POLITECNICO DI TORINO Repository ISTITUZIONALE APPROACH OF THE SYSTEMIC DESIGN IN MATERIAL AND INTANGIBLE CULTURE OF ESTRADA REAL: Original APPROACH OF THE SYSTEMIC DESIGN IN MATERIAL AND INTANGIBLE CULTURE OF ESTRADA REAL: TERRITORIAL SERRO CASE / CARVALHAES PEGO, KATIA ANDREA. - (2016). Availability: This version is available at: 11583/2644209 since: 2016-07-08T20:41:56Z Publisher: Politecnico di Torino Published DOI:10.6092/polito/porto/2644209 Terms of use: openAccess This article is made available under terms and conditions as specified in the corresponding bibliographic description in the repository Publisher copyright (Article begins on next page) 04 August 2020 EUROPEAN PhD in PRODUCTION SYSTEMS & INDUSTRIAL DESIGN XXVIII cycle - years 2013-2015 supervisor: prof. arch. Luigi BISTAGNINO APPROACH OF THE SYSTEMIC DESIGN IN MATERIAL AND INTANGIBLE CULTURE OF ESTRADA REAL: Territorial Serro Case candidate: Kátia Andréa CARVALHAES PÊGO PhD IN MANAGEMENT, PRODUCTION AND DESIGN POLITECNICO DI TORINO UEMG - FAPEMIG Kátia Andréa CARVALHAES PÊGO APPROACH OF THE SYSTEMIC DESIGN IN MATERIAL AND INTANGIBLE CULTURE OF ESTRADA REAL: TERRITORIAL SERRO CASE Advisor: professor architect Luigi BISTAGNINO Keywords: Systemic Design; Material and Immaterial Culture; Crafts. TORINO | March | 2016 To the future. acknowledgements I thank my advisor professor Luigi Bistagnino for the wealthy experience and learning during the three years of coexistence, for his patience and efficiency in teaching, for his firmness, for all “yes” and, especially, for each “no” I heard. I thank my father for the seriousness and persistence inherited, because without these qualities I could not get to that point, and re- member that, although deceased, is still running through my veins. I thank my mother, for love, dedication and support throughout all my life, cherishing me in my every discouragement, and remem- bering me that often things are simpler than they seem. I thank my daughter Ruana and my son Pauleco for making me strong and mature, mandatory requirements to support this way. I thank my friend and partner André who was always by my side, overvaluing each step I took, sharing the victorious moments and especially the hardest moments. I thank the partner Almir for the great assistance, dedication, affection and patience during this challenging journey. I thank the artisans of Serro, who received me with great care and attention in their homes and in the places where they develop their activities. I thank the friends of UEMG for companionship, even at dis- tance have always been available, especially the dear Paulo Miranda de Oliveira, who “softened” my crooked ways, and (forever) teacher Dijon Morais for the confidence and opportunity. I thank FAPEMIG for granting the scholarship, which enabled the realization of this doctorate. And finally, I thank God and his intermediaries for giving me strength and health. abstract This study aimed to apply the Systemic Design methodology in the context of the Estrada Real (Royal Road), specifically in Serro Terri- tory, in order to generate a new economic and development model in this location, by creating relationships between their production systems. The first step of the methodology involved the understand- ing the territory in all its amplitude, i.e., the history of the place, its physical and climatic aspects, its natural resources, its activities (so- cial, cultural and productive), the way and the pace of life commu- nity, as well as its infrastructure. The second phase encompassed the systematization and analysis of existing artisanal production systems in Serro Territory. For such a field survey was conducted in which the artisans were interviewed and the production sites were visited. On this occasion, we investigated all output and input of their activ- ities. In the third step of the methodology were designed the matter and energy flows of the nine production systems in question, from the analysis of the “negative points” that emerged in the previous step, as well as the characteristics and potential of the material and immaterial local resources. This process allowed the emergence of several new activities and new products. In the fourth and last step, the current system (existing) and the systemic system (proposed) were compared. Such confrontation demonstrated that, with the ap- proach of Systemic Design the same territory would come to get, on average, an increase of 530% of products and 820% of activity, resulting therefore in a huge business volume. As envisioned results are highlighted: i) in the economic field: expansion of activities; in- crease in jobs; increase income generation in the community; ii) in the environmental sphere: sustainable management of natural re- sources; iii) in the cultural field: appreciation of culture; enhance- ment of local know-how; iv) in the social sector: improving quality of life; keeps its inhabitants in their territory. Keywords: Systemic Design; Material and Immaterial Culture; Crafts. list of illustrations FIGURE 1 – Essential actions to promote products and territories .................. 31 FIGURE 2 – Traditional industry approach ......................................................... 41 FIGURE 3 – Manufacturing a jeans around the world ....................................... 42 FIGURE 4 – Systemic design approach ................................................................. 43 FIGURE 5 – Serro .................................................................................................... 51 FIGURE 6 – Espinhaço Mountain Range .............................................................. 53 FIGURE 7 – Drainage Network Serro ................................................................... 54 FIGURE 8 – “Water for all” Program .................................................................... 56 FIGURE 9 – Power plant of Salto Grande ...........................................................57 FIGURE 10 – Relief of holistic Serro region ........................................................... 65 FIGURE 11 – Serro Territory .................................................................................... 68 FIGURE 12 – Serro Territory Characteristics ........................................................ 69 FIGURE 13 – Leather products for Saddlery .......................................................... 70 FIGURE 14 – Material Culture of Serro Territory ................................................. 71 FIGURE 15 – Flor do Cerrado (Cerrado´S flower) Group of Womem ................ 72 FIGURE 16 – Flor do Cerrado (Cerrado´S flower) products ................................ 72 FIGURE 17 – Trading ................................................................................................ 75 FIGURE18 – Amesca – Tree .................................................................................... 76 FIGURE 19 – Macaúba – Tree .................................................................................. 80 FIGURE 20 – Macaúba – Fruit ................................................................................. 81 FIGURE 21 – Mutamba – Tree ................................................................................. 87 FIGURE 22 – Pacari – Tree ....................................................................................... 91 FIGURE 23 – Family of evergreen handcrafts ........................................................ 95 FIGURE 24 – Arrangement / Lamp / Garland / Angel ......................................... 95 FIGURE 25 – Evergreens ........................................................................................... 97 FIGURE 26 – Collection of evergreens ................................................................... 98 FIGURE 27 – Pau Santo – Tree ................................................................................ 99 FIGURE 28 – Pau Santo – Bark ................................................................................ 99 FIGURE 29 – Incense and incense burner of Pau Santo ....................................100 FIGURE 30 – Ornamental flowerpot .....................................................................101 FIGURE 31 – Bark of Pau Santo ..........................................................................102 FIGURE 32 – “RING” ornamental flowerpot .......................................................102 FIGURE 33 – Piteira – Tree.....................................................................................102 FIGURE 34 – “Disc” ornamental flowerpots ........................................................105 FIGURE 35 – Sisal ....................................................................................................106 FIGURE 36 – Sisal fiber ...........................................................................................106 FIGURE 37 – Bouquets of evergreens ...................................................................108 FIGURE 38 – Capim Dourado (Golden Grass) and Barba-de-Bode (Beard-of-Goat Grass) .........................................109 FIGURE 39 – Manufactering of the products ......................................................110 FIGURE 40 – Handcraft with golden grass ...........................................................111 FIGURE 41 – Handcraft with Beard-of-Goat Grass ............................................114 FIGURE 42 – a) Home drying / b) Social center / c) Materials .........................114 FIGURE 43 – Capim Barba-de-Bode (“Beard-of-Goat” Grass) .........................115