues in product consumption. Therefore, the present study have as an objective to identify how sustainable strategies contribute to the development of clothing products that reduce environmental impacts. For this study, a systematized and exploratory review was used, through bibliographic research, with the application of qualitative methods. Finally, we present sustainable strategies related to the product methodology that provide the reduction of harm caused to the environment by the production and excessive consumption of garments.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
165
Estratégias sustentáveis de moda: um estudo aplicado ao desenvolvimento de produtos de vestuário
1. INTRODUÇÃO
166
A crise socioambiental gerada ao longo dos anos pelos métodos vigentes de produção industrial e o consumo desenfreado, os quais visam, prioritariamente, o crescimento econômico, ganham novos olhares com o surgimento do conceito de sustentabilidade aplicado aos processos produtivos e modos de consumo. Por conseguinte, as indústrias almejam, cada vez mais, se integrarem ao mercado sustentável, movimentando-se em direção às práticas que reduzam os impactos ambientais e sociais, necessidade acentuada pela presença de novos consumidores preocupados com os danos que seus atos de consumo podem causar ao meio ambiente e à sociedade em geral (GWILT, 2014; REFOSCO et. al, 2011). A indústria do vestuário tem demonstrado maiores preocupações em relação aos prejuízos causados à natureza e ao bem-estar social, visando gradativamente inserir práticas sustentáveis em seus processos produtivos que aliem as características intrínsecas aos produtos de moda com os conceitos de sustentabilidade (GWILT, 2014). Desta forma, o presente estudo tem como objetivo identificar como as estratégias sustentáveis favorecem o desenvolvimento de produtos de vestuário, de forma que possam reduzir os impactos ambientais.
PORTUGUÊS
2. MODA SUSTENTÁVEL Os produtos de moda são delimitados como artigos que conciliam as propriedades de criação, qualidade, vestibilidade, aparência e preço, seguindo as necessidades e desejos dos consumidores-alvo (RECH, 2002). O processo produtivo destes produtos inicia-se na produção da matéria-prima e perpassa por diversas fases até chegar ao consumidor final. O referido processo produtivo, apesar de garantir oportunidades de emprego para diversos setores da economia, pode influenciar para que o sistema se torne insustentável (BERLIM, 2012; FABRI; RODRIGUES, 2015). Todavia, gradativamente surgem práticas e movimentos a fim de minimizar os impactos gerados pela indústria têxtil e de vestuário, como a Ecomoda, a Moda Ética e Slow Fashion. Desta maneira, a Ecomoda também conhecida por moda ecológica, moda bio ou moda orgânica, se refere aos artigos de vestuário que são produzidos considerando a preservação do meio ambiente e a redução dos impactos ambientais. O conceito de Ecomoda apresenta a preocupação em utilizar matérias-primas orgânicas, ou seja, produzidas sem o uso de agrotóxicos e pesticidas. Este conceito é considerado como imprescindível para
as práticas sustentáveis na indústria do vestuário, tendo em vista que a matéria-prima têxtil exerce diversos impactos como: “mudanças climáticas; efeitos adversos sobre a água e seus ciclos; poluição química; perda da biodiversidade; uso excessivo ou inadequado de recursos não renováveis; geração de resíduos”, entre outros. (FLETCHER; GROSE, 2011, p. 13) Ainda em relação à matéria-prima têxtil, pesquisas científicas são realizadas a fim de encontrar soluções que minimizem os problemas ambientais, sociais e éticos e, consequentemente, são criados diversos materiais considerados como de baixo impacto ambiental, biodegradáveis e recicláveis (GWILT, 2014). Posto isto, ressalta-se a relevância da escolha das fibras têxteis a serem utilizadas na confecção de peças do vestuário, visto que os impactos gerados pela produção desses materiais são excessivamente negativos ao meio ambiente. O conceito de Moda Ética demonstra a preocupação com aspectos ambientais e sociais, buscando garantir o bem-estar e a saúde de consumidores, bem como de colaboradores inseridos na cadeia produtiva (SALCEDO, 2014). Desta maneira, visa à minimização dos impactos ambientais e a maximização dos efeitos positivos para a sociedade em geral, almejando a redução da pobreza e, ainda, a criação de estilos de vida sustentáveis (ETHICAL..., 2016). De acordo com Rodrigues e Fabri (2016, p.7), a Moda Ética deve influenciar o consumidor de modo que este obtenha uma compreensão global da cadeia produtiva da indústria do vestuário, o que “pode causar grande transformação social, ambiental, econômica, cultural, ecológica, educacional e espiritual”. Sendo assim, observa-se que o conceito de Moda Ética preza pela diminuição dos impactos negativos ao meio ambiente, pelo aumento dos benefícios à sociedade em geral e à natureza, apoiando estilos de vida sustentáveis. Deste modo, favorece a transformação da visão do consumidor perante a cadeia produtiva, envolvendo, desde a aquisição de matérias-primas, até o consumo e descarte dos produtos de vestuário. O movimento Slow Fashion, no setor de moda, representa uma percepção de sustentabilidade baseada em valores e objetivos que almejam uma mudança na estrutura de produção de artigos de moda, bem como uma redução no volume de mercadorias produzidas (FLETCHER, 2010). Para Johansson (2010), a abordagem do Slow Fashion trata do equilíbrio demonstrado pelas organizações na produção de suas roupas, na estruturação de suas cadeias de abastecimento, bem como no processo de desenvolvimento de produtos. Esta
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
Larissa Aparecida Wachholz e Eliane Pinheiro
estratégia pode significar a mudança da concepção de quantidade, para conceder importância à qualidade. Por conseguinte, os processos produtivos mais sustentáveis, que respeitem as condições do meio-ambiente e dos profissionais envolvidos e prezem por produções locais, valorizando a mão de obra e recursos materiais da região, influenciam para que a produção ocorra de modo mais desacelerado e controlado.
2.1 Desenvolvimento de produtos: processos e etapas de design
167
3. METODOLOGIA Este estudo concentra-se na perspectiva das estratégias sustentáveis no desenvolvimento de produtos de vestuário. O delineamento utilizado foi a revisão sistematizada e exploratória, por meio de pesquisa bibliográfica. Foram empregados métodos qualitativos que permitiram analisar as estratégias sustentáveis e sua inserção no desenvolvimento de produtos de vestuário, a fim de obter percepções que favoreçam a compreensão da relevância de práticas sustentáveis para o projeto de produtos de vestuário, com base na literatura. O conhecimento das etapas do processo de design, a metodologia e as estratégias direcionadas para o desenvolvimento de produtos de vestuário, bem como sua inter-relação com o consumo destes produtos, apresentam parâmetros para discussão teórica e proposição de ações que otimizem a inserção de estratégias sustentáveis. Os resultados e conclusões podem contribuir para essa inserção, visando otimizar o ciclo de vida dos produtos. Com isso, constata-se que, identificar como as estratégias sustentáveis estão inseridas no desenvolvimento
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
PORTUGUÊS
O processo de design envolve todas as etapas de um projeto, desde o reconhecimento do problema, sua análise e criação de alternativas para a solução, a concepção do produto, o desenvolvimento e, por fim, a viabilização no mercado (FONTOURA, 2002; LÖBACH, 2011). Assim, a fim de que todas as fases do desenvolvimento de produtos sejam realizadas de forma apropriada, se faz necessária a utilização de parâmetros relacionados aos processos, isto é, o uso da metodologia de projeto (MARTINS, 2004). Fontoura (2002) cita que além da metodologia, o design utiliza-se de métodos e técnicas tanto na produção teórica, como no desenvolvimento prático de projetos. O método apresenta as recomendações para a solução do problema; já a metodologia, auxilia o designer a definir a sequência do que deve ser feito e em quais momentos; e, as técnicas são consideradas como os procedimentos específicos que devem ser utilizados. Löbach (2001) apresenta uma sequência para o processo de design dividido em quatro fases, as quais podem se sobrepor umas às outras no decorrer do processo. A etapa inicial denomina-se análise do problema de design, em que é reconhecido o problema a ser solucionado, para assim ser coletado o maior número de informações acerca do problema. Essas informações são analisadas, a fim de que haja a definição do problema e sua clara visualização. Na fase seguinte, é realizada a geração de alternativas, isto é, são produzidas as ideias tomando como base as informações já adquiridas. Nesta etapa, primeiramente é feita a escolha dos métodos para a solução dos problemas e, consequentemente, são geradas as alternativas. A terceira fase representa a avaliação das alternativas, com a comparação das ideias sendo selecionada a mais plausível. Na última etapa, ocorre a materialização da alternativa estabelecida, ou da junção das melhores características de alternativas distintas, isto é, a solução do problema. Nesta fase, o designer revisa e aperfeiçoa a ideia, elaborando-a nos mínimos detalhes (LÖBACH, 2001).
Em conformidade com o raciocínio de Löbach (2001) em apresentar uma sequência de ações no processo de design, Baxter (2003) apresenta quatro etapas pertencentes ao desenvolvimento de novos produtos. O processo se inicia com um teste de mercado apresentando as ideias iniciais, no formato de um desenho de apresentação, para uma parcela de potenciais consumidores e vendedores. Seguidamente, apresenta a etapa de “especificação da oportunidade, especificação do projeto e volta-se, então, para o projeto conceitual, para selecionar o melhor conceito”. (BAXTER, 2003, p. 15) Na terceira fase, é realizado um segundo teste de mercado, semelhante ao inicial, que indicará se os resultados foram satisfatórios para dar início à configuração do produto. Caso tenha a necessidade de alguma alteração técnica, deve haver um retrocesso de etapas, para que se verifique novamente a viabilidade do produto. Com a aprovação do produto, são realizados desenhos detalhados que auxiliam na sua fabricação e construção do protótipo. Com a aprovação final do protótipo inicia-se a produção e comercialização do produto (BAXTER, 2003). Sendo assim, observa-se a relevância da metodologia para o processo de desenvolvimento de produtos, visto que essa conduzirá o designer a seguir etapas que visam garantir mais clareza no processo, e uma redução de riscos e incertezas.
Estratégias sustentáveis de moda: um estudo aplicado ao desenvolvimento de produtos de vestuário
de produtos de vestuário contribui com as pesquisas voltadas para a minimização de impactos ambientais ocorridos com o consumo excessivo de vestuário. Isso pode se dar por meio da compreensão da inserção de estratégias sustentáveis no desenvolvimento de produtos em um mercado onde o consumo se mostra exacerbado e o meio ambiente necessita de redução de impactos.
Tabela 1: Estratégias sustentáveis aplicadas à indústria do vestuário
Estratégia
Características
Open design e cocriação
Interferência dos stakeholders no desenvolvimento de produtos, com envolvimento direto dos consumidores na criação.
Customização
Busca satisfazer as necessidades e desejos do maior número de consumidores, garantindo a criação de laços emocionais entre produto e cliente.
Upcycling
Desenvolvimento de produtos por meio de sobras de tecidos e objetos, através da reforma ou da inserção de retalhos decorativos.
Design modular
Criação de produtos a partir da junção de pequenos componentes, assegurando que os consumidores possam modificar seus produtos.
Compartilhamento
Visa à utilização de um único artigo por diversos indivíduos.
4. RESULTADOS E DISCUSSÕES
PORTUGUÊS
168
Além dos conceitos globais de moda sustentável, em todas as etapas de produção de artigos de vestuário existem diversas estratégias baseadas na criatividade ao solucionar problemas, no questionamento das práticas vigentes e na colaboração entre indústria e consumidor, as quais visam diminuir o impacto ambiental, social e econômico que a fabricação e o consumo desenfreado de moda podem gerar ao ambiente (NIINIMÄKI, 2011b). A implementação das estratégias inovadoras na indústria de vestuário busca atingir a minimização do uso de recursos, a escolha de processos e matérias-primas com baixo impacto, o aperfeiçoamento das técnicas produtivas e das formas de distribuição, bem como o aumento do tempo de vida dos produtos (GWILT, 2014). Segundo Niinimäki (2011b), a moda sustentável deve levar em conta as fases de design, fabricação, logística, vendas, uso e descarte, implantando estratégias que aumentem o tempo de utilização do produto, garantindo que possa ser modificado ou ainda que as matérias-primas possam ser recicladas. Considerando estes aspectos, observa-se que as indústrias de vestuário têm almejado empregar métodos produtivos com baixo impacto social e ambiental, nas diversas fases de produção, distribuição e uso. Para isso, buscam a implementação de estratégias que garantam, principalmente, maior interação entre produto e consumidor, criando um vínculo emocional e, assim, influenciando para o aumento do tempo de vida útil dos produtos. Dentre elas, ressaltam-se o open design e cocriação, a customização, o upcycling, o design modular e o compartilhamento. Cada uma dessas estratégias serão discutidas a seguir e estão apresentadas na Tabela 1.
Fonte: Adaptado de Eichentopf, 2011; Ferronato, Franzato, 2015; Morais et al. 2012; Blecker et al. 2004; Salcedo, 2014; Gwilt, 2014; Ferreira et al. 2012; Martins, 2002; Karell, 2011; Fletcher; Grose, 2011; Gimenez; Carvalhaes, 2016
O conceito de open design evidencia a cocriação de valor aos produtos por meio do envolvimento de stakeholders no processo de desenvolvimento de produtos, como os fornecedores, consumidores e parceiros comerciais (FERRONATO; FRANZATO, 2015). Para Eichentopf (2011), a ideia de cocriação surgiu do reconhecimento da mudança no papel dos consumidores que se encontravam passivos para indivíduos ativos, influenciando no surgimento da concepção de envolvimento dos clientes em várias etapas do processo de criação de valor. Desta maneira, os consumidores são visto sob uma nova perspectiva, colaborando no processo de design e, assim, criando a percepção de um produto, serviço ou experiência que, além de atender uma necessidade, gera satisfação e valor (FERRONATO; FRANZATO, 2015). Segundo Niinimäki (2011a), os consumidores satisfeitos utilizam seus produtos por um período maior de tempo, e tornam-se fiéis às marcas que lhes proporcionam esta experiência, contribuindo para a desaceleração do consumo e para os negócios sustentáveis. Por conseguinte, a interação entre os diversos indivíduos que compõem
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
Larissa Aparecida Wachholz e Eliane Pinheiro
a eficiência dos produtos e, por conseguinte, o seu tempo de vida útil, garantindo um maior aproveitamento dos artigos em diversas situações. Ademais, pode ser vista como uma motivação para tornar o consumidor mais ativo, levando em consideração a sua interação com o produto, por meio da mudança de suas formas (FLETCHER; GROSE, 2011). Vinculada a essa estratégia há o design modular, que possui como definição a estratégia de construção de sistemas ou produtos a partir da união de pequenos componentes, que podem ser desenvolvidos separadamente, todavia que funcionam como um conjunto interligado. Ao ser adaptado à moda, o design modular oferece peças de roupas que podem ser modificadas pelos consumidores (MARTINS, 2002; KARELL, 2011). Por meio de suas características volúveis, a roupa modular fornece aos usuários uma visão de renovação de vestuário, sem que ocorra a troca das peças, garantindo um aumento do tempo de uso do produto (KARELL, 2011). Desta maneira, a modularidade permite a participação do consumidor utilizando a sua criatividade, seus anseios e necessidades para alterar as peças de roupas, o que pode auxiliar na geração de satisfação durável (FLETCHER; GROSE, 2011). Por conseguinte, as roupas modulares podem ser entendidas como uma estratégia de adaptabilidade no vestuário, além de oferecerem uma interação com seus usuários, ampliam suas maneiras de utilização e tempo de vida útil, garantindo assim, benefícios ao meio-ambiente e influenciando para o fortalecimento de novas maneiras de consumo e processos produtivos. Já o upcycling refere-se à técnica de ampliar o valor de um produto que, anteriormente, seria jogado no lixo. Os artigos produzidos por meio do upcycling melhoram o aproveitamento de seus materiais, ou do produto propriamente dito, diferenciando-se da reciclagem, que pode promover a desvalorização dos artigos (GWILT, 2014). Para Ferreira, Broega e Providência (2012), o método pode ser observado como uma solução para o curto período de vida dos produtos de vestuário, integrando novamente as peças e matérias-primas que seriam descartadas ao processo produtivo. O upcycling pode ser aplicado através do desenvolvimento de novas peças de roupas utilizando sobras de tecidos ou objetos (como as sobras de aviamentos) e, por meio de reformas ou inserção de retalhos decorativos em artigos já existentes. Todo o processo, desde a separação e escolha dos materiais a serem reutilizados, passando pela preparação para o uso, até transformar-se em uma nova
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
169
PORTUGUÊS
o sistema, fornece uma mudança na maneira de utilização e cuidado com os produtos, aumentando o tempo de vida útil (FERRONATO; FRANZATO, 2015). Sendo assim, observa-se que a cocriação inserida na indústria da moda traz benefícios aos consumidores, que podem auxiliar no processo de design inserindo suas preferências e desejos nos produtos, contribuindo para o aumento do compromisso do usuário com o produto, e para o prolongamento da sua vida útil. Outra estratégia com grande relevância é a customização, que possui associação ao conceito de adaptabilidade, permitindo ao consumidor intervir na configuração do produto, da qual se deriva o termo Do it yourself (DIY), que promove a autoprodução do vestuário, envolvendo o consumidor e o processo de criação de produtos (MORAIS; CARVALHO; BROEGA, 2012). Integrado a essa estratégia, existe o conceito customização em massa, o qual visa satisfazer as necessidades individuais do maior número possível de consumidores, diferenciando-se da produção em massa que produz produtos padronizados com custo reduzido (BLECKER et. al, 2004). Para Pelegrini (2005, p. 34), a customização em massa deve orientar-se pelos anseios dos consumidores, o que pode “estender-se desde a concepção e o desenvolvimento do produto e/ou serviço, até sua produção, distribuição, vendas e pós-vendas”. A introdução da customização em massa nas indústrias possui três principais motivações: mercados globais livres e dinâmicos; fragmentação de mercado; e, o ciclo de vida de produto cada vez mais curto (RUOHONEN; RIIHIMAA; MÄKIPÄÄ, 2003). Desta maneira, acredita-se que o principal fator que alia a estratégia à sustentabilidade é o aumento da vida útil dos produtos através da criação de laços emocionais entre o produto e o consumidor, o que garante um compromisso maior entre ambos, opondo-se à concepção de obsolescência programada (SALCEDO, 2014). Deste modo, verifica-se que a estratégia de customização proporciona aos consumidores o atendimento de suas necessidades e anseios com maior atenção. Visto que, com o conceito “Do It Yourself,” o próprio consumidor consegue alterar o produto de acordo com suas preferências e, na customização em massa, a empresa visa se adequar às exigências do maior número de indivíduos. Consequentemente, isso torna o produto mais agradável ao consumidor, proporcionando maior apego, e otimização do tempo de utilização do artigo. No design com abordagens sustentáveis, a adaptabilidade é uma das estratégias utilizadas a fim de aumentar
Estratégias sustentáveis de moda: um estudo aplicado ao desenvolvimento de produtos de vestuário
PORTUGUÊS
170
matéria-prima, demanda um longo período de tempo, o que consequentemente aumenta o custo dos produtos (GWILT, 2014). Apesar do custo mais elevado, as peças produzidas por essa técnica, fornecem uma “nova integração na vida quotidiana de diferentes indivíduos com base no estilo de vida de cada um” (FERREIRA; BROEGA; PROVIDÊNCIA, 2012, p. 4). Desta maneira, nota-se que o upcycling visa o aumento do tempo de vida dos materiais, concedendo-lhes maior valor, levando em consideração que os resíduos provenientes de diversas indústrias, principalmente do setor têxtil, recebem uma nova utilidade e contribuem para a sustentabilidade na indústria da moda. Observa-se, ainda, outra estratégia considerável para a sustentabilidade na indústria da moda, o compartilhamento, que surgiu com a Grande Recessão dos Estados Unidos ocorrida em 2008, destacando-se como uma alternativa à crise econômica que promoveu novas formas de consumo que garantiam renda extra a quem oferecia os serviços e preços mais baixos a quem adquiria. A nova proposta de consumo passou a oferecer aos consumidores a vantagem de utilizarem um produto ou serviço através do empréstimo, aluguel ou compartilhamento, sem ser necessária a sua aquisição (GIMENEZ; CARVALHAES, 2016). O conceito de compartilhamento ressalta a ideia de uma correlação entre os usuários, isto é, uma ação coletiva, a qual influencia para o diálogo “contra o hiperconsumo, o acúmulo de posses e o descarte irresponsável de produtos” (GIMENEZ; CARVALHAES, 2016, p. 4). A estratégia de compartilhamento também é vista como uma forma de aumentar o tempo de vida útil dos produtos, bem como sua utilização, sendo que um único artigo pode ser utilizado diversas vezes por pessoas distintas, considerada assim, uma prática favorável à sustentabilidade (MANZINI; VEZZOLI, 2005). Na moda, o compartilhamento começa a se mostrar presente em algumas iniciativas, como alternativa ao consumo excessivo e à brevidade das tendências de moda, aliando-se ao consumo sustentável de produtos de vestuário. Entretanto, para que essa estratégia ganhe notoriedade no setor, há a necessidade de restauração no padrão de consumo, informando aos consumidores os benefícios desta prática, incluindo a alteração nos processos produtivos e na criação de produtos duradouros (GIMENEZ; CARVALHAES, 2016). Considera-se, assim, o compartilhamento como uma estratégia sustentável para o setor da indústria do vestuário, visto que o conceito busca combater o consumo exacerbado de roupas por meio do uso coletivo. Vale
ressaltar ainda, a necessidade de que a prática seja popularizada entre os consumidores, a fim de que tenham conhecimento de suas vantagens em relação ao custo e às questões sustentáveis. No caso dos produtos de vestuário com as estratégias sustentáveis apresentadas é imprescindível que a utilização da metodologia para o desenvolvimento de produtos seja aplicada, tendo em vista que a viabilidade da inserção destas ferramentas deve ser avaliada desde o início do processo de criação. Associando a metodologia apresentada por Löbach (2001), dividida em análise do problema, geração de alternativas, avaliação e solução do problema, com a estratégia de open design e cocriação, observa-se a relevância da utilização da metodologia, desde a fase inicial até o desenvolvimento do produto, visto que os consumidores envolvem-se em todas as etapas de criação, e assim, com a utilização de uma sequência do que deve ser feito, o processo se torna mais entendível e seguro. Para a introdução da estratégia de customização, entende-se que a opinião, as necessidades e os desejos dos consumidores devem ser levados em conta durante o processo de criação, sendo assim, a fase de avaliação proposta por Löbach (2001), e as fases de testes de mercado apresentadas por Baxter (2003) são significativas para o processo de desenvolvimento, dado que as avaliações podem ser realizadas com base na resposta às expectativas dos consumidores. No caso da técnica de upcycling, a metodologia evidencia sua relevância desde o momento inicial do processo de design, uma vez que os produtos feitos a partir da reutilização de materiais devem ser projetados de acordo com as matérias-primas disponíveis de reaproveitamento, buscando evitar ao máximo o desperdício. Assim sendo, o designer deve analisar o problema contando com essas restrições. Para os produtos com design modular, a importância da metodologia também se mostra presente desde o início do processo de criação, visando aplicar a modularidade como uma das soluções para o produto. Além disso, observa-se que as fases de testes propostas por Baxter (2003), garantem a adaptabilidade para a interação entre os consumidores e os produtos. Já no caso da estratégia de compartilhamento, a implementação da metodologia de projeto de produto auxiliará o designer a projetar buscando atender às expectativas de diversos públicos e, ainda na fase inicial, pensar na utilização de matérias-primas duráveis, para que o maior número de indivíduos possa utilizar o produto.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
Larissa Aparecida Wachholz e Eliane Pinheiro
5. CONSIDERAÇÕES FINAIS O presente estudo buscou identificar como as estratégias sustentáveis podem favorecer o desenvolvimento de produtos de vestuário a fim de reduzir os impactos ambientais, levando em consideração a importância da metodologia para que o designer possa realizar suas atividades com clareza, reduzindo os riscos e incertezas para a empresa. No caso dos produtos de moda, a metodologia irá auxiliar nos processos produtivos, a fim de que sejam conciliadas a criação, qualidade, vestibilidade, aparência e preço aos anseios dos consumidores-alvo. Observa-se também, que a indústria da moda pode contribuir consideravelmente para um sistema de produção insustentável, gerando impactos negativos à natureza e à sociedade em geral. Não obstante, gradativamente surgem novos conceitos que visam à minimização dos malefícios causados ao ambiente pelas indústrias têxteis e de vestuário, como a Ecomoda, que busca a utilização de matérias-primas que agridam menos o ambiente, a Moda Ética, que leva em consideração, principalmente, o bem-estar e a saúde dos produtores e dos consumidores, e o Slow Fashion, que almeja produções com comunidades locais, em menor escala, de maneira menos acelerada. No caso da indústria de vestuário, faz-se imprescindível que sejam empregadas as estratégias sustentáveis abrangendo todas as fases dos produtos e, deste modo, que favoreçam o uso controlado de recursos, a escolha de matérias-primas com baixo impacto, a mudança nos sistemas de distribuição, assim como o aumento do tempo de vida do produto. Considera-se relevante que os consumidores se tornem mais ativos nos processos produtivos, garantindo maior compromisso do usuário com o produto, conforme apresentado nas estratégias de Open design e Cocriação, Design Modular, Customização, Upcycling e Compartilhamento.
AGRADECIMENTOS Os autores agradecem ao Programa Iniciação Científica (PIC) promovido pela Universidade Estadual de Maringá (UEM).
REFERÊNCIAS BAXTER, M. Projeto de produto: guia prático para desenvolvimento de novos produtos. 2ª ed. São Paulo: Edgard Blücher, 2003.
EICHENTOPF, T. How should co-creation be adopted in a triadic relationship in order to develop a Strong brand?, 2011. Disponível em: <http://marketing.conference-services.net/resources/327/2958/pdf/AM2012_0138_ paper.pdf>. Acesso em: 09 set. 2016. ETHICAL Fashion. Disponível em: <http://www.ethicalfashionforum.com/the-issues/ethical-fashion>. Acesso: 03 out. 2016. FABRI, H. P.; RODRIGUES, L. V. Slow Fashion: perspectivas para um futuro sustentável. In: Colóquio de Moda, 11., 2015, Curitiba. Anais... Curitiba: Universidade Positivo, 2015. FERREIRA, J.; BROEGA, A. C.; PROVIDÊNCIA, B. Re-design de vestuário: mais um passo no slow design. In: Congresso Internacional de Moda e Design, 1.,2012, Guimarães. Anais... Guimarães: Universidade do Minho, 2012.
171
FERRONATO, P. B.; FRANZATO, C. Open design e Slow Fashion para a sustentabilidade no sistema moda. ModaPalavra e-periódico, v. 9, out. 2015, p. 103-115. Disponível em: <http://revistas.udesc.br/index.php/modapalavra/article/view/7256>. Acesso em: 03 set. 2016. FLETCHER, K. Slow Fashion: an invitation for systems change. Fashion Pratice, 2:2, abr. 2015, p. 259-265. Disponível em: <http://www.tandfonline.com/doi/pdf/1 0.2752/175693810X12774625387594?needAccess=true>. Acesso em: 15 set. 2016. FLETCHER, K; GROSE, L. Moda & sustentabilidade: design para mudança. São Paulo: Editora Senac, 2011. FONTOURA, A. M. EdaDe - Educação de crianças e jovens através do design. 337 f. Tese (Doutorado em Engenharia de Produção), Universidade Federal de Santa Catarina, Florianópolis, 2002. Disponível em: <https://repositorio.ufsc.br/handle/123456789/82554>. Acesso em: 18 jul. 2016.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
PORTUGUÊS
BERLIM, L. Moda e sustentabilidade: uma reflexão necessária. São Paulo: Estação das Letras e Cores, 2012.
BLECKER, T. et. al. Mass customization vs. complexity: a gordian knot?. In: International Conference “An Enterprise Odyssey: Building Competitive Advantage”, 2., 2004, p. 890-903. Disponível em: <http:// www.manufacturing.de/download/zagreb_complexity. pdf>. Acesso em: 30 set. 2016.
Estratégias sustentáveis de moda: um estudo aplicado ao desenvolvimento de produtos de vestuário
GIMENEZ, A. C.; CARVALHAES, A. G. O compartilhamento como alternativa sustentável na moda: guarda-roupa compartilhado. In: Colóquio de Moda, 12., 2016, João Pessoa. Anais... João Pessoa: Unipê, 2016. GWILT, A. Moda sustentável: um guia prático. São Paulo: Gustavo Gilli, 2014. JOHANSSON, E. Slow fashion: the answer for a sustainable fashion industry?. (Degree of Master in Applied Textile Management). The Swedish School of Textiles, 2010. Disponível em: <http://bada.hb.se/bitstream/2320/6776/1/2010.9.15.pdf>. Acesso em: 27 set. 2016. KARELL, E. Planned continuity: multi-life garments through modular strctures & supplemental services. In: NIINIMÄKI, K. (ed.). Sustainable fashion: new approaches. Finland: Unigrafia, 2011. p. 110-123. LÖBACH, B. Design Industrial: bases para a configuração dos produtos industriais. 1. ed. São Paulo: Edgard BlücherLtda, 2001.
172
MANZINI, E.; VEZZOLI C. O desenvolvimento de produtos sustentáveis: os requisitos ambientais dos produtos industriais. 1ª ed. 1. reimpr. São Paulo: Editora da Universidade de São Paulo, 2005. MARTINS, J. C. M. Introdução ao design do produto modular: considerações funcionais, estéticas e de produção. 116 f. Dissertação (Mestrado). Faculdade de Engenharia da Universidade do Porto, 2002. Disponível em: <https://repositorio-aberto.up.pt/bitstream/10216/12110/2/ Texto%20integral.pdf>. Acesso em: 02 out. 2016. MARTINS, R. F. de F. A Gestão de Design como uma Estratégia Organizacional: um modelo de integração do design em organizações. 187 f. Tese (Doutorado em Engenharia de Produção). Universidade Federal de Santa Catarina, Florianópolis, 2004. Disponível em: <https://repositorio.ufsc.br/bitstream/handle/123456789/87100/208973.pdf?sequ>. Acesso em: 18 jul. 2016.
NIINIMÄKI, K. New values - new business opportunities. In: NIINIMÄKI, K. (ed.). Sustainable fashion: new approaches. Finland: Unigrafia, 2011a. p. 126-133. ______. Tenents of sustainable fashion. In: NIINIMÄKI, K. (ed.). Sustainable fashion: new approaches. Finland: Unigrafia, 2011b. p. 12-29. PELEGRINI, A. V. O processo de modularização em embalagens orientado para a customização em massa: uma contribuição para a gestão do design. 162 f. Dissertação (Mestrado em Engenharia Mecânica). Universidade Federal do Paraná, Curitiba, 2005. Disponível em: <http://www.pgmec.ufpr.br/dissertacoes/dissertacao_041.pdf>. Acesso em: 30 set. 2016. RECH, S. Moda: por um fio de qualidade. Florianópolis: Udesc, 2002. 133 p. REFOSCO, E. et al. O novo consumidor de moda e a sustentabilidade. In: COLÓQUIO DE MODA, 7., 2011, Maringá, 2011. Anais... Maringá: Unicesumar, 2011. Disponível em: <https://repositorium.sdum.uminho.pt/ bitstream/1822/14946/1/Cbroega_04.pdf>. Acesso em: 21 jun. 2016. RODRIGUES, L. V; FABRI, H. P. Consumo e Moda Ética para um futuro sustentável. In: Colóquio de Moda, 12., 2016, João Pessoa. Anais... João Pessoa: Unipê – Centro Universitário de João Pessoa, 2016. RUOHONEN, M.; RIIHIMAA, J.; MÄKIPÄÄ, M. Knowledge based mass customization strategies: cases from Finnish metal and electronics industries. 2003. Disponível em: <http://scg.mit.edu/images/MCPC%20 2003/site/2-MCP%20Strategies%20and%20Economics/4Ruohonen.pdf>. Acesso em: 30 set. 2016. SALCEDO, E. Moda Ética para um futuro sustentável. Espanha: GG Moda, 2014.
PORTUGUÊS
MORAIS, C.; CARVALHO, C.; BROEGA, C. Optimização da função e da forma no eco-design de vestuário. In: P&D Design, 10., São Luís, 2012. Anais..., São Luís: UFM, 2012.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.157-172 | nov. | 2017
ARTICLES
DESIGN AND SOCIAL INNOVATION: RESEARCH ON THE INTERACTIONS BETWEEN SOCIAL ACTORS AND OBJECTS DESIGNED IN EMANCIPATOR PROCESS TO GENERATE AUTONOMOUS KNOWLEDGE IN DESIGN DESIGN E INOVAÇÃO SOCIAL: PESQUISA SOBRE AS INTERAÇÕES ENTRE ATORES SOCIAIS E OBJETOS PROJETADOS EM PROCESSO DE EMANCIPADOR PARA GERAR CONHECIMENTO AUTÔNOMO EM DESIGN Beany Guimarães Monteiro, Dra. (UFRJ) Key Words Design; Research; Social innovation; Autonomous knowledge; Emancipatory process
Palavras Chave Design; Pesquisa; Inovação social; Conhecimento autônomo; Processo emancipatório
ABSTRACT Traditionally Design research begins with a double movement: in one movement, there is the theoretical knowledge to enlarge and consolidate our professional working practice, and in the other movement, there is the research through design from a practical intervention, which is, in turn, reinterpreted in the Design theoretical knowledge field. These two movements, reciprocal and asymmetric, lead us to reflect about our vocation and talents, concerning ourselves as designers and our activities in contemporary Design. In this way, a new research quality through design should be considered: one that predicts the construction of autonomous knowledge in relation to the traditional aforementioned movements. On the other hand, dealing with Design practice brings us to face the question of the planet’s sustainability. Considering most products nowadays are not ecologically sustainable, we need to understand how product design may contribute to this issue. Since knowledge is materialized in products, we can magnify and value the qualities of such products towards the results we expect with our projects. Designers must create a bridge between the external and internal conditions that enable change through local experiences, presenting innovative knowledge and possibilities. That process has important implications for Design. In this logic, Design must create “networks” with meaning in people’s relations, aiming at increasing these relations quality, and change the focus from product to the results in which this product is inserted.
RESUMO Tradicionalmente, a pesquisa de design começa com um duplo movimento: em um movimento, há o conhecimento teórico para ampliar e consolidar a nossa prática profissional profissional, e no outro movimento, há a pesquisa através do design de uma intervenção prática, que é, por sua vez, reinterpretado no campo do conhecimento teórico de Design. Esses dois movimentos, recíprocos e assimétricos, nos levam a refletir sobre nossa vocação e talentos, referentes a nós mesmos como designers e nossas atividades no Design contemporâneo. Desta forma, deve ser considerada uma nova qualidade de pesquisa através do projeto: uma que prevê a construção de conhecimento autônomo em relação aos movimentos tradicionais mencionados. Por outro lado, lidar com a prática de Design leva-nos a encarar a questão da sustentabilidade do planeta. Considerando que a maioria dos produtos hoje em dia não são ecologicamente sustentáveis, precisamos entender como o design do produto pode contribuir para esse problema. Uma vez que o conhecimento é materializado nos produtos, podemos ampliar e valorizar as qualidades de tais produtos para os resultados que esperamos com nossos projetos. Os designers devem criar uma ponte entre as condições externas e internas que permitem mudanças através de experiências locais, apresentando conhecimentos e possibilidades inovadores. Esse processo tem implicações importantes para Design. Nesta lógica, o Design deve criar "redes" com significado nas relações das pessoas, visando aumentar essas relações de qualidade e mudar o foco do produto para os resultados em que este produto está inserido.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.173-178 | nov. | 2017
173
Design and Social Innovation: research on the interactions between social actors and objects designed in emancipator process to generate autonomous knowledge in design
1. INTRODUCTION
174
2. THEORETICAL FRAMEWORK
How can Design produce knowledge about ecology and society by means of situated projects? This question aims at the understanding of how such knowledge is generated, considering knowledge as the result of a dialogic and relational dynamics. In this respect, the theoretical model is intended to explain the dissemination of social innovation, seen from a perspective of mutual approach to knowledge regarding the advance of the role of actors during the action research. It involves the use of open and dynamic languages, which will help maintain existing relations and advance in the reciprocal actions between design, innovation and university extension, thus expanding the horizon of this work within the concept of Autonomous Education in Design. In articulation with the theme Innovations in Education and, in methodological terms, with the maturing and continuity of projects conducted by Laboratory of Design, Innovation and Sustainability (LABDIS) the concept of a network named Autonomous Network was constituted as a research and extension project in 2008, with a LongTerm Scholarship granted by CNPq (CNPq, process no. 310735/2009-2, DT-2009). Given these points and the development of actions based on the extension activities performed by the Laboratory of Design, Innovation and Sustainability (LABDIS) throughout its first ten years of work on teaching, research and extension in the field of Design, an emerging domain is now being organized in the School of Fine Arts of the Federal University of Rio de Janeiro. Through the Autonomous Network, we intend to give visibility to initiatives produced in the everyday life of social actors that interact with the university by means of University Extension, translate these interactions into visual language, and facilitate communication and their transformation into innovation, besides making design an accessible tool for these same actors. In this context, design presents itself as a process that opens up in the form of dialogues and encounters. That poses important challenges in terms of methods, but, likewise, challenges related to a dialogic procedure, previously unknown in this field. This dialogue must ensure that the appropriation of the method by other actors involved in the situation will be a valuable experience, making sense in local terms, and transferrable to other situations. That is, this dialogue must guarantee the translation of a solution or an instrument from a situation to another. For this dialogic opening and this situational basis, the action of the designer can be seen as a process of social innovation (MONTEIRO, 2011).
The theoretical model for this research has as its main references authors like Lévy (1999), Guattari (2012), Liu (1997), Morin (2004), Zaoual (2005), Mulgan (2006), Manizini (2007 e 2008), Guedes Pinto (2014). From the perspective of this theoretical framework, the proximity between people and the relations constituted by means of symbolic interactions and successive practices, and by means of what we experience before understanding conceptually, demarcates the limits of the intersubjectivity that stands between the problem and the solution. It establishes, thus, the field of action of Design for Social Innovation. This limit is a shared challenge, but not a projected one, for sharing demands that people be together and speak. An encounter with someone is the result of free acts detached from a utilitarian and instrumental view. By opposing value, substantive and situated rationality to instrumental rationality, Zaoual (2005) proposes the notion of symbolic sites of belonging, and affirms that each problem that presents itself to a community will have an unpredictable and unexpected outcome. This unexpectedness results from the creative action of persons who form the community. As a corollary, human development in the form of situated development will be plural intrinsically, and the existence of diversity is the strongest indicator that alterity is preserved and reinforced as an ethic value. In his book “The Three Ecologies”, Guattari (2012) refers to a social ecology which is expected to work towards rebuilding human relations at every level of the socius. This social ecology should never lose sight of the fact that capitalist power has been de-localized and deterritorialized, in extension, by extending its influence over the social, economic and cultural life of the planet, and also in ’intension’, by infiltrating the most unconscious subjectivity. Therefore, it is not possible to take up a position of opposition from the outside, by means of trade union and traditional political practices. If reality is understood as a process or group of processes grounded on relations and whose dynamics is produced by the contradictions which are an essential part of these processes, then the truth, something necessarily connected to this moving reality, will never be either finished or absolute. Quite the contrary, it will be relative, because it is a process, it is historic and dependent on the level of conscious reflection upon the laws of objective reality movement (contradictory), or even on the stage of material development process” (In: GUEDES PINTO, 2014, pp.51-53).
Mix Sustentável | Florianópolis | v.3 | n.4 | p.173-178 | nov. | 2017
Beany Guimarães Monteiro
According to Manzini (2007), the designer plays the role of mediator and translator between the result as an articulator of new, autonomous knowledge, that is formed transverse and asymmetrically, in a process of social learning. This result goes beyond the scope of problem-answer and the designer becomes a mediator between the internal and external conditions of social transformation, as the result of social innovation. The designer is at times the co-author of these transformations and at times their sculptor, one that promotes and facilitates local experiences and the emergence of innovative knowledge and possibilities originated from these experiences in other contexts. At the basis of this research lies the understanding of relations established between persons, their work and the interfaces available for these interactions; the understanding of how these interactions are considered in the design of these interfaces, preserving the possibility of encounters that overcome the utilitarian view of systems and considering the complexity that involves them. This research has as its main references three projects managed by the Laboratory of Design and Innovation of the School of fine Arts/UFRJ: 1. Design in Popular Enterprises; 2. Footprint at Schools; and 3. Autonomous Education Network in Design. They received the following governmental grants: FAPERJ (E_14/2012 - Support to Extension and Research Projects - EXTPESQ Type: Support to Basic Research, file no. E-26/111.503/2012); CNPq (Young Researchers, file no. 566444/2008-9 and CNPq Grant/Call: Productivity in Technological Development and Innovative Extension DT 2009 File Number: 310735/2009-2); CAPES (New Talents Program, no. 046619/2013, 17/2013-CGV/DEB/CAPES) and MEC (PROEXT 2015 Edict, protocol 2213.2.411.26042014). This approach is innovative in relation to the state of the art in the science of Design, cognitive science, ecology, social studies, creative analyses, and other approaches, since it has originated from academic initiatives named extension projects, in Brazil. Extension activities form a tripod structure with research and teaching, having as their main proposal the creation of a two-way, reciprocal and asymmetric communication channel between social actors, their knowledge, approaches and references, in order to build a common knowledge that be applicable to the solutions proposed in these actions.
3. OBJECTIVES 1. To develop a platform that will enable social actors - the target of extension projects - to work, with autonomy and solidarity, in the construction and
dissemination of social innovations that promote quality of life in everyday contexts. 2. To delimitate the field of action of design for social innovation, considering the levels of subjectivity and autonomy of knowledge in this field, and the integration to local contexts. 3. To strengthen and disseminate among partners the use of appropriate technology - applicable products, services and methodologies - developed in the interaction with reality, and which represent effective solutions to socioeconomic and environmental demands posed by partner communities. 4. To develop, implement and maintain a platform to give visibility and facilitate communication about the social innovations produced by the target groups of projects conducted by the Laboratory of Design, Innovation and Sustainability (LABDIS). 5. To implement an international laboratory where it is possible to set a cooperation agreement between the partners in this program, with possible exchanges in the fields of university teaching, research and extension.
4. METHODOLOGICAL APPROACH For this approach relevant is the creation of cooperation networks that preserve the autonomy of actors in the generation of knowledge - and allow new cooperation agreements between different countries. That is an important part of this mission on the part of the Design Programs at the Federal University of Rio de Janeiro. For university extension in Design, networks that can strengthen the existing ones and guide them towards areas related to Design for Social Innovation and University Extension constitute an emerging domain for research and teaching in Brazil. That can apply to the School of Fine Arts of the Federal University of Rio de Janeiro (EBA/ UFRJ), but also in another institutions. UFRJ adopts the concept of university extension, defined by the Forum of the Deans of Extension of Brazilian Public Universities: “University Extension, under the constitutional principle of inseparability of teaching, research and extension, is an interdisciplinary process of educational, cultural, scientific and political nature that promotes transforming interaction between the university and other segments of society”. The directives that guide the formulation and implementation of University Extension actions, as stated by the FORPROEX (RODRIGUES & MONTEIRO, 2014), are: 1. Dialogic interaction 2. Interdisciplinarity and Interprofessionality 3. Inseparability of teaching, research and extension.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.173-178 | nov. | 2017
175
Design and Social Innovation: research on the interactions between social actors and objects designed in emancipator process to generate autonomous knowledge in design
176
4. Impact on student’s education 5. Impact on social transformation. The proposal is to deal with each one of these directives by means of lectures and workshops, linking each one of them to teaching and research activities, within the graduate program. First workshop: The first workshop will deal with dialogic interaction as a basis for social inclusion and participation of different social actors interested in the actions performed, with special focus on actors outside the university. In this workshop, we will also treat the appropriation and democratization of authorship in productions resulting from extension activities and the participation of each partner in the actions developed in the public university space. Finally, we will approach the ethical dimension of University Extension processes. Second workshop: The second workshop will deal with ways of overcoming the dichotomy that separates the social fact as an experienced fact, a complex whole that is entwined with the subject, from the view of the specialist that tends to generalize problems and to fragment questions in order to treat them according to their own technical competencies. The basis for these workshops will be the combination of models, concepts and methodologies that can integrate Interdisciplinarity and Interprofessionality to give university extension actions the theoretical and operating consistency it depends upon to be effective in social transformation. The three lecture themes proposed relate to the University Extension directives and to the role of design in social innovation: 1. Inseparability of Teaching - Research - Extension 2. Impact on student’s education 3. Social Transformation These themes approach the perspective of people’s education, generation of knowledge (research), participative methods and action research, autonomous knowledge, curriculum flexibility and the accreditation of credits obtained from extension activities. The proposal indicates that the organization of an international laboratory should be in compliance with the six structural axes established by the Forum of the Deans of Extension of Brazilian Public Universities – FORPROEX. The choice of axes to guide the organization of this laboratory resulted from the consideration that this way it would be possible to advance towards a concrete and pragmatic proposal to foster dialogue between several national and international institutes. What guides the choice is the belief in the importance of extension to students’ education
and in the relevant role played by the University in social transformation. The structural axes are: Axis 1: intends to give legitimacy to extension and acknowledge its position in university management. Axis 2: deals with the academic insertion of extension, considering the actions already in progress in teaching units. Axis 3: deals with the validation of extension, by means of the creation of extension and research groups with Institutes and funding bodies. Axis 4: understands the necessity of university extension internationalization. Axis 5: aims at the production of qualitative and quantitative evaluation indicators that encompass the nature of extension, that are measurable and auditable, and that allow evaluation and monitoring of the impact caused by extension actions. Axis 6: aims at the strengthening of publications about theoretical-methodological reflections in the practice and knowledge relative to Extension. Considering the aforementioned axes, autonomy is a central element in this laboratory, having as references the action research methodology and the participatory research methods to transform problems. Summary of the Research plan 1. Triggering 1.1 Admission to the host laboratory 1.2 Training on the use of the research project methodological instruments 1.3 Workshop 1 / Evaluation and triggering 35 days for the initial activities 1.4 Impact activity (event) 2. Grace period 2.1. Identification and analysis of the results of the previous step (Triggering) 2.2. Proposal of new ideas 2.3. Identification of new problems 2.4 Workshop 2 / Consolidation of the results of steps 1 and 2 for paper publication 3. Maturing and continuity 3.1. Planning, implementation and evaluation of the new laboratory 3.2. Series of lectures 3.3. Reorientation and new publications 4. Evaluation and reproposal 4.1. Launching event at the international laboratory 4.2. Evaluation 4.3. Reorientation and organization of routines. This research summary is based on the following
Mix Sustentável | Florianópolis | v.3 | n.4 | p.173-178 | nov. | 2017
Beany Guimarães Monteiro
points, which complement those of other research teams involved in the proposal: 1. To develop an enabling platform that allows the advance of interactions between the social actors of University Extension, in order to contribute with the interactions within and between different universities in Brazil and in other countries. 2. To design this platform within a concept of open network so that the autonomy of actors is preserved and new platforms can be generated from the same principle, but with new interaction purposes. 3. To implement an international laboratory engaged in the three axes - teaching, research and extension in Design - making it possible to internationalize extension and to open up for new fields of research and action in Design. The expansion of the horizon for teaching, research and extension in Design points to the opening of new fields for the practice of Design and Social Innovation in the country. In the School of Fine Arts/UFRJ, two undergraduate subjects – Introduction to Extension in Design and Extension in Design – are based on this research and on my academic experience acquired between 2006 and 2015 as coordinator of the Laboratory of Design, Innovation and Sustainability (LABDIS/EBA/UFRJ) and, since 2011, as Associate Director of Extension at the School of Fine Arts.
5. CONCLUSIONS The creation of cooperation networks that preserve the autonomy of actors in the generation of knowledge - and that allow new cooperation agreements - is an important part of this research in view of the start of the Graduate Program in Design at the Federal University of Rio de Janeiro. As for university extension in Design, networks that can strengthen the existing ones and guide them towards areas related to Design for Social Innovation and University Extension constitute an emerging domain for research and teaching in Brazil. In the School of Fine Arts of the Federal University of Rio de Janeiro (EBA/ UFRJ), that domain relates to University Extension, in compliance with strategy 7, target 12, of the National Plan for Education, as described in the proposal. The participation of undergraduate and graduate students in extension actions and the accreditation of credits according to their level of participation is of extreme importance for these future professionals, in educational, social and pedagogical terms, regardless of their major at university. In the specific case of Design, the student can have a broader view of its social role, as has been shown
by the LABDIS in its ten-year experience in Design extension actions. As stated in the definition adopted by the UFRJ, “University Extension, under the constitutional principle of inseparability of teaching, research and extension, is an interdisciplinary process of educational, cultural, scientific and political nature that promotes transforming interaction between the university and other segments of society”. These issues will be considered in the workshops proposed and discussed in theoretical classes, to allow the identification of local problems that can be adopted as references for practical approaches. This result goes beyond the scope of problem-answer and the designer becomes a mediator between the internal and external conditions of social transformation, as the result of social innovation.
REFERÊNCIAS DAHRI, T., ZAOUAL. H. (orgs.), Développment humain et dynamiques territoriales. Vers des savoirs recomposés. Paris: L´Harmattan Horizon Pluriel, 2008. GUATTARI, F., As três ecologias. Campinas, Papirus, 2012. GUEDES PINTO, J. B. Metodologia, teoria do conhecimento e pesquisa-ação. Textos selecionados e apresentados. In: DUQUE-ARRAZOLA, L. S., THIOLLENT, J. M. M. (orgs.). Belém, UFPA, Instituto de Ciências Sociais Aplicadas, 2014. LÉVY, P., Cibercultura. São Paulo, Ed. 34, 1999. LIU, M., Fondements et pratiques de la recherche-action. Paris, L’Harmattan, 1997. MANZINI, E. Design para a inovação social e sustentabilidade. Comunidades criativas, organizações colaborativas e novas redes projetuais. Rio de Janeiro: e-papers, 2008. MANZINI, E. “Designing networks and metadesign. Some introductory notes”. 25.06.2007 Avaible in: http:// attainable-utopias.org. MONTEIRO, B., Conhecimentos autônomos em Design: assimetrias de um campo de ação. Revista Interfaces / Universidade Federal do Rio de Janeiro, Centro de Letras e Artes – Ano 17, no 14 (janeiro-junho 2011) – Rio de Janeiro: UFRJ/CLA, 2011 – semestral issn 1516-0033, pp. 138-144.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.173-178 | nov. | 2017
177
Design and Social Innovation: research on the interactions between social actors and objects designed in emancipator process to generate autonomous knowledge in design
MORIN, E., Pesquisa-ação integral e sistêmica. Uma antropopedagogia renovada. Rio de Janeiro, DP&A Editora, 2004. MULGAN, G., “The process of Social Innovation”. In: http://www.mitpress.mit.edu/innovations, 2006. RODRIGUES, C. A., MONTEIRO, B. G., “Extensão Universitária – Canal aberto para relacionamento entre Universidade e Sociedade – primeiras linhas”. In: TERRA, C. (org.), Arquivos da Escola de Belas Artes, n. 24, pp. 147156, 2014.
178
Mix Sustentável | Florianópolis | v.3 | n.4 | p.173-178 | nov. | 2017
INTERVIEWS
ENTREVISTA COM:
SHARMISTHA BANERJEE
Sharmistha Banerjee
1) Talk a little about yourself, professional acting, training… Sharmistha Banerjee: I work as an Assistant Professor at Department of Design, Indian Institute of Technology (IIT) Guwahati, Guwahati, India. Here I teach courses related to Product design, Design Engineering, Interaction Design and Sustainability. My PhD research is in the area of Design for Sustainability applied to scale-appropriate agricultural equipment design and am pursuing the same at IIT Guwahati. I have done my Masters from Technical University of Delft (TU Delft), Netherlands in Integrated Product Design and my Bachelors is from IIT Guwahati in Industrial Design. At present I am focused in the area of sustainable product service system development, bio-inspired product design and agricultural machinery design and have been working on various national and international projects, both for the industry and academia.
2) When and why did you start to get interested in sustainability? Have you been interested in sustainability since the beginning of your career or has this interest been built throughout your career? Sharmistha Banerjee: It was during my Masters Program at TU Delft that I was introduced to the concepts of Life Cycle Assessment (LCA) and Design for Sustainability. During our second semester, we were introduced to LCA and used it for the assessment of our project work for the semester. This experience gave me a totally different outlook towards product design and development. This was the first time I thought about the cradle-to-grave journey of my proposed design solution and realised the immense potential impact that me as a designer can have in creating sustainable future consumptions. Thus the next semester project was consciously selected and it was about sustainable packaging design for organic food consumers. During this project, I realised that if I am to create significant impact on sustainable product design, it’s not about just bringing in production side environmental sustainability. But it’s about bringing in sustainable consumption. This was very difficult to tackle since it involved bringing in behaviour change. The consumer always wants ease and comfort and if sustainable consumption is going to make her life less easy, the chances of my design failure goes high. Thus our project team explored avenues of sustainable consumption by involving the consumers into the whole design and development process. Thereafter my thesis project was with the Design for Sustainability (DfS) group at TU Delft. This project helped me again explore sustainability more from the LCA perspective. Thereafter, I returned back to India and started working at IIT Bombay, India as a researcher. Our research team went around different parts of the country exploring what can be potential ways of constructing an affordable and sustainable housing solution for the Base of Pyramid population of the country. We mostly focussed on rural habitat. This was a great learning experience. It was jaw-dropping to see that the concept of waste didn’t exist in rural India. Waste from one process became the input into the next process. This was true irrespective of whether we go to a dry, hot, cold, humid or any place. This was during this experience I started noticing the nuances of sustainability studies in a developing contexts and rural contexts. Next I went on to join IIT Guwahati as an academician and began exploring sustainability further in the Northeastern part of India. This part of the country
Mix Sustentável | Florianópolis | v.3 | n.4 | p.179-183 | nov. | 2017
179
Sharmistha Banerjee
again brought in new challenges and hence my outlook towards Sustainability evolved. It was during my project in Bangladesh on making an agricultural machinery, I discovered two potential areas of work for myself. The first was Sustainable Product-Service System Design and second was the huge domain of small-scale agricultural machinery for developing countries. Thereon I have picked up several such projects and also set the Sustainability and Social Innovation Lab (www.sustainability-and-social-innovation.com) at our department with my colleague Pankaj Upadhyay. We also joined the LENSin network and our evolution on the track of Sustainability continues. Currently our lab’s objective is: • To provide infrastructure and guidance to student projects related to DfS. • Conduct training sessions for interested local institutions and bodies in the application of DfS. • Research into DfS, Sustainable Frugal Design & developing case studies in DfS through execution of projects. • Development of course material related to DfS. • Developing tools & methodologies for the implementation of DfS in the emerging, marginalized & industrialized contexts.
180
3) Considering the current moment in which we live, do you think it is possible to integrate in practice the so-called pillars of sustainability (economic, social and environmental) today, or are we still far from the theory? Sharmistha Banerjee: If I look at sustainability in the current moment in the Indian context, I can divide it roughly into two altogether different sides in terms of the challenges of integration. The first side is all those rural areas of India where traditional ways of living still dominate. In these parts of the country, sustainability is woven into the fabric of daily living in many ways. The introduction of new ways of living, say consumption of packaged cookies or shampoo sachets, is introducing unsustainabilities since there is no way for these communities to handle the upcoming plastic waste. Or say the shift from traditional housing materials and design to concrete housing is leading to socio-economic and environmental challenges. In these parts of the country, it will be prudent to identify the (un) sustainabilities of traditional living and plan out development in a way that sustainability is at core of the developmental agenda.
The second side is mostly the urban and semi-urban parts of the country which have already moved in a big way towards embracing unsustainable patterns of consumption and production. Integrating sustainability here will require the combined efforts of policymakers, city planners, designers, businesses and the citizen. 4) What is Design for Sustainability (DfS) and where we can apply the Design for Sustainability? Sharmistha Banerjee: Design for Sustainability, in my view, is an approach and outlook to designing with an eye on creating an apt balance between the social, economic and environmental forces in the ever changing socio-technical circumstances of our world. It’s about designing products, services, practices, policies, systems and most importantly behaviour change cues towards sustainable consumption patterns. Its application is ubiquitous as DfS is a thinking process and can be applied to all forms of human activities. 5) Could you give us some example of practical development for DfS? Sharmistha Banerjee: Providing Urban Amenities to Rural Areas (PURA) is a framework which was envisioned by the then President of India, Dr. APJ Abdul Kalam in order to provide livelihood opportunities and urban amenities to the rural population in order to improve their quality of life and bridge the urban-rural divide. The PURA framework has been devised as an empowerment-based model to achieve sustainability by providing the villages with the necessary Physical, Electronic, Knowledge and Economic Connectivity (Kalam and Singh 2011). These entail the setup of proper infrastructure such as roads, railways lines, educational and medical institutions, and communication networks such as wireless networks and broadband connectivity in order to provide the villages with improved access, technical knowledge for improving productivity of village farm and non-farm activities, and creating opportunities for economic growth and development through setup of factories, industries and other institutions. The PURA framework as proposed by Kalam et. al. (Kalam and Singh 2011) is inspired from the several regional community development projects for the social and economic development of villagers that have been setup in India during the early post-Independence period by several social reform workers.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.179-183 | nov. | 2017
Sharmistha Banerjee
Two of the PURAs and its activities are presented below (Kalam 11 November 2005, Batra, Singh et al. 2011, Kalam and Singh 2011, Dwivedi and Jha 2012, Awasthy and Agarwal 2013): • Warana PURA - The Warana initiative began during the 1950s out of the necessity to support the small and marginal sugar cane farmers from fluctuating prices and insufficient demand. Under the leadership of Tatyasaheb Kore, the sugar cooperative movement began when he founded the Warana Sugar Cooperative and set up a factory. (Kalam and Singh 2011) The funds for this factory was raised on an equity basis from the farmers of the region along with investments from other sources. The farmers of the region are stakeholders in the cooperative factory and now it has around 20,000 famers, across 69 villages as its cooperative members. The factory has gone on to diversify its activities with forward and backward integration of the production chain by: • Extending subsidies to farmers on pesticides, herbicides, micronutrients etc.; • Three-tier nursery programme to provide quality seeds to the farmers; • Introduction of a seedling scheme run and managed by women; • Agricultural research centre which provides soil testing and informs the farmers about agricultural techniques for optimal production; • Several irrigation schemes; • Export of sugarcane after processing through various products such as packaged flavoured sugar cane juice etc. After the cooperative movement it has been noticed that the production and efficiency of cultivation of sugarcane has been significantly higher in Warana than in other parts of the country. Also the sugar factory has been giving high returns to its investors. The cooperative movement has also made an attempt to create a sustainable model for the villages by creating income opportunities in other core competencies such as dairy and poultry farming. Warana has established a dairy brand with several collection centres in different villages which collect milk from thousands of producers and process it. Warana cooperative supermarket is an entrepreneurial attempt to provide the consumers with better access to consumer goods which is run and managed by women. The Warana Bazaars have rural stores in several villages with 16,000 villagers as members who receive discounts on products.
In order to remove illiteracy, educational institutions have been set up which includes schools and colleges of engineering, medical, arts and sciences etc. Efforts have also been taken to provide health care facilities to the villagers by setting up hospitals such as the Mahatma Gandhi Hospital. The Warana Cooperative Bank has 18,000 members and extends credit facilities to its members in order to promote entrepreneurship activities with the goal of creating income opportunities for the landless and marginal farmers. Through such novel fundamental initiatives, Warana has achieved significant socio-economic development for its society. • Chitrakoot PURA - Chitrakoot is a district in central India which lies in the state of Uttar Pradesh and on the border to Madhya Pradesh. The Chitrakoot PURA was borne out of a social movement in the late 1960s for the welfare of the majority farming population in the Chitrakoot district by Nanaji Deshmukh. Deshmukh was a social activist from the state of Maharashtra who was inspired by Lokmanya Tilak and the nationalist ideology. He set up the Deendayal Research Institute in Chitrakoot in 1968 with the goal of promoting research in social science and establishing rural development and training centres for research and promotion of new technologies in sustainable agriculture, water conservation, alternative industrialization, self-employment generation etc. The primary focus of the Deendayal Research Institute is to provide innovative methods for the economic development of the farmers. Almost all of the projects undertaken by DRI are with the goal of bridging the social and economic disparity. One such method is to provide practical, hands-on training to the farmers and also operate demonstration farms which provides live demos of optimal intensive cultivation patterns on farms of sizes similar to the common land holding size of farmers of the area (21⁄2 and 11⁄2 acres). This optimal cultivation pattern, through crop diversification, is based on calculated nutritional requirements of an average household to meet internal demands of the farmer’s family along with incorporation of commercial crops for increasing the incomes. It also specifies the area allotment for cultivation, the layout and planning of the field, crop calendar, selection of crop varieties and crop production technologies. DRI also strives to overcome problems of illiteracy, unemployment, healthcare, internal village disputes, and aims to create a self-reliant village. Most of their efforts
Mix Sustentável | Florianópolis | v.3 | n.4 | p.179-183 | nov. | 2017
181
Sharmistha Banerjee
182
centre around empowering people to create income generating opportunities for themselves. Vertically Integrated Self Help Groups have been formed so that employment opportunities can be created at all levels of the production chain. One such example is the formation of seed clubs and seed villages to address the inability of small and marginal farmers to procure quality seeds. In order to resolve this problem, seeds are produced by farmers under the guidance and supervision of DRI and are also guaranteed returns on their produce at a pre-specified rate. Several activities such as Bal Jagat and Udyameeta Videyapeeth have been initiated for the social development of the population which include vocational training centres for the youth to find sources of employment. It also trains the villagers in the core competencies and in the utilisation of the local resources of the region. Udyameeta Videyapeeth also extends zero interest micro-finance loans to the youth following a strict methodology which ensures repayment. This is ensured with the help of Samaj Shilpi Dampati. Gramodaya Darshan is an initiative to promote innovations in which all innovations and interventions for self-reliance are exhibited. Along with this several educational institutions have been setup in order to create a literate community. These include several primary, middle and high schools aimed at removing illiteracy and an educational research centre for providing new and innovative learning aids for schools and adult literacy. The most innovative initiative introduced in Chitrakoot is the Samaj Shilpi Dampati, a couple which is intended to perform the role of local leaders in the village and whom the villagers can look upto for guidance in social matters and can also help promote education among children , health, women’s awareness, family planning etc. This is an interesting method to tackle the problem of social awareness in rural areas and also may help in ensuring conflict resolution. DRI and Chitrakoot have, through such initiatives, attempted to create a sustainable and self-reliant model for villages to successfully operate. Thus, PURA helps to overcome the challenges of sustainable development of rural areas of the country by: • Wealth generation for a large number people by realising the core competencies of the area • Diversification in the use of resources • Entrepreneurship and self-reliance opportunities • Development of technical knowledge and skill through access to education and healthcare • Vertical and horizontal integration of economic activities to create a self-reliant economic model for a group of villages.
6) What challenges can be listed for implementation of sustainability in India? And in the world? What are the ways to make sustainability implementation possible? Sharmistha Banerjee: A coordinated effort from both the government and businesses are a must for implementation of sustainability in India. Since sustainability is a thought process which then translates into action, I strongly feel that integration of this thought process in the school curriculum will be one of the most important steps in implementing sustainability in our society’s thought fabric. Behaviour change measures through mass media and social media will further incubate and nourish the sustainability thought. Also availability of sustainable solutions in the market with appropriate advertising of the same will help consumers to make conscious sustainable consumption choices. Next defining appropriate indicators for sustainability across various sectors and domains will give the citizens and businesses a guidelines to follow. Monitoring and ownership will be another challenge with our country being divided into the federal and state level administrative structure, with each being further sub-divided in several administrative departments. Also similar monitoring and ownership models need to be developed for local level governance structure. Lastly another important challenge is, progress monitoring through various efficient and cost-effective data gathering. 7) Do you participate in LENSin? What is LENSin? Sharmistha Banerjee: We joined the LENSin network in 2016 and began our journey into exploring Distributed Design and Distributed Manufacturing applied to Sustainable Product-Service System Design. LeNSin (The International Learning Network of networks on Sustainability (http://www.lens-international.org) is an EU-supported (ERASMUS+) project involving 36 universities from Europe, Asia, Africa, South America and Central America, aiming at the promotion of a new generation of designers (and design educators) capable of effectively contributing to the transition towards a sustainable society for all. In this project, we are focussing on identifying Indian case-studies which follow the conceptual structure of Distributed Design and Distributed Manufacturing applied to Sustainable Product-Service System Design. In the process, we are also trying to understand the manifestation of these concepts in the Indian context in terms
Mix Sustentável | Florianópolis | v.3 | n.4 | p.179-183 | nov. | 2017
Sharmistha Banerjee
of similarities and dissimilarities with respect to the global. We conducted a pilot course in Bangalore, India with our Indian partner, Srishti Institute of Art, Design and Technology. The seminar brought in leading designers of the country working in this domain. The seminar proceedings can be accessed at http://www.lensin-india-seminar.com/seminar-proceedings.html. We also conducted a pilot course for our students to explore creation and testing of didactic material to train our young minds in Sustainability and create future leaders in the domain. We will soon upload our didactic material at http://www. lens-international.org. 8) What else would you like to say about sustainability? Sharmistha Banerjee: Let’s make sustainability a way of living our life.
183
Mix Sustentável | Florianópolis | v.3 | n.4 | p.179-183 | nov. | 2017
INTERVIEWS
ENTREVISTA COM:
2) When and why did you start to get interested in sustainability?
EPHIAS RUHODE
Ephias Ruhode: After I got appointed to coordinate LeNS Project at CPUT, I then realized that all the research we have been doing had a strong focus on sustainability. In fact any community based research fosters tenets of sustainability. When sustainability became a focus of my research, I got excited after realizing that I have been doing it all along. 3) Have you been interested in sustainability since the beginning of your career or has this interest been built throughout your career? Ephias Ruhode: As I said above, I never knew I was involved in sustainability till the LeNS project came along 4) What is your main line of research on sustainability today? Ephias Ruhode: E-Government in Support of Sustainable Development and design of sustainable e-health systems
Ephias Ruhode
1) Talk a little about yourself, professional training Ephias Ruhode: I am an information technology and qualified business model innovation and research professional with a total of 23 years of work experience in managing Information Systems, lecturing software engineering, strategic information systems, knowledge management and conducting research. I did the Design Thinking course and have been a Design Thinking Coach at the University of Cape Town’s Hasso Plattner Institute of Design Thinking. In addition to undergraduate qualifications in computing, I hold an MBA and a Doctor of Technology in Information Technology. I have travelled extensively on study, workshop, conference and exchange programmes and have to countries as Japan, Brazil, Switzerland, the USA, Finland, India, Sri Lanka, Kenya, Indonesia, Ghana, China, Germany, Zimbabwe, etc. He is currently an Executive Board Member of the Institute of Digital Business Strategy [https://institutedbs.com/ about/meet-the-team]. I am the African coordinator of the Learning Network of networks on Sustainability (LeNSin), an EU-funded project with more than 36 collaborating universities worldwide.
5) Considering the current moment in which we live, do you think it is possible to integrate in practice the so-called pillars of sustainability (economic, social and environmental) today, or are we still far from the theory? Ephias Ruhode: It is possible if the three pillars of sustainability (economic, social and environmental) are rooted in the three elements for a successful organizational and societal transformation (people, process, technology). 6) What is e-health? Ephias Ruhode: "E-health is an emerging field in the intersection of medical informatics, public health and business, referring to health services and information delivered or enhanced through the Internet and related technologies. In a broader sense, the term characterizes not only a technical development, but also a state-ofmind, a way of thinking, an attitude, and a commitment for networked, global thinking, to improve health care locally, regionally, and worldwide by using information and communication technology.” (Eysenbach, 2001)
Mix Sustentável | Florianópolis | v.3 | n.4 | p.185-186 | nov. | 2017
185
Ephias Ruhode
7) How can information systems contribute to sustainability? Ephias Ruhode: Health is identified as a factor to societyâ&#x20AC;&#x2122;s wellness and happiness, hence fostering social, environmental and economic sustainability. E-Health has the ability to empower citizens to be able to manage their health. E-Health has shown to be a key enabler in providing better quality and safer healthcare.
186
Mix SustentĂĄvel | FlorianĂłpolis | v.3 | n.4 | p.185-186 | nov. | 2017
THESES
CONSUMER PERCEPTION AS A TOOL FOR THE STRATEGIC DEVELOPMENT OF ECOLOGICALLYORIENTED PRODUCTS Thamyres Oliveira Clementino, (UFPE); Amilton José Vieira de Arruda, PhD.
Thamyres Oliveira Clementino
Concern about the environment has been changing the way how designers conceive products. This factor is perceived, since the twentieth century was marked by the development of methods and strategies focused on reducing the environmental damage caused by artifacts. Minimization of resources, the choice of low environmental impact processes, the optimization of life, the extension of the lifetime of the materials and the ease of disassembly were adopted. (KAZAZIAN, 2005, p.51). All these changes in the design of the artifacts led to the emergence of a new category of products committed to the environmental issue, ecologically oriented products. In this scenario, design has focused almost exclusively on the adoption of the aforementioned practices, but little attempt has been made to demonstrate them strategically for the consumer. According to Manzini (2008), design skills should provide coherence to products and services, creating
sustainable solutions, but in addition, they must communicate visions and systems in an appropriate way so that the recognition and evaluation of ecologically more coherent products be favored. Krucken and Trusen (2009), discuss the use of communication strategies as a way of exposing the qualities of the product or service and their contribution to sustainability, since the value attributed to an artifact depends on perceived quality. They argue that communication strategy is an effective way to expose information about product sustainability and thus to make consumers aware of the values involved in production and consumption. For Vezzoli (2010), aesthetics have a fundamental role in this context, because “an environmentally sustainable innovation, without being perceived as an improvement (compared to obsolete solutions), is not enough”. In this perspective, the importance of the appearance of the ecologically oriented products can be worked out in order to facilitate the recognition by the consumer, using visual means of communication that favors their perception more effectively. The designer can seek strategies that help the consumer’s perception about the orientation of the product through strategies of association between the theme ‘environmental sustainability’ and the repertoire of the individuals. This is possible since according to Cardoso (2014, p.111-117) the design can add value to the artifacts through abstract concepts. This research seeks to understand, through consumer perception, which strategies can be used for the aesthetic development of sustainable products, favoring their recognition as a less harmful category to the environment. In this perspective, the consumer is the starting point to devise strategies that provide the association between structural, graphic and shape attributes and the values involved in the perception of sustainability, which in turn, allow better results in the design practice of ecologically oriented products.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.187 | nov. | 2017
187
DISSERTATIONS
CROWD-DESIGN ON PRODUCT DEVELOPMENT IN BUSINESS Alexandre Antonio de Oliveira, M.Sc. (UFPR) Aguinaldo dos Santos, PhD. (UFPR)
Alexandre Antonio de Oliveira
1. INTRODUCTION Contemporaneously it is observed the rise of new project practices that utilize the possibilities of the internet in the communication process between multiple stakeholders. One of these approaches is Crowd-design, emerging mode of design and production system that uses the knowledge and resources available in the crowd, usually via the internet, in order to solve problems and/or create content. This dissertation aims to propose steps and procedures for the adaptation of Crowd-design to the new product development (NPD) process inside Brazilian companies. The theoretical basis was based on a review of the literature on Crowd-design and product development via crowdsourcing and was able to raise definitions, principles, actors, competitive implications, implications for sustainability, and the role of the designer in this process. Based on the product development unified model proposed by Rozenfeld et al. (2006) and what the crowdsourcing literature addressed at each stage of the NPD, a proposal for a new product development model via Crowd-design was elaborated. The research method involved a study of multiple
cases with one in ex-post-facto format and the other as participant observation, both developed at the Design and Sustainability Research Center of the Federal University of Paraná (NDS/UFPR). The two cases have applied Crowddesign as a complementary process in the development of new products using the crowd, the first being in partnership with a micro-enterprise and open to anyone solve and second only to the internal employees of a large company. The case study was given in the form of project documents (reports, minutes, audio/visual) and through interviews with the researchers who took part in the project teams. The external validation was done through pattern matching comparing both cases with the theoretical model. At the end of the process, it was concluded that the proposed Crowd-design model based on Rozenfeld et al. (2006) was successfully adapted in the PDP of the companies, as well as the implications of this process for the sustainability and skills of the designer throughout the process.
ACKNOWLEDGMENTS The author of this paper and its supervisor thank CAPES for the Social Demande masters scholarship and the knowledge acquired through the LeNSin project International Learning Network on Sustainability.
REFERÊNCIAS DICKIE, I.; SANTOS, A. Bases Para Entendimento Do Crowdsourcing E Sua Aplicação Em Projetos De Crowd-Design. 11º Congresso Brasileiro de Pesquisa e Desenvolvimento em Design, vol.1, num.4. p. 12561267, 2014. ROZENFELD, H.; FORTELLINI, F. A.; AMARAL, D. C. et al. Gestão de Desenvolvimento de Produtos. São Paulo: Saraiva, 2006.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.189 | nov. | 2017
189
DISSERTATIONS
PLANNED OBSOLESCENCE, CONSUMER PRACTICES AND DESIGN: A SURVEY ON CONSUMER GOODS Denise Dantas, Dra. (FAU - USP) Lia Assumpção (FAU - USP) The way consumer goods have been produced and sold since the planned obsolescence’s implementation is leading society to an environmental limitation in terms of natural resources and an alarming growth in electronic waste generation. Facing such limitation, consumption models and manufacturing are enquired. Electronic waste is a visible consequence of planned obsolescence, but there are others that are invisible, like the practice of buying and discarding products that affects the way we act as a society and consumers. Considering design as an activity intrinsically engaged in social issues, it can be an important tool to modify this scenario. Planned obsolescence is the name given to the market strategy that encourages repetitive consumption by reducing artifact’s lifecycle. In general, this reduction can happen in three ways: a) by the launch of a product in use with a new appearance that makes the previous one outdated (psychological obsolescence); b) by the impossibility of repairing the product in use (artificial obsolescence); c) by its technology no longer working, which slows down some devices or, in some cases, makes its use impossible (technological obsolescence). The aforementioned concepts are based on Packard (1965), Papanek (1971) and Slade (2007) definitions, and supposes the establishment of a date of death of the product at the time of its production, which were inaccessible information that were not part of the objectives of this work. For this reason, it was opted in the research to approach the concept of consumer practices, and through them perceive the existence of planned obsolescence. The Master’s Research, concluded in the middle of 2017, had an exploratory qualitative character and aimed to identify planned obsolescence’s manifestations in the Brazilian market, as well as the main products related to it. It also aimed to discuss the relationship between design and the studied phenomenon. The study had three steps: the first consisted of a literature review to define parameters for the identification of types of planned obsolescence. At this stage it was possible to verify the lack
of studies related to the subject in Brazil; the second was a questionnaire (with 444 responses collected), preceded by an initial survey, which consisted of creating and monitoring a social networking page - “Made to break”. At this stage, it was possible to identify consumption practices and participant’s perception towards the studied phenomenon, as well as the most identified products with the types of programmed obsolescence; the third step consisted in five interviews with professionals from the Brazilian industry. The professionals were defined according to the categories most cited in the questionnaire, such as large appliances, cellphones or relevant sectors to the central theme of the research, such as car industry and, thus, it was possible to start a discussion about the relationship between design and planned obsolescence. The most cited product in the research was the cellphone and its example helps to understand the studied phenomenon. Whether in the past it was an expensive and durable object, today it can be found in variable prices, approaching the concept of disposable in many cases. There are several brands and launches per year. Small improvements in camera’s resolution, subtle changes in its design or even the launch of a new color are attractive enough for replacing the device, even if it is still working. On the other hand, impossibility or high cost of devices repairment, and the impossibility of updating a system are also reasons for replacements. Whether in the past, again, the replacements took longer to occur, today they are increasingly constant for the above-mentioned reasons. However, if the exchange of cellphones or other consumer goods may seem common or inevitable today, it was not always like this, and it was not by accident. The encouragement of consumer goods frequent exchange came into force primarily in the United States between the 1920s and 1930s in order to move their economy, then in crisis. The artifact lifecycle was artificially reduced, using what came to be called “planned obsolescence,” a term coined by Alfred Sloan,
Mix Sustentável | Florianópolis | v.3 | n.4 | p.191-193 | nov. | 2017
191
Planned obsolescence, consumer practices and design: a survey on consumer goods
General Motors’s president in the 1920s, who applied this concepts to the production of cars. Among the consumer practices researched, durability proved to be of little importance for devices with rapid technological evolution, such as the cell phones. For products without technological characteristics, durability proved to be important, but rare because, according to the research results, there is a great association between cheap and fragile materials, which end up compromising the durability of the products. In general, it was possible to observe a naturalization of the consumer practices researched, which points to a consequent naturalization of the studied phenomenon. In this way, although the result allows to identify the three types of programmed obsolescence determined by the authors — artificial, psychological and technological —, the research concluded that the concept of planned obsolescence, in the way it was created, is so assimilated today that it ends up making the term itself obsolete. This is because today products do not have to be made to break to be replaced and often discarded.
Figure 3: Cell phone chargers, Atlanta 2004.
Source:
Available
in http://www.chrisjordan.com/gallery intolerable/#cellphone%20chargers%2044x66.5
Figure 4: Cell phones, Orlando 2004.
Figure 1: Electronic devices Source:
192
Available
in
http://www.chrisjordan.com/gallery/ intolerable/#cellphones%2044x83)
Figure 5: Crushed Cars, Tacoma 2004
Source: Author Figure 2: Top selling phones (Iphone 7S Plus and Samsung Galaxy S8)
Source:
Available
in http://www.chrisjordan.com/gallery/ intolerable/#crushed%20cars%201%2020x83
Figure 6: Circuit boards #2, New Orleans 2005. Source: Samsung Galaxy S8. (https://www.magazineluiz a . c o m . b r/s m a r t p h o n e - s a m s u n g - g a l a x y - s 8 - 6 4 g b - p r e t o - d u a l - c h i p - 4 g - c a m . -12 m p - s e l f i e - 8 m p - t e l a - 5 . 8 - q u a d - h d/p/2175625/te/gas8/.) and Apple iphone 7S Plus. (http://www. infomoney.com.br/minhas-financas/gadgets/noticia/6000081/ anos-desde-primeiro-iphone-confira-evolucao-smartphone)
Chris Jordan essay: Photo essay by Chris Jordan Intolerable Beauty: Portraits of American Mass Consumption 2003 – 2005
Source:
Available
in
http://www.chrisjordan.com/gallery/
intolerable/#circuit%20boards%202%2044x60)
Mix Sustentável | Florianópolis | v.3 | n.4 | p.191-193 | nov. | 2017
Lia Assumpção
Figure 8: Images that illustrate garbage disposal sites.
Source: http://www.fragmaq.com.br/blog/entenda-conceito-obsolescencia-programada-impactos-meio-ambiente/)
193
Mix Sustentável | Florianópolis | v.3 | n.4 | p.191-193 | nov. | 2017
FINAL PAPERS
PERFORMANCE OF PERVIOUS CONCRETE REINFORCED WITH POLYPROPYLENE FIBERS Jorge Luiz Almeida Mussado, Eng. (UEL) Berenice Martins Toralles, Dra. (UEL) Gersson F. B. Sandoval, PhD Student (UEL) 1. INTRODUCTION Sustainable development has been increasingly considered by society since it is a model that involves economic growth linked with socio-environmental thinking. In the ecological issue, we seek to minimize the damage caused to the environment, but this has become a great challenge for the political area since in the big cities of Brazil there is a very great economic and population growth. This growth is not only a negative factor, but the way it has been happening in short time frames has generated more and more environmental problems. Among these environmental problems related to construction, it has been the growth of sealed area in urban areas due to the construction of highways 100% waterproof, sidewalks and real estate. As an example of this growth in the city of São Carlos, when there was a growth of 22% of the population between 1996 and 2006, there was an increase of impervious surface in 36.4% (COSTA et al., 2013), and this situation is very similar to large cities. These environmental problems should be highly avoided, because with them occur physical harm to families who are homeless, as happened in September 2013 in the state of Santa Catarina, when floods hit 92 cities, with more than 31 000 people homeless and 4000 affected households (SILVA, 2013). This, of course, has not only as a reason the sealed area, but this adds to the situation from getting worse. Considering this type of environmental impacts by the management of surface runoff it is important to implement the use of permeable materials such as the pervious concrete. Considering what has been said, this study aims to evaluate the mechanical and hydraulic properties of pervious concrete with the addition of fibers and the use of superplasticizer additive. The materials used to fabricate the pervious concrete mixture are Portland cement, coarse aggregates, water, superplasticizer, and fiber. The cement used was Portland
Cement CP II-Z-32; (Brazilian denomination). The coarse aggregate is crushed basaltic with a maximum size of 12.5 mm. The superplasticizer additive was MR-5122 polycarboxylate base; The fibers used in this study was short polypropylene fibers and finally potable water as recommended by the literature [1,2]. Figure 1 presents the granulometric curve of the aggregates used. Figure 1 – Granulometric curve
195
Source: The authors
The pervious concrete was mixed in a conventional mixer with a capacity of 150 liters. The total mixing time was 5 minutes [3] and then the specimens were molded using cylinder molds (100x200mm). The mixtures were compacted using a proctor hummer with 10 drops in a unique layer. To test the mechanical behavior two tests were made compressive and flexural strength by the Brazilian standards NBR 5739/2007 and NBR 15805/2010. The results for mechanical behavior are shown in Table 1. These tables contain the mean value, the standard deviation and the coefficient of variation.
Mix Sustentável | Florianópolis | v.3 | n.4 | p.195-197 | nov. | 2017
Performance of pervious concrete reinforced with polypropylene fibers
Table 1 – Compressive Strength Results
Concrete
C0.31 C0.31F
C0.26A
C0.26AF
5.7
6.3
5.7
6.0
6.7
6.7
4.8
6.1
5.3
7.2
5.8
8.1
5.9
5.2
4.7
5.6
Average
5.9
6.4
5.3
6.5
σ
0.6
0.9
0.6
1.1
CV (%)
10.0
13.4
11.1
17.4
Compressive Strength (MPa)
As shown in Table 3 no significant difference in permeability values found for the four mixtures. These values agree with those found for porosity since they are directly proportional properties. The CV values founded to C0.31 are really high but were presented because one of the specimens had an accumulation of paste in the base, therefore there was a representative decrease in the coefficient of permeability affecting the final average value.
2. CONCLUSIONS As shown in Table 1, the high compressive strength was C0.26AF, explained by its low w/c ratio and the use of superplasticizer. then the values of the other 3 mixtures were very close because this property is highly related to the granulometry of the aggregates and this was the same in all the mixtures. the range of values found for the 4 mixtures agrees with what is found in the literature review [4–6]. The results of hydraulic behavior are shown in Table 2 and 3. These tables contain the mean value, the standard deviation and the coefficient of variation Table 2 – Porosity Results
196
Concrete
C0.31 C0.31F
C0.26A
C0.26AF
Porosity (%)
26,2
26,6
29,7
26,5
σ
2,4
1,1
1,0
0,8
CV (%)
9,2
4,1
3,4
3,0
As shown in Table 2 the porosity values are in the range of literature review[4,7–9]. The values found for the 4 mixtures are very close since the porosity is related to the granulometry, the paste content and the compacting of the material and in all cases, this was the same. In Table 3 are shown the permeability results obtained by the constant head permeability test. Table 3 – Permeability Results
Concrete
C0.31
C0.31F
C0.26A
C0.26AF
35,0
31,0
35,0
32,0
16,0
32,0
31,0
34,0
41,0
35,0
24,0
33,0
Average
30,7
32,7
30,0
33,0
σ
13,1
2,1
5,6
1,0
CV (%)
42,6
6,4
18,6
3,0
k (mm/s)
In terms of compressive strength was more preponderant the relation w / c than the addition of fibers in the mixture. The addition of fibers improved the tensile strength but was affected by the maximum aggregate size used, the use of aggregates with a maximum size of 9.5 mm would have helped to better distribute tension stresses. The correlation for the hydraulic properties could not be established due to the use of a single granulometry
ACKNOWLEDGMENTS To the State University of Londrina (UEL), to the center of technology and urbanism (CTU) and to the laboratory of materials to offer all the available resources for the development of this study.
REFERENCES P.D. Tennis, M.L. Leming, D.J. Akers, Pervious Concrete Pavements, 2004. G.F. Barreto Sandoval, DESEMPENHO DO CONCRETO POROSO COM AGREGADOS SUSTENTÁVEIS, Universidade Estadual de Londrina, 2014. G.F.B. Sandoval, I. Galobardes, R.S. Teixeira, B.M. Toralles, Comparison between the falling head and the constant head permeability tests to assess the permeability coefficient of sustainable Pervious Concretes, Case Stud. Constr. Mater. 7 (2017) 317–328. doi:10.1016/j. cscm.2017.09.001. O. Deo, N. Neithalath, Compressive behavior of pervious concretes and a quantification of the influence of random pore structure features, Mater. Sci. Eng. A. 528 (2010) 402–412. doi:10.1016/j.msea.2010.09.024. R. Zhong, K. Wille, Linking pore system characteristics to the compressive behavior of pervious concrete,
Mix Sustentável | Florianópolis | v.3 | n.4 | p.195-197 | nov. | 2017
Jorge Luiz Almeida Mussado, Berenice Martins Toralles e Gersson F. B. Sandoval
Cem. Concr. Compos. 70 (2016) 130–138. doi:10.1016/j. cemconcomp.2016.03.016. C. Gaedicke, A. Torres, K.C.T. Huynh, A. Marines, A method to correlate splitting tensile strength and compressive strength of pervious concrete cylinders and cores, Constr. Build. Mater. 125 (2016) 271–278. doi:10.1016/j. conbuildmat.2016.08.031. W.D. Martin, B.J. Putman, Comparison of methods for measuring porosity of porous paving mixtures, Constr. Build. Mater. 125 (2016) 299–305. doi:10.1016/j. conbuildmat.2016.08.038. C. Lian, Y. Zhuge, S. Beecham, The relationship between porosity and strength for porous concrete, Constr. Build. Mater. 25 (2011) 4294–4298. doi:10.1016/j. conbuildmat.2011.05.005. W.D. Martin, N.B. Kaye, B.J. Putman, Impact of vertical porosity distribution on the permeability of pervious concrete, Constr. Build. Mater. 59 (2014) 78–84. doi:10.1016/j. conbuildmat.2014.02.034.
197
Mix Sustentável | Florianópolis | v.3 | n.4 | p.195-197 | nov. | 2017
ISSN (impressa): 2447-0899 ISSN (online): 2447-3073
REALIZAÇÃO:
CCE | CENTRO DE COMUNICAÇÃO E EXPRESSÃO CTC | CENTRO TECNOLÓGICO CURSO DE ARQUITETURA E URBANISMO CURSO DE ENGENHARIA CIVIL CURSO DE DESIGN
PATROCÍNIO:
APOIO: