BRASIL

design, inovao e sustentabilidade

BRAZIL design, innovation and sustainability

UM OLHAR SOBRE A BIENAL BRASILEIRA DE DESIGN 2010

A LOOK AT THE BRAZILIAN DESIGN BIENNAL 2010
Centro de Design Paran
1 Edio

Milo
2012
Patrocnio

Iniciativa

Realizao Co-realizao

Co-patrocnio

Ministrio de
Cincia e Tecnologia

Apoio Incentivo
Ministrio do Desenvolvimento, Indstria e Comrcio Exterior
Ministry of Development, Industry and Foreign Trade
O Ministrio do Desenvolvimento, Indstria
e Comrcio Exterior (MDIC) responsvel
pelas polticas de comrcio exterior e de
desenvolvimento da indstria, do comrcio e
dos servios no Brasil. O Programa Brasileiro do Design (PBD),
criado em 1995, um dos projetos a cargo do ministrio e
tem o objetivo de promover o desenvolvimento do design
no pas. A ideia central a de que o design diferencial
estratgico para a indstria e elemento de competitividade
empresarial, em especial para os segmentos pressionados pela
concorrncia internacional.
Para alcanar seu objetivo, o PBD conta com dois projetos: o
Design & Excellence Brazil (DEBrazil), que apoia a participao
de produtos e projetos brasileiros em prmios internacionais
de design, como o iF Design Awards, e a Bienal Brasileira de
Design. A primeira bienal foi realizada em So Paulo (2006),
a segunda em Braslia (2008) e a terceira em Curitiba (2010),
que teve o tema Design, Inovao e Sustentabilidade.
A proposta foi mostrar exemplos de design sustentvel e
incentivar a reflexo sobre o tema. Em 2012 a Bienal de
Design ser em Belo Horizonte (Minas Gerais).
O MDIC ainda tem entre suas funes as aes inerentes aos
rgos a ele vinculados: Superintendncia da Zona Franca
de Manaus, Instituto Nacional da Propriedade Industrial,
Instituto Nacional de Metrologia, Normalizao e Qualidade
Industrial, Banco Nacional do Desenvolvimento Econmico
e Social, Agncia Brasileira de Promoo de Exportaes
e Investimentos e Agncia Brasileira de Desenvolvimento
Industrial. O ministro titular da pasta tambm o coordenador
do conselho das Zonas de Processamento de Exportao
e da Cmara de Comrcio Exterior, rgo interministerial e
instncia mxima do governo federal na definio de polticas
de comrcio exterior.
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T he Ministry of Development, Industry and
Foreign Trade (MDIC) is responsible for policies
in the realm of foreign trade and development
of industry, trade and services in Brazil. The
Brazilian Design Program (PBD), established in 1995, is
one of the projects under the auspices of the ministry and
its goal is to promote the development of design in the
country. The central idea is that design provides a strategic
edge to industry and constitutes an element of corporate
competitiveness, particularly for segments subject to the
pressure of international competition.
To achieve its objective, the PBD has two projects: Design &
Excellence Brazil (DEBrazil), which supports the participation
of Brazilian products and projects in international design
awards, such as the iF Design Awards and the Brazilian
Design Biennial. The first biennial was held in So Paulo
(2006), the second in Brasilia (2008) and the third in
Curitiba (2010), which was based on the theme Design,
Innovation and Sustainability and sought to present
examples of sustainable design and encourage reflection on
the subject. In 2012, the Design Biennial will take place in
Belo Horizonte (Minas Gerais).
Also among the functions of the MDIC are the activities
intrinsic to the bodies connected to it: Superintendency
of the Manaus Free Zone, National Institute of Industrial
Property, National Institute of Metrology, Standardization
and Industrial Quality, National Bank of Economic and
Social Development (BNDES), Brazilian Trade and Investment
Promotion Agency (Apex-Brasil) and the Brazilian Agency
for Industrial Development. The minister also acts as the
coordinator of the council for the Export Processing Zones
and Foreign Trade Chamber, an inter-ministry body and
highest authority of the federal government in setting
foreign trade policy.
APEXBRASIL

A Agncia Brasileira de Promoo de

Exportaes e Investimentos (Apex-Brasil)
atua na promoo comercial de produtos e
servios brasileiros no exterior e na atrao
de investimentos estrangeiros diretos (IED) para setores
T
he Brazilian Trade and Investment Promotion
Agency (Apex-Brasil) is responsible for the
promotion of Brazilian goods and services
in international markets. This is its mission,
which also extends to supporting the internationalization
estratgicos da economia brasileira. of Brazilian companies and attracting investments to the
country. All these actions, projects and activities are geared
Vinculada ao Ministrio do Desenvolvimento, Indstria
toward building the countrys image as a supplier able to
e Comrcio Exterior (MDIC), a Agncia tem a misso de
meet the most demanding markets.
desenvolver a competitividade das empresas brasileiras,
promovendo a internacionalizao dos seus negcios e a The basis of Apex-Brasils work is to partner with the private
atrao de investimentos estrangeiros diretos. sector, always looking to expand the number of exporting
companies, to open new markets for domestic goods and
A Agncia desenvolve aes integradas que contemplam todo
services and to strengthen Brazilian presence in traditional
o processo de insero das empresas brasileiras nos principais
markets.
mercados, desde a capacitao para a exportao, passando
por plataformas diversificadas de promoo comercial Focused on seven productive compounds agribusiness,
e solues nas reas de informao, qualificao para home and civil construction, entertainment and services,
exportao, promoo comercial, posicionamento e imagem machinery and equipment, fashion, technology, technology
e apoio internacionalizao. and health the Agency carries out projects with entities
and entrepreneurs in all regions of Brazil, encouraging them
A Apex-Brasil coordena os esforos de atrao de Investimentos
to join international fairs, trade missions, exhibitions and
Estrangeiros Diretos para o Brasil com foco em setores
business meetings.
estratgicos para a economia brasileira e visando
competitividade e ao desenvolvimento do Brasil. O objetivo
atrair investimentos produtivos que facilitem a transferncia
de tecnologias inovadoras para as empresas brasileiras,
contribuam para o adensamento das cadeias produtivas e para
as exportaes, como tambm para a insero ativa do Brasil.

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ABIT e TEXBRASIL
TEXBRASIL
O Texbrasil, Programa de Exportao da Indstria da
Moda Brasileira, foi criado em 2000 pela ABIT (Associao
Brasileira da Indstria Txtil e Confeco) em parceria com a
Apex-Brasil (Agncia Brasileira de Promoo de Exportaes
e Investimentos), com o objetivo apoiar e preparar as
empresas das indstrias txtil e de confeco interessadas
em comercializar seus produtos em outros pases.
Desde seu lanamento, mais de 1.200 empresas utilizaram
os servios do Programa, entre eles encontro com
compradores e jornalistas internacionais, participao em
feiras e eventos em todo o mundo e realizao de pesquisas
e prospeco de mercado.
ABIT
A Associao Brasileira da Indstria Txtil e de Confeco
(ABIT), fundada em 1957, uma das mais importantes
entidades dentre os setores econmicos do Pas. Ela
representa a fora produtiva de 30 mil empresas instaladas
por todo o territrio nacional, empresas de todos os portes
que empregam mais de 1,7 milho de trabalhadores e
geram, juntas, um faturamento anual de US$ 60 bilhes.
Para atender todas as demandas da Cadeia Txtil, que
inclui as empresas produtoras de fibras naturais, artificiais
e sintticas, passando pelas fiaes, beneficiadoras,
tecelagens indo at as confeces, a ABIT mantm
uma estrutura fsica e intelectual para dar suporte e
orientao aos associados. Todas as atividades realizadas
pela equipe de colaboradores e consultores visam apoiar
o desenvolvimento sustentvel das empresas do setor,
bem como defender seus interesses junto aos rgos
governamentais e entidades nacionais e internacionais.
Com trabalho integrado, a ABIT quer tornar o setor txtil
e de confeco brasileiro uma referncia em tecnologia e
inovao no cenrio mundial.
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TEXBRASIL
Texbrasil, the Brazilian Fashion Industry Export Program,
was founded in 2000 by ABIT (Brazilian Textile and Apparel
Industry Association) in partnership with Apex-Brasil (Brazilian
Trade and Investment Promotion Agency) with the mission
of supporting and preparing textile and apparel companies
interested in selling their products abroad.
For this purpose, the Program promotes meetings between
Brazilian companies and international buyers, agents and
journalists at the main trade shows and fashion weeks in Brazil
and the world. Since its launching, more than 1500 visitors,
including buyers and journalists, have come to Brazil invited by
the Program to see Brazilian fashion, culture and lifestyle.
ABIT
The Brazilian Textile and Apparel Industry Association (ABIT)
represents integration of the Brazilian textile chain. Founded
in the early 1960s, ABIT sponsors companies of every segment
in the textile industry, including cotton-growing, synthetic,
raw materials, textile fibers, spinning, weaving, knitwear,
dyeing, printing and clothing.
ABITs mission is to support sustainable development of the
Brazilian textile industry, representing its interests before
governmental and international organizations, as well as
making the textile sector better known to the general public.
Aiming at meeting the needs of every sector within the textile
industry, ABIT relies on the following sector commissions:
Machinery, quality and productivity/ infrastructure/ technical
norms/ standards; Finance and statistics; Marketing; Foreign
trade; Fiber (cotton fiber, raw wool, wool tops, long fiber and
yarn); Wool; Spinning (cotton spinning, PV/ PA and viscose
spinning, flax and ramie spinning); Sewing threads; Weaving;
Knitwear; Kettenthul & Raschel knitwear; Clothing; Coverings and
blankets; Bed linen, tablecloths and towels; Rugs, carpets and
linings; Decoration; Colored denim; Texturizers and Processing.
Centro de Design Paran
Paran Design Center

O Centro de Design uma organizao sem fins

lucrativos que atua desde 1999 pela promoo
do design no pas. Pioneiro, foi o primeiro
centro de design a orientar seu trabalho a partir
das necessidades do empresariado, e serviu de modelo para a
criao de instituies similares no Brasil. Sua misso contribuir
T he Paran Design Center
(www.centrodedesign.org.br) is
a non-profit organization that works for
the promotion of Brazilian design, aiming
at the dissemination of the design culture in the country.
As a pioneer, it was founded in 1999 as the first in Brazil
para o desenvolvimento sustentvel e para a excelncia da to guide its activities by the needs of manufacturers and
indstria brasileira. Neste perodo j realizou cerca de 200 companies. Among its projects and actions, the Design
atividades em educao e formao, mais de 100 atendimentos Center promotes since 2000 the Design to Business Seminar,
para empresas interessadas em inovar pelo design e mais de
which brings to Brazil international references in design for
10 programas de promoo do design no Brasil. Um exemplo
lectures and presentations. The institution also coordinates
precursor de difuso do design entre empresrios no Brasil o
projects as the national design network DesignBrasil
programa Criao Paran, que teve duas edies promovidas
(www.designbrasil.org.br), with more than 17 thousand
pelo Centro de Design, uma em 2002 e outra em 2005. O
members registered, and the program Design Excellence
Criao Paran orientou um total de 95 empresas na elaborao
Brazil DEBrazil (debrazil.designbrasil.org.br), an initiative
de produtos inovadores.
to promote Brazilian design internationally by supporting
Entre os projetos atualmente coordenados pelo Centro de the participation of innovative and well-designed national
Design est o Portal DesignBrasil (www.designbrasil.org. products in the iF Design Awards, the most important
br), que incentiva a troca de informaes e a interao entre award in the European market. Recently, the Paran Design
profissionais, estudantes, empresrios e todos os que vivem Center also coordinated the Brazilian Design Biennial 2010
design no Brasil e conta com uma comunidade com mais de Curitiba, the largest design event in the country which
17 mil membros. O Design Excellence Brazil (DEBrazil), um gathered, in 2010, more than 361 thousand visitors around
programa que apia a participao de produtos brasileiros, exhibitions and knowledge, educational and interactive
inovadores e de bom design em premiaes internacionais
actions. Since 2009 is the iF Representative Office Brazil.
como o iF Design Awards. At hoje, j foram cerca de 3.110
inscries no DEBrazil, tendo mais de 1.451 produtos e projetos
inscritos no prmio iF Design Awards, com 990 finalistas
e 177 premiados brasileiros. Recentemente, coordenou a
Bienal Brasileira de Design 2010 Curitiba, evento cultural,
empreendedor e educacional de maior relevncia no Pas.
A Bienal atingiu nmeros expressivos: 9 mostras, 6 espaos
expositivos, aes do conhecimento, mais de 20 aes culturais
paralelas, aes educativas e aes interativas e 2 concursos de
design que resultaram na visitao de aproximadamente 361 mil
pessoas. Desde 2009 o escritrio representativo do iF no Brasil.

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Bienal Brasileira de Design 2010 Curitiba
Brazilian Design Biennial 2010 Curitiba
U G
m evento grandioso que teve sua magnitude
amplificada por seus maiores destaques:
a temtica, a cidade, os palestrantes
e o pblico. Assim pode ser definida a
Bienal Brasileira de Design 2010, realizada em Curitiba.
Com o tema Design, Inovao e Sustentabilidade, a
Bienal demonstrou sintonia com os assuntos que mais
preocupam as sociedades modernas, sinalizando caminhos
e evidenciando possibilidades para equacionar as relaes
entre o consumo consciente, a necessria produo
industrial e a conservao dos ambientes naturais.
Foram 48 dias em que a atmosfera do design permeou os
mais variados ambientes de Curitiba. A cidade palco dos
inmeros eventos da Bienal , ela mesma, exemplo vivo
de quanto o design, associado a ideias inovadoras, pode
modificar positivamente a realidade. Afinal, Curitiba foi
reinventada a partir do design, num processo que teve
incio na dcada de 1970, e se transformou em cone de
modernidade e inovao, sendo fonte de inspirao para
inmeras cidades no Brasil e no exterior.
Uma das propostas desta edio da Bienal foi a
democratizao do conhecimento relacionado ao design.
A inteno foi plenamente alcanada, envolvendo centenas
de milhares de pessoas. A diversidade do pblico tambm
impressionou. Estudantes, professores e profissionais do
design, profissionais liberais, autoridades, representantes de
instituies financeiras, industriais, empresrios e milhares de
alunos de escolas pblicas de Curitiba visitaram as diversas
exposies. Para atingir tantas pessoas, a Bienal espraiou-
se pelos mais variados ambientes da cidade. As mostras,
as palestras, as aes paralelas, educativas e interativas, os
fruns e workshops ocuparam locais distintos e, por vezes,
inusitados. Assim, dos parques s universidades, dos espaos
pblicos ao interior das lojas, da livraria ao museu, da mesa de
bar ao cho de fbrica, tudo era design.
8
rand event whose magnitude was amplified
by its distinguishing characteristics: the
theme, the city, the speakers and the
public. In this manner, the Brazilian Design
Biennial 2010, held in Curitiba, can be described. Under
the theme, Design, innovation and sustainability, the
Biennial proved to be in sync with the issues that most
concern modern societies, designating pathways and
providing opportunities to ponder the relationship between
conscious consumption, necessary industrial production
and the conservation of natural environments.
They were 48 days in which the atmosphere of design
permeated the most diverse settings in Curitiba. The city
itself a stage for the numerous events of the Biennial is
a living example of how design, coupled with innovative
ideas, can positively modify reality. After all, Curitiba was
reinvented on the basis of design, in a process that
began in the 1970s, and became an icon of modernity and
innovation, serving as a source of inspiration to many cities
in Brazil and abroad.
One of the aims of this edition of the Biennial was the
democratization of knowledge as related to design.
The intention was fully achieved, involving hundreds of
thousands of people.
The diversity of the public was also impressive. Students,
teachers and design professionals, independent
professionals, authorities, representatives of financial
institutions, business people and thousands of children from
public schools in Curitiba visited the different exhibitions. In
order to reach so many people, the Biennial was scattered
throughout the most diverse venues in the city. The
exhibitions, lectures, parallel interactive and educational
activities, forums and workshops were held in different, and
sometimes unusual, places. Thus, from parks to universities,
from public spots to inside shops, from the bookstore to
A mostra principal do evento Design, Inovao e
Sustentabilidade , com curadoria de Adlia Borges, revelou
que o design e a inovao, associados ao conceito de
sustentabilidade, podem gerar produtos belos e modernos,
extremamente teis e eficientes, com economia de matrias-
primas e sem agredir o meio ambiente. Alm de fornecer uma
generosa lio de design e compromisso ambiental e social,
as exposies tambm abordaram questes contemporneas.
Foi o caso de Design Urbano, mostra que revelou os projetos
e as realizaes do arquiteto e urbanista Jaime Lerner. A
exposio Novssimos, por sua vez, trouxe o que h de mais
expressivo na produo dos estudantes brasileiros de design,
com a curadoria de Ivens Fontoura. E a mostra A Reinveno
da Matria, tambm com curadoria de Adlia Borges,
revelou o envolvimento de designers na criao de produtos
sustentveis seja pela reduo do uso de matrias-primas
e de recursos naturais necessrios produo, seja pela
reciclagem.

A discusso em torno da temtica da Bienal permeou a

exposio de cartazes intitulada Sustentabilidade: e eu
com isso?, com curadoria de Andr Stolarski e Rico Lins.
 the museum, from the bar counter to the factory floor,
everything was all design.

The events main exhibition Design, innovation and

sustainability curated by Adlia Borges, demonstrated
that design and innovation, linked with the concept of
sustainability, are able to generate beautiful and modern
products, that are extremely useful and efficient, economize
raw materials and do not harm the environment. Besides
providing a full lesson in design and environmental
and social commitment, the exhibition also addressed
contemporary issues. Such was the case with Urban design,
an exhibition that showcased the projects and achievements
of the architect and urban planner, Jaime Lerner. The
exposition Novssimos (Brand New), in turn, featured
the most noteworthy works of Brazilian design students,
curated by Ivens Fontoura. And the exhibition Reinventing
matter, also with Adlia Borges as its curator, showed the

10
Outra mostra que levantou questionamentos e apresentou
propostas de interesse global foi Its a small world,
revelando a preocupao de designers dinamarqueses com
o uso de novas tecnologias, o consumo e a sustentabilidade.
As mostras histricas tambm tiveram papel relevante.
Bienais de Design: primrdios de uma ideia resgatou a
trajetria das bienais brasileiras. J a exposio Memria do
Design no Paran revelou o legado de Guilherme Bender,
Jorge de Menezes, Ronaldo Rego Leo e Rubens de Palma
Sanchonete, pioneiros do design paranaense. Por fim, a
exposio Memria da Indstria O caso da Cimo, trouxe
aos visitantes a oportunidade de viajar no tempo a bordo
dos mveis produzidos pela Cimo, que acompanharam
geraes de brasileiros.
Os profissionais que ministraram as palestras do Seminrio
Internacional Design Innovation Labs foram outro ponto
forte desta Bienal. Escolhidos em funo da experincia
involvement of designers in creating sustainable products
either by reducing the use of raw materials and natural
resources needed for production, or through recycling.
The discussion surrounding the theme of the Biennial
permeated the poster exhibition entitled Sustainabil ity:
whats that got to do with me?, curated by Andr Stolarski
and Rico Lins. Another exhibition that raised questions and
presented proposals of global interest was Its a small world,
highlighting the concern of Danish designers in regards to
the use of new technologies, consumption and sustainability.
The historical exhibitions also had an important role to play.
Design Biennials: the beginnings of an idea covered the
trajectory of Brazilian biennials. Meanwhile, the exhibition
History of Design in Paran featured the legacy of Guilherme
Bender, Jorge de Menezes, Ronaldo Rego Leo and Rubens
de Palma Sanchonete, pioneers of design in Paran. Finally,
the exposition History of the Industry the Cimo case,
afforded visitors the opportunity to travel back in time
aboard furniture produced by Cimo, which accompanied
generations of Brazilians.
The professionals who gave the lectures for the Design
Innovation Labs International Seminar were another forte of
this Biennial. Chosen for their experience and prominence
in their fields in countries such as Argentina, Brazil, China,
Denmark, France, Mexico, UK and Sweden the speakers
enriched the debates with their experiences and top-notch
work. In addition to attending lectures and workshops,
seminar participants had the unique opportunity to follow
the success case studies and partake of the consultancy
clinics. They were remarkable experiences that provided
special opportunities for learning and knowledge, with
professionals who shared the state-of-the-art in design
throughout the world, always with a focus on innovation
and sustainability.
The Educational Initiative represented a major difference in
this edition of the Biennial, both in terms of the proposed
activities and the response of the audience involved. From the
training of monitors, to getting teachers ready, to preparing
support material, all efforts were made so that students from
Curitibas public schools could benefit to the utmost from
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e destaque em suas reas de atuao em pases como
Argentina, Brasil, China, Dinamarca, Frana, Mxico, Reino
Unido e Sucia, os palestrantes enriqueceram os debates
com suas vivncias e produo de alto nvel. Alm de assistir
s palestras e workshops, os participantes do Seminrio
tiveram a oportunidade nica de acompanhar as anlises de
casos de sucesso e vivenciar as clnicas de consultoria. Foram
experincias marcantes que proporcionaram aprendizagem e
conhecimento diferenciados, com profissionais que expuseram
o que h de mais avanado no design em todo o mundo,
sempre com o foco voltado inovao e sustentabilidade.

A Ao Educativa representou um grande diferencial nesta

edio da Bienal, tanto pelas atividades propostas quanto
pela resposta do pblico envolvido. Desde o treinamento
dos monitores, passando pela preparao dos professores
e a elaborao do material de apoio, tudo foi feito para
que os estudantes da rede pblica de ensino de Curitiba
pudessem tirar o melhor proveito das mostras e exposies,
absorvendo lies de design, aes inovadoras e proteo ao
meio ambiente de uma forma inteligente e ldica. O processo
envolveu mais de 3.400 estudantes, alm de muitos de seus
familiares, que tambm puderam melhorar a percepo do
design no dia-a-dia e em suas prprias vidas.

Todos os eventos da Bienal superaram as expectativas mais

otimistas: o Seminrio, que deveria receber cerca de 500
pessoas, contou com 618 participantes. O pblico geral,
estimado inicialmente em 250 mil pessoas, somou mais de
360 mil visitantes. Dos empresrios, que querem incorporar
valor aos produtos, passando pelos estudantes, que desejam
aprender mais sobre design, at os cidados com os mais
distintos interesses e formaes, porm unidos pelas
preocupaes com a conservao ambiental, a Bienal agradou
a todos pela enorme contribuio que trouxe, permeada
de criatividade, beleza e informao. Tudo isso promoveu
reflexo, ampliou horizontes e gerou conhecimento,
num crculo virtuoso que continuar produzindo frutos
no ambiente acadmico, no mundo corporativo, entre os
profissionais de design e na sociedade como um todo.

12
the displays and exhibitions, absorbing lessons in design,
innovative initiatives and environmental protection in an
intelligent and playful manner. The process involved more
than 3,400 students, apart from many of their relatives,
who were also able to enhance their perception of design in
everyday life and in their own lives.

All the events of the Biennial exceeded our most optimistic

expectations: the seminar, that was supposed to number 500
people, ended up with 618 attendees. The general public,
with initial estimates set for 250,000 people, reached more
than 360,000 visitors. Whether for people in the business
world, seeking to add value to their products, or students,
desirous to learn more about design, or even people with
the most diversified interests and backgrounds, all united,
however, by their concerns for environmental conservation,
the Biennial delighted one and all for the enormous
contribution that it made, replete with creativity, beauty and
information. All this promoted reflection, expanded horizons
and generated knowledge, in a powerful cycle that will
continue to bear fruit in the academic milieu, the corporate
world, among design professionals and in society as a whole.

13
BRASIL
design, inovao e sustentabilidade
UM OLHAR SOBRE A BIENAL BRASILEIRA DE DESIGN 2010

E sta exposio apresenta o melhor da produo recente do design brasileiro, tendo como eixos condutores
a inovao, de um lado, e a sustentabilidade, de outro. A inovao parte indissocivel do design e
determinante para o desenvolvimento da economia hoje; a incluso da palavra no ttulo da mostra tem a
inteno de reforar e evidenciar esse valor. J a sustentabilidade um termo que se banalizou por seu uso
destitudo de real significado, apenas com fins de marketing. No entanto, esse atributo tem muito a ver com a forma com
que os bens so projetados, produzidos e consumidos.

A mostra contribui com a reflexo sobre o tema ao apresentar produtos sintonizados, em maior ou menor grau, com as
noes de desenvolvimento sustentvel, aqui considerado em seu entendimento amplo: ambientalmente responsvel,
economicamente inclusivo e socialmente justo.

O Brasil rene condies especiais de liderar o processo de design sustentvel no cenrio mundial, pois existem no pas
dezenas de recursos naturais que ainda no foram suficientemente estudados e utilizados. H uma tradio popular no pas
quanto reciclagem e dissemina-se uma prtica de design vinculado a mudanas sociais.

A exposio uma pequena amostra da Bienal Brasileira de Design 2010, que se realizou em Curitiba de setembro a
outubro de 2010, com coordenao do Centro de Design Paran, curadoria geral de Adlia Borges, produo da empresa
Arte 3 / Ana Helena Curti e arquitetura de Pedro Mendes da Rocha.

Para a Bienal, uma equipe de pesquisadores atuou em todas as regies do pas, de maneira a fazer um retrato realmente
nacional de nossa produo. Nesta pequena verso, a seleo abrange 16 projetos de 9 Estados brasileiros, em segmentos
to diversificados como mveis, luminrias, joias, bicicletas, objetos de uso pessoal, calados e tecidos.

Entre os designers participantes, esto Bettina Terepins, Bertussi Design, Brunno Jahara, Edson Matsuo e equipe, Eduardo
Queiroz, Fernando Prado, Flavia Amadeu, Mana Bernardes, Megabox Design, Marco Brajovic, Mary Design, Nara
Guichon, Oskar Metsavaht, Puro Amazonas, Priscila Callegari e Renata Meirelles.

Adlia Borges
CURADORIA GERAL E TEXTOS DA BIENAL BRASILEIRA DE DESIGN 2010 CURITIBA

14
BRAZIL
design, innovation and sustainability
A LOOK AT THE BRAZILIAN DESIGN BIENNIAL 2010

T his exhibition presents the finest in recent Brazilian design production, pivoting around innovation,
on the one hand, and sustainability on the other. Innovation is intrinsic to design and critical for the
development of todays economy, and including the word in the title of the exhibition is intended to
reinforce and demonstrate that value. Sustainability, however, is a term that has been trivialized by its
usage in a way that strips it of real meaning, simply for marketing purposes. Nevertheless, this attribute has a lot to
do with the way in which items are designed, produced and consumed.

The exhibition fosters reflection on the theme by presenting products which are aligned, to a greater or lesser degree,
with ideas of sustainable development, understood here within a broader conception: environmentally responsible,
economically inclusive and socially just.

Brazil is in a special position to lead the process of sustainable design on the world stage, since there are dozens of
natural resources in the country that have not yet been sufficiently studied and used. Recycling is a popular tradition in
Brazil and practices in design linked to social changes have been disseminated throughout the country.

This exhibition constitutes a small sample from the Brazilian Design Biennial 2010, held in Curitiba from September to
October 2010, coordinated by the Paran Design Center, curated by Adlia Borges, produced by the company Arte 3 /
Ana Helena Curti and with architecture by Pedro Mendes da Rocha.

For the Biennial, a team of researchers worked in all regions of the country, in order to achieve a truly national picture
of our production. In this small version, the selection includes 16 projects from 9 Brazilian states, representing a wide
range of segments such as furniture, lamps, jewelry, bicycles, personal items, footwear and textiles.

Among the designers participating are Bettina Terepins, Bertussi Design, Brunno Jahara, Edson Matsuo and team,
Eduardo Queiroz, Fernando Prado, Flavia Amadeu, Mana Bernardes, Megabox Design, Marco Brajovic, Mary Design,
Nara Guichon, Oskar Metsavaht, Puro Amazonas, Priscila Callegari and Renata Meirelles.

Adlia Borges
CHIEF CURATOR AND TEXTS FOR THE BRAZILIAN DESIGN BIENNIAL 2010 CURITIBA

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Ncleos Expositivos Exhibit sections
Os projetos so distribudos em cinco ncleos temticos, que The projects are distributed in five theme cores, which results
resultam de uma leitura transversal das diferentes especialidades in a cross-reading of the different design specialties. This
do design e dos aspectos da sustentabilidade. A diviso tem division intends to allow visitors to connect the dots in their
a inteno de instigar o visitante a fazer as suas prprias way between similarities in the project intentions.
conexes entre as similaridades de propsitos projetuais.

Trans-formation
A que ser que se destina
Garbage, according to the dictionary, is all that is useless
Lixo, na definio do dicionrio Aurlio, tudo o que no
and is thrown away. The concept of sustainability defeats
presta e se joga fora. Os conceitos de sustentabilidade esto
such a definition. First of all, what is useless for one purpose
pondo por terra os dois enunciados do mestre linguista.
may well serve other purposes or people. Second, you may
Primeiro, um objeto que intil para voc, pode muito bem
throw something away at your home, but it will still be in
servir para outra pessoa; muitas vezes para ser utilizado sob
your city, country or, at last, our planet. And very often it
uma nova funo. Segundo, se voc joga alguma coisa fora,
will remain here as a cursed heritage until the time of our
ela sair de sua casa, mas continuar na sua cidade, pas,
ou, pelo menos, no planeta. Nos termos da Lei Nacional de grand-grandchildren. The major responsible for discarding

Resduos Slidos, a responsabilidade maior pela destinao de a material or object is, without a doubt, the manufacturer

um material e objeto de quem os fabrica e comercializa. O and distributor. Nevertheless, the designer can cooperate

designer, contudo, pode cooperar na criao de objetos que by creating objects that, in a noble and creative way,
faam usos nobres e criativos para sobras, dejetos e sucatas de make use of waste, residues and scrap of our daily routine.
nosso dia-a-dia. Transformao a palavra-chave deste ncleo. Transformation is the key word to this core.

Bolsa Farta (Spacious Handbag)

Design e produo | Design and production:
Nara Guichon, Florianpolis, SC

Redes de pesca velhas que no servem mais para pescaria so coletadas,

lavadas, secas ao sol e metamorfoseadas em peas de decorao e em
acessrios de moda feminina. O design se aproveita da textura e das cores
naturais obtidas com o desgaste das redes exposio ao sol e s intempries.
A reciclagem impede que as redes poluam o mar e as praias e garante uma
sobrevida ao material (poliamida), que muito resistente.
Old fishing nets that no longer serve for fishing are collected, washed, dried
in the sun and metamorphosed into decorative items and womens fashion
accessories. The design takes advantage of the texture and natural colors
obtained from the wear and tear of the nets after prolonged exposure to
sunlight and inclement weather. Recycling prevents the nets from polluting
the sea and beaches and prolongs the life of the material (polyamide), which
is very tough.
Coleo PET (PET Collection)
Design: Mana Bernardes, Rio de Janeiro, RJ
Produo | Production: Mana, Rio de Janeiro, RJ

Para manufaturar a linha Escama de Pet as artess colhem garrafas do seu entorno, do que seria lixo se faz joia e isso transformador. O brilho extrado das curvas
da garrafa, cada crculo feito um a um, cortado, vincado, lixado, furado, costurado, e isso leva tempo com as mos, preciso muita concentrao e alinhamento.
Testamos fazer esse processo de maneira mais industrial, mas perdem-se os brilhos, as nuances, e as pequenas diferenas de uma escama para outra. Nossa marca
tem a seguinte expresso: O Poder de Transformao a Joia de Ser Humano.
In order to manufacture our Escama (fish scales) line, artisans collect bottles from their surroundings, turning what might have been trash into a jewel in a
transformative process. Every ounce of shine is extracted from the bottles, each circle is made one-by-one. They are cut, creased, sanded, drilled, sewn and this
all takes patient hands, requiring a great deal of concentration and alignment. We have tried making the process more industrial, but it inevitably loses the
shine, the nuances and slight differences from one scale to another. Our brands motto is: The Power of Transformation is the Jewel of Being Human.

Batucada
Design e produo | Design and production:
Brunno Jahara, So Paulo, SP

A linha utiliza alumnio 98% reciclado e 100% reciclvel. So vrios objetos, em

diferentes dimenses, cores e finalidades. Eles so produzidos por anodizao
e por marteladas, de cuja sonoridade saiu o nome dos objetos naturalmente
imperfeitos. O processo resulta em diferentes formas e texturas na superfcie
dos produtos, que so inquebrveis. O jovem designer brasileiro atua
amplamente fora do Brasil e tem um toque de humor em seu trabalho.
The line uses 98% recycled aluminum that is likewise 100% recyclable. There
are several articles in different sizes, colors and purposes. They are produced
through anodization and hammering, from whose sound the name was
derived for these naturally imperfect items. The process results in different
shapes and textures on the surface of the products, which are unbreakable.
The young Brazilian designer operates largely outside of Brazil and has a
touch of humor in his work.

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Colares de Papelo e Ouro
(Cardboard and Gold Necklaces)
Design e produo | Design and production:
Bettina Terepins, So Paulo, SP

As embalagens de papelo esto disseminadas num vasto universo de produtos.

Aps o descarte, elas podem ser utilizadas na fabricao de novas embalagens.
Um uso indito vem sendo feito a partir de tcnica desenvolvida pelo designer
Domingos Ttora. O papel misturado a gua e cola, prensado e moldado,
adquirindo resistncia. De certa forma, ele volta a ser madeira, resistente e
durvel.
Cardboard packaging is used throughout a huge variety of products. Once
discarded, they can be used in the manufacture of new packaging. A new use
is being implemented following a technique developed by designer Domingos
Ttora. The cardboard is blended with water and glue, then pressed and
molded, acquiring greater strength. In a sense, it returns to being wood,
strong and lasting. The jewels mix this poor and rustic material to gold.

Menos
Neste ncleo, apontamos produtos marcados pela reduo.
No estamos nos referindo apenas matria-prima, aos
processos ou energia que utilizam em sua produo. Esses
contam, sim. Mas estamos falando tambm de bens com uma
qualidade esttica e tcnica capaz de transcender o tempo e de
sobreviver a ns mesmos, que os compramos.
Less
This unit is focused on products marked by reduction. We
are not only referring to raw material, the process or the
energy used in their production. Yes, these do matter. But
what we are also talking about are goods with an aesthetic
and technical quality able to transcend time and outlive
even us, those responsible for purchasing them. We are

Estamos falando da durabilidade do conceito, da ideia que talking about concept durability, the idea brought forward,

trazem, de algo que faa sentido hoje e depois. E estamos something that makes sense today and tomorrow. And

falando de objetos e sistemas versteis, que possam ser we are talking versatile objects and systems, which can be
configurados de vrias formas, para necessidades mutantes. configured in a number of ways, for changing needs.

Eles vo na contracorrente da obsesso infantil que temos por
mais, sempre mais - um buraco sem fundo, por definio
no preenchvel... Vo na contracorrente do muito muito
pouco cantado pelo poeta. E nos sugerem uma nova postura
de vida em que o menos no est associado perda, e
nem sequer precisa vir sempre acompanhado do ... mais.
Poderamos propor o menos e melhor. Mas vamos, de vez,
assumir: MENOS, ponto.
They go against the mainstream of the childish obsession we
have for more, always more a bottomless pit, unfillable by
definition... They go against the mainstream of a lot is too
little sung by the poet. And we suggest a new attitude to
life in which less is not associated to loss, and does not
always need to be accompanied by is more. We could
propose less and better. But this time, lets just settle with:
LESS, period.

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 Luminria Bauhaus 90 (Bauhaus Lamp)
Design: Fernando Prado, So Paulo, SP
Produo | Production: Lumini, So Paulo, SP

Luminria de piso criada em homenagem e em agradecimento aos 90 anos

da Bauhaus, seu desenho mantm uma linguagem prpria e contempornea. O
sistema de regulagem de altura e travamento de posio obtido apenas pelo
peso de sua cpula sobre a haste, que pode ser movimentada e travada na altura
desejada sem a necessidade de sistemas de travas, parafusos ou ferramentas.
Seu facho de luz pode ser direcionado para baixo (leitura), para a parede ou
para cima, como alternativa para iluminao geral rebatida. Feita basicamente
de alumnio e ao, usa lmpada incandescente de at 100 W ou fluorescente
compacta eletrnica de at 23 W.
A floor lamp, created in honor of and in thankfulness for Bauhaus 90 years
as a company, the design has its own unique modern style. The system for
regulating the height and locking position is achieved simply by the weight
of the lamp fixture on the rod, which can be moved and fastened at the
desired height without any need for locks, screws or tools. Its beam of light
can be directed downwards (for reading), towards the wall or upwards, as an
alternative for general indirect lighting. Made primarily of aluminum and steel,
it uses light bulbs up to 100 W or compact fluorescent lamps up to 23 W.

Calados infantis Ciao Miao

(Ciao Miao childrens shoes)
Design: Priscila Callegari, So Paulo, SP
Produo | Production: Ciao Mao, So Paulo, SP

Um par de sapatos se multiplica em vrios na Ciao Mao. O modelo

permanece, o que muda so os acessrios intercambiveis. A
proposta chega verso infantil, em modelo com cabedal de
couro e/ou tecido, sola de borracha reciclada e palmilha de ltex
expandido. Os acessrios, presos com velcros, podem ter formas
geomtricas, de carros, de animais ou tiras. A criana finaliza o
design do calado na hora do uso praticando seu livre arbtrio
esttico.
One pair of shoes can become many others in Ciao Mao.
The model remains the same; variations are made possible
by combining interchangeable accessories. The proposal has
reached its kids version, in a model featuring leather and/or
fabric uppers, recycled rubber outsoles, and expanded latex
insoles. The accessories are fixed with Velcro and are made in
various forms, such as squares, triangles, animals, cars and
stripes. The children finish up their shoe design and practice their
own aesthetic free will.

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 Recortes (Cut-outs) REN 8X e CIR5X
Design: Renata Meirelles, So Paulo, SP
Produo | Production: Performa, So Paulo, SP

A renda brasileira, arabescos e a caligrafia so revisitados e

servem como fonte de inspirao para a criao de novos
recortes tais como CIR 5X e REN 8X. Um trabalho inovador e
delicado, que tira partido de 100% da extenso dos tecidos,
graas tcnica do corte a laser. Os negativos, sobras dos
cortes, geram outros produtos. A rigor, no se pode nem
falar em sobras, pois a possibilidade de aproveitamento
integral da matria se tornou a essncia do processo
criativo. A partir de padres grficos, so elaborados
peas para o corpo e espao com infinitas possibilidades
de variao e composies de cores e modelos, com ou
sem transparncias. Conforme o uso a pea assume papis
distintos, estabelecendo um dilogo com o corpo criando
movimento e contornos inesperados.
Brazilian lace, arabesque patterns and calligraphy are
revisited and are the source of inspiration for creating
new cutouts like the CIR 5X and REN 8X. This innovative,
delicate work uses 100% of the fabric thanks to its laser
cutting technique. The negative spaces of the cut outs
give rise to other products. Strictly speaking, there is
no scrap, because the possibility of using all of the
material has become the essence of the creative process.
Based on the visual patterns, pieces for the body and
space are designed, with infinite possibilities of variation
and compositions of color and model, with or without
transparency. Depending on its use, the piece can play
different roles, establishing a dialogue with the body,
creating movement and unexpected contours.
Stepi
Design: Bertussi(Enio Coronas, Fernando Guimares, Tobias
Bertussi, Paulo Bertussi e Christian Machado), Porto Alegre, RS
Produo | Production: Pense Brinquedos, Porto Alegre, RS

As crianas menores usam como triciclo obtido pela troca da

roda traseira por um eixo com mais uma roda. As maiores
usam como bicicleta sem pedais, impulsionando o veculo
diretamente com os ps no solo, o que auxilia em seu
desenvolvimento motor e no aprendizado do equilbrio sem
o perigo de queda oferecido pelas bicicletas comuns. Um
sistema de ajuste de altura do assento permite acompanhar
o crescimento do usurio. Usa madeira do tipo compensado
naval e revestimento Lamieco feito a partir de garrafas PET. As
rodas so de polipropileno PP reciclvel.
Younger children use it as a tricycle, obtained by replacing the
rear wheel with a two-wheel axle. Older kids use it as a pedal-
free bicycle and propel the vehicle by pushing off the ground,
which helps develop their motor skills and balance without
the risk of falling posed by ordinary bikes. A seat height
adjustment system allows it to keep up with users growth.
It uses marine plywood and Lamieco coating made from PET
bottles. Wheels are made of recyclable PP polypropylene.

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Prata da Casa
O Brasil tem sua flora cantada em verso e prosa desde a
carta de Pero Vaz de Caminha. O passo que ainda cabe dar
parar de exportar matrias-primas brutas, como fizemos
primordialmente at hoje, e passar a transform-las em
produtos aos quais se agregue inteligncia, trabalho e,
portanto, valor.
Nas ltimas duas ou trs dcadas, as potencialidades de nossas
matrias-primas naturais comearam a ser descobertas
numa proporo jamais vista anteriormente, ao mesmo tempo
em que cresceram os mtodos e tcnicas de explorao no
predatria desses recursos. Do couro vegetal s sementes,
Local treasures
The Brazilian flora has been sung in verse and music since
Pero Vaz de Caminhas groundbreaking letters. He came as
a documenting clerk with Portuguese caravels in 1500 and
wrote what is considered our nations birth certificate. The
road ahead is now to go from the export of unprocessed
raw materials, which is still the main activity, to transforming
them into products aggregating intelligence, work and
therefore value.
In the last two or three decades, the potential of natural raw
materials has been rediscovered as never before. At the same

das peles de peixes s placas de fibra de banana, dos cips s
palhas, das madeiras aos bambus, este ncleo pontua alguns
exemplos espalhados pelo Pas de uso respeitoso das ddivas
de nossa biodiversidade.
time, non-predatory exploration methods and techniques
were developed. From leather to seeds, fish skin to banana
fiber plates, from vines to straw, from wood to bamboo, this
core indicates some examples in the country of respectful use
of the gifts of its biodiversity.

Banco Peque (Peque stool)

Design: Marko Brajovic, So Paulo, SP
Produo | Production: Tiva, So Paulo, SP

O banco usa apenas bambu e resina de mamona. So quatro lminas, cada uma colocada num
sentido, aproveitando ao mximo as caractersticas mecnicas e tcnicas do material para resultar num
objeto que tira partido das curvas. Disponvel em trs cores natural, preto e branco , permite que o
usurio sente-se de vrias maneiras. Tcnicas produtivas: laminao de bambu e moldagem a frio.
The stool only uses bamboo and castor bean resin. It is composed of four plates, each placed in
a certain direction, maximizing the mechanical and technological characteristics of the material
and resulting in an object that takes advantage of the curves. Available in three colors natural,
black and white and designed so that the user can sit in different ways. Production techniques:
bamboo lamination and cold molding.

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 Prato de Marchetaria Ecoshop
(Ecoshop Marquetry Plate)
Design e produo | Design and production:
PuroAmazonas, Manaus, AM

A marchetaria feita com madeiras amaznicas, como o cedro, marup,

louro preto, louro faia, pau-rainha, cumaru, marup, angelim e massaranduba.
Toda madeira utilizada oriunda de um processo produtivo manejado de forma
ecologicamente adequada, certificado pelo selo FSC.
The inlay is done with Amazonian woods such as cedar, marupa, louro preto,
louro faia, pau-brasil, Brazilian teak, angelim and massaranduba. All the wood
that is used comes from a production process handled in an environmentally
appropriate fashion, with FSC certification.

Tnis e-fabrics (e-fabrics shoes)

Design: Oskar Metsavaht, Rio de Janeiro, RJ
Produo | Production: Osklen / Instituto-E, Rio de Janeiro, RJ

Pele de Salmo a matria-prima deste tnis. As peles de peixe so um subproduto

da cultura do pescado, na maior parte das vezes descartada no meio ambiente,
ocasionando poluio biolgica. A produo do tnis com couro de Salmo
utiliza exclusivamente elementos naturais no processamento dos insumos. A
utilizao dos couros faz parte do projeto e-fabrics, desenvolvido pelo
Instituto em parceria com a Osklen, que consiste no mapeamento de
matrias-primas sustentveis existentes no Brasil aptas para uso pela
indstria txtil.
Salmon skin is the raw material for this shoe. Fish skins are
a byproduct of the processing of fish that are dumped
most of the time in the environment, causing biological
pollution. The production of this shoe made from
Salmon leather uses only natural elements for
processing the raw material. These leathers
are part of the project e-fabrics - led by
Instituto-E in partnership with Osklen
- which researches and offers
sustainable brazilian raw materials
suitable for the textile industry.

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Joias Orgnicas (Organic jewelry)
Design e produo | Design and production:
Flvia Amadeu, Braslia, DF

As mantas de borracha so produzidas em microusinas de processamento do ltex instaladas nas

florestas e operadas pelos prprios seringueiros e suas famlias, utilizando tcnicas e equipamentos
simples e de baixo custo. A tecnologia, batizada de Tecbor (Tecnologia para produo de
borracha e artefatos na Amaznia), foi desenvolvida pelo Laboratrio de Tecnologia Qumica da
Universidade de Braslia e permite a elaborao de lminas j coloridas. Como ela dispensa a fase
do beneficiamento, os seringueiros da Amaznia podem ter um ganho maior.
The jewelry uses a new material: rubber sheets produced in micro latex processing mills, set
up in Amazonian forests of Brazil and operated by its own rubber tappers and their families,
using simple techniques and low cost equipments. The technology, called Tecbor (Technology
for the production of rubber and artifacts in the Amazon), was developed by the Chemical
Technology Laboratory of the University of Brasilia, and enables the preparation of sheets
previously colored. As it dispenses the stage of processing, rubber tappers in the Amazon can
have a greater gain. The design takes advantage of the flexibility and lightness of the material.
Bracelets and necklaces become three-dimensional when placed in the body in one of the
many positions allowed. They have innovative forms. Pieces of the collection were selected to
participate at the Design Museums Brit Insurance Designs of the Year 2010.

Para uma vida melhor For a better life

O design pode contribuir para o convvio entre as pessoas, Design can contribute to peoples life together, health,

para a sade, segurana e alegria delas, e este o tema deste
ncleo. Se muitos ainda relacionam a ecologia primordialmente
a fatos que esto distantes de nosso cotidiano, como a
extino do mico-leo-dourado, neste ncleo abordamos a
ecologia humana. Mostramos objetos cujo design melhora a
vida das pessoas, do maior nmero delas.
safety and joy, and this is the theme of this Design can
contribute to peoples life together, health, safety and joy,
and this is the theme of this core. Many still think of ecology
in terms of facts that are distant from our daily lives, such
as the near-extinction of the golden-mane monkey, yet this
core will approach human ecology. We will present objects
designed to improve the lives of a larger number of people.

Facilidade de usar, manter, entender e transportar um
objeto envolve alguns dos tpicos que tangenciam esses
exemplos. Eles falam tambm do design universal, que prega
a concepo de produtos atentos s demandas de faixas
especficas da populao os muito novos, os muito velhos, os
baixos, os gordos, os magros, os destros, os canhotos, aqueles
que tm dificuldades temporrias ou permanentes de viso,
audio, locomoo, entre outros como forma.
Ease to use, keep, understand and transport an object
involves the topics touching these examples. They also
involve universal design, which requires the creation
of products for the needs of specific segments of the
population: the very young, the very old, the short, the
fat, the thin, the right-handed, the left-handed, those
with temporary or permanent problems of sight, hearing,
locomotion and others, as a way of improving the quality of
living of the whole population.

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 Favo Verde (Green Honeycomb)
Design: Eduardo Queiroz, Macei, AL
Produo | Production: Fibraton, Macei, AL

Placas trapezoidais formam hexgonos de 15 cm de profundidade, para que sejam

plantadas hortalias, alguns tipos de legumes, frutas ou flores em jardins verticais
ou horizontais. A soluo mais leve e tem custo mais baixo do que os tijolos
cermicos hoje usados para esse fim. O painel / colmia usa material abundante no
Nordeste e Norte do Pas, que hoje jogado fora. A casca do coco bem resistente
decomposio por ter grande quantidade de tanino, fungicida natural que protege
as plantas de ataques de fungos. O projeto rene atributos tanto na dimenso dos
materiais e processos utilizados quanto na atitude que favorece: quanto mais jardins
houver nas reas urbanas, melhor ser o microclima na rea e o acesso das populaes
a vegetais frescos. Disponvel em mdulos, pode ser usado em qualquer extenso. O
designer projetou tambm o maquinrio para a produo industrial do painel.
O processo limpo e no gera resduo.
Trapezoidal plates make up 15 cm deep hexagons where people can plant
vegetables, some types of legumes, fruit or flowers in vertical or horizontal gardens.
The solution is lighter and costs less than the ceramic bricks currently used for that
purpose. The panel/beehive uses material that is abundant in the Brazilian north and
northeast but usually thrown away. Coconut husks are resistant to decomposition
because they have a great amount of tannin, a natural fungicide that protects plants
from fungi attacks. The project brings together advantages both in terms of the size
of the materials and processes used as well as in terms of the attitude it fosters: the
more gardens there are in urban areas, the better the local microclimate and the
populations access to fresh vegetables. Available in modules, it can be used to make
up any length. The designer also devised the machinery to manufacture the panel on
an industrial scale. The process is clean and generates no residues.

AnimallTAG ID
Sistema de Identificao Animal (Green Honeycomb)
Design: Megabox (Aguilar Selhorst Junior & Vincius
Alberto Iubel), Quatro Barras, PR
Produo | Production: AnimallTAG, So Carlos, SP

Vo longe os tempos em que o gado era identificado com marcas queimadas em

seu corpo. Esse sistema de etiqueta eletrnica de identificao grampeada na orelha
de bovinos, para controle e histrico do animal, uma exigncia dos importadores
mundiais de carne. A principal inovao tecnolgica a fuso das etapas de aplicao:
o produto da Megabox j vem com gel fechado por uma membrana que perfurada
na aplicao e faz a assepsia no local. Usa matrias-primas recicladas at 30%
de polmero reciclado de injeo. Os polmeros utilizados no corpo do produto
(poliuretano termoplstico e nylon) so 100% reciclveis.
Gone are the days when cattle were identified by brands burnt onto their body. This
system of electronic identification tags stapled to cattles ears for animal control
and history is a requirement from worldwide beef importers. The main technological
innovation is the merger of the application stages: Megaboxs product comes
with a gel sealed into a membrane that is perforated during the application and
sterilizes the site. It uses recycled raw materials up to 30%
of recycled injection polymer. The polymers used in the product body (thermoplastic
polyurethane and nylon) are 100% recyclable.

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 Pertencimento
Para alm de suas funes estritas, o design de objetos,
grafismos e sistemas um campo privilegiado para cultivar,
desenvolver e veicular a identidade de um povo ou lugar.
Numa compreenso do desenvolvimento sustentvel que
ultrapassa a dimenso ambiental, o tema do territrio surge
com fora, especialmente num pas de dimenses continentais
como o Brasil, com uma notvel diversidade cultural.
Belonging
Beyond this strict function, objects, graphic and systems
design is a privileged field to cultivate, develop and convey
the identity of the people or nation. Under the sign of
sustainable development going beyond the environmental
dimension, the theme of territory arises strongly specially in
a country as large as Brazil with its grand, notable cultural
diversity.

Mostramos neste ncleo exemplos do design que exprime
no uma identidade petrificada e autoisolada numa suposta
autenticidade local, e sim daquele capaz de professar uma
identidade em movimento, que se reinventa a cada passo;
cho e ponto de partida para o estar no mundo.
In this core we present examples of design expressing
no petrified, self-insulated identity in an alleged local
authenticity, but a design capable of expressing an identity
in movement which reinvents itself with every
step, its the floor and starting point for being in the world.

Melissa Ultragirl
Design: Edson Matsuo e equipe de pesquisa e desenvolvimento da Grendene
(cerca de 120 pessoas), Farroupilha, RS
Produo | Production: Grendene, Sobral, CE

A Grendene produziu 150 milhes de calados em 2011 projetados pela equipe da Diviso
de Pesquisa e Desenvolvimento. Melissa a sua marca mais laboratorial reconhecida por
ter sido a criadora da categoria de calados de plstico no mundo da moda. Sua gesto
de design focada na co-criao com designers, estilistas e arquitetos como Vivienne
Westwood, Alexandre Herchcovitch, Jason Wu, Irmos Campana, Zaha Hadid, Gaetano
Pesce entre outros. A liderana entre os modelos clssicos a da sapatilha Melissa
Ultragirl, criada pela equipe interna em 2006, com suas formas limpas e atemporais,
considerada um bsico como uma camiseta ganhando novas verses a cada estao.
feita de PVC, um plstico reciclvel, podendo ainda receber at 30% de seu peso em
material reciclado. Nas redes sociais h inmeras comunidades de fs da marca.
Grendene produced 150 million pairs of footwear in 2011, all designed by the staff at its
Research and Development Division. Melissa is its most laboratorial brand, recognized for having
created the plastic footwear category in the fashion world. Its design management is focused on co-
creations with designers, stylists and architects like Vivienne Westwood, Alexandre Herchcovitch, Jason
Wu, Campana Brothers, Zaha Hadid, Gaetano Pesce, among others. The leading classic model is the Melissa
Ultragirl skimmer, created by our own staff in 2006, with its clean, timeless shape that is considered a basic
wardrobe item like a t-shirt, with new versions coming out every season. They are made of PVC, recyclable
plastic, and can contain up to 30% of their weight in recycled material. Innumerous Melissa fan communities exist
on Internet social networks.

25
Colees Aves do Paraso e Gabinete de Curiosidades
(Birds of Paradise and Office of Oddities collections)
Design: Mary Figueiredo Arantes, Belo Horizonte, MG
Produo | Production: Mary Design, Belo Horizonte, MG

Os retalhos das roupas feitas pelo pai alfaiate no Vale do Jequitinhonha foram o primeiro brinquedo de Mary
Arantes. Hoje, restos de tecidos so a base de seu empreendimento de mdio porte, presente em cerca de 500
pontos de venda no pas. Mary faz bijuterias com materiais banais; a partir do conceito de tornar o desprezvel
prezado. Na Coleo Gabinetes de Curiosidade, ela se inspira no origami para fazer colares com os retalhos
dobrados. Em Aves do Paraso, a referncia so os penteados dreads da cultura jamaicana. As peas em geral
so interativas, dando oportunidade de recriao pela usuria.
Fabric rags from the clothes made by her tailor father in Vale do Jequitinhonha were the first toys Mary
Arantes had. Today, fabric remnants are the basis of her medium-sized project, found in nearly 500 points
of sale in the country. Mary makes jewelry from ordinary materials; based on the concept of turning the
worthless into something prized. In the Office of Oddities collection, she draws inspiration from origami
to make necklaces from the folded rags. In Birds of Paradise, the reference is the dreadlocks from the
Jamaican culture. In general, the pieces are interactive and give people wearing them the opportunity to
recreate them.
BRASIL design, inovao e sustentabilidade
UM OLHAR SOBRE A BIENAL BRASILEIRA DE DESIGN 2010

BRAZIL design, innovation and sustainability

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Relao das peas

List of pieces

Bolsa Farta (Spacious Handbag) Prato de Marchetaria Ecoshop

Design e produo | Design and production: (Ecoshop Marquetry Plate)
Nara Guichon, Florianpolis, SC Design e produo | Design and production:
PuroAmazonas, Manaus, AM
Coleo PET (PET Collection)
Design: Mana Bernardes, Rio de Janeiro, RJ Tnis e-fabrics (e-fabrics shoes)
Produo | Production: Mana, Rio de Janeiro, RJ Design: Oskar Metsavaht, Rio de Janeiro, RJ
Produo | Production: Osklen / Instituto-E,Rio de Janeiro, RJ
Batucada
Design e produo | Design and production: Joias Orgnicas (Organic jewelry)
Brunno Jahara, So Paulo, SP Design e produo | Design and production:
Flvia Amadeu, Braslia, DF
Colares de Papelo e Ouro
(Cardboard and Gold Necklaces) Favo Verde (Green Honeycomb)
Design e produo | Design and production: Design: Eduardo Queiroz, Macei, AL
Bettina Terepins, So Paulo, SP Produo | Production: Fibraton, Macei, AL

Luminria Bauhaus 90 (Bauhaus Lamp) AnimallTAG ID Sistema de Identificao Animal

Design: Fernando Prado, So Paulo, SP
Produo | Production: Lumini, So Paulo, SP
Calados infantis Ciao Miao
(Ciao Miao childrens shoes)
Design: Priscila Callegari, So Paulo, SP
Produo | Production: Ciao Mao, So Paulo, SP
Recortes Cut-outs) REN 8X e CIR 5X
Design: Renata Meirelles, So Paulo, SP
Produo | Production: Performa, So Paulo, SPJ
Stepi
Design: Bertussi (Enio Coronas, Fernando Guimares, Tobias Bertussi,
Paulo Bertussi e Christian Machado), Porto Alegre, RS
Produo | Production: Pense Brinquedos, Porto Alegre, RS
(Green Honeycomb)
Design: Megabox (Aguilar Selhorst Junior & Vincius Alberto Iubel),
Quatro Barras, PR
Produo | Production: AnimallTAG, So Carlos, SP
Melissa Ultragirl
Design: Edson Matsuo e equipe de pesquisa e desenvolvimento
da Grendene (cerca de 120 pessoas), Farroupilha, RS
Produo | Production: Grendene, Sobral, CE
Colees Aves do Paraso e Gabinete
de Curiosidades
(Birds of Paradise and Office of Oddities collections)
Design: Mary Figueiredo Arantes, Belo Horizonte, MG
Produo | Production: Mary Design, Belo Horizonte, MG

Banco Peque (Peque stool)

Design: Marko Brajovic, So Paulo, SP
Produo | Production: Tiva, So Paulo, SP

27
BRASIL design, inovao e sustentabilidade
UM OLHAR SOBRE A BIENAL BRASILEIRA DE DESIGN 2010

BRAZIL design, innovation and sustainability

A LOOK AT THE BRAZILIAN DESIGN BIENNIAL 2010

Ficha Tcnica | Credits

Realizao e Coordenao CATLOGO AGRADECIMENTOS
Held and Coordinated by CATALOGUE ACKNOWLEDGEMENTS
Centro de Design Paran Aguilar Selhorst
Coordenao editorial Armando Gutfreund
Curadoria-geral e textos
Editorial Coordination Bettina Terepins
da Bienal Brasileira Brunno Jahara
Centro de Design Paran
de Design 2010 Daniel Hayashi
Chief curator and texts Edmundo Sansone Neto
Textos da Bienal Brasileira
for the Brazilian Design Eduardo Queirs
de Design 2010 Curitiba
Biennial 2010 Evilsio Miranda Costa
Texts for the Brazilian
Adlia Borges Fernando Prado
Design Biennial 2010
Pesquisadores Curitiba Flavia Amadeu
Researchers Frederico Bernardo
Adlia Borges
Ins Lima Daou
Alessandra Simes
Jos Roberto Moreira do Valle
Elisa Barbosa Projeto grfico
Luciene da Silva
Fernanda Martins Graphic Design Mana Bernardes
Jair Mello Jarek Straub Design Marco Aurlio Lobo Junior
Juliana Angeli Marko Brajovic
Marta Melo Fotografia Maru Figueiredo Arantes
Monica Moura Photography Maria Helena Estrada
Tlio Mariante Clix - Daniel Sorrentino Nara Guichon
Walter Pinto Sebastio Neia Paz
Reviso Nina Almeida Braga
Curadoria Brazil SA
Proofreading Patricia Vance
Brazil SA Curator
Silmara Krainer Vitta Priscila Callegari
Maria Helena Estrada
Rafael Cervone Netto
Projeto Museogrfico Traduo Regina Pires
Museum Project Translation Renata Meirelles
Marko Brajovic Traduzca.com Rubia Martins da Silva
Produo
Production
Brazil S.A Perodo Expositivo
Jose Roberto Moreira do Valle 17 a 22 de abril de 2012
Ricardo Caminada Palazzo Giureconsulti | Via Mercanti, 02 Duomo
Edmundo Sansone Neto Milo Itlia
Regina Pires
Neia Paz
Mariana Delleva Exhibition Period
Studio Zucca April 17-22, 2012
Palazzo Giureconsulti | Via Mercanti, 02 Duomo
Milan, Italy

28
Dados Internacionais de Catalogao na Publicao (CIP)
(Cmara Brasileira do Livro, SP, Brasil)

Bienal Brasileira de Design (1. : 2010 :

Curitiba, PR)

Bienal Brasileira de Design 2010 Curitiba /

curadoria geral Adlia
o Borges ; [traduo para
ingls Traduzca.com]. -- Curitiba, PR : Centro
de Design Paran, 2011.

Vrios curadores.
Edio bilngue: portugus/ingls.
ISBN: 978-85-89197-04-5
1. Bienal Brasileira de Design (1: 2010 :
Curitiba, PR) - Exposies
- - Catlogos 2. Design
Brasil I. Borges, Adlia. II. Ttulo.

11-02617 CDD-745.4060816111

ndices para catlogo sistemtico:

1. Design brasileiro : Bienal : Exposies :

Catlogos 745.4060816111
BRASIL
design, inovao e sustentabilidade
BRAZIL design, innovation and sustainability

UM OLHAR SOBRE A BIENAL BRASILEIRA DE DESIGN 2010

A LOOK AT THE BRAZILIAN DESIGN BIENNAL 2010