For more information about the author: www.thamya.com

1. Thamya Rocha
Global
Design
An intercultural analysis of street life
in Bremen and Rio de Janeiro

2. Global Design
An intercultural analysis of street life in Rio de Janeiro and Bremen
Thamya Rocha
2011
Advisors:
Prof. Peter von Maydell
(HfK Bremen)
Prof. Dr. Annette Geiger
(HfK Bremen)
The content of this book was made within the framework
of the research project: Global Design: an intercultural
analysis of street life in Rio de Janeiro and Bremen,
as the Master Thesis (Master of Arts) developed in case
of completion of the Digital Media Master Program,
an international program of study offered by four
institutions: School of Arts of Bremen, University of
Bremen, University of Applied Sciences Bremen and
University of Applied Sciences Bremerhaven.

3. To Mauro, Vanira, Thalita and Thaysa

4. Global
Design
An intercultural analysis of street life
in Bremen and Rio de Janeiro

6. Contents Introduction 04 2.2.2 Bremen 157
Documentation 157
Analysis 168
1 Methodology 08 2.2.3 Implementation 174
1.1 Research 10
2.3 Mobility 186
1.2 Interview — Martí Guixé 18
1.3 Thesis 24 2.3.1 Rio de Janeiro 189
Documentation 189
Analysis 200
2 Field Research 30
2.3.2 Bremen 207
Documentation 207
2.1 Food 32 Analysis 224
2.1.1 Rio de Janeiro 35 2.3.3 Implementation 230
Documentation 35
Analysis 60
Conclusion 246
2.1.2 Bremen 67
Documentation 67 Outlook 250
Analysis 94 Final considerations 252
2.1.3 Implementation 98
End notes 254
2.2 Vending 116
List of references 256
2.2.1 Rio de Janeiro 119
Documentation 119
List of figures 258
Analysis 136

7. Introduction
Streets are an extremely rich environment. People circulate on the
public ways, they move from one place to the other, go shopping, eat
and even spend their leisure time. But is it the same everywhere?
Do different cultures have their own needs and habits in the streets?
What could design professionals learn from this?
This book is a guide that exemplifies how it would be possible
to analyze global contexts through design methods of research.
Heterogeneous techniques of field exploration, like interviews or
simple chit-chatting, photographing, research on newspapers and local
literature, collection of materials and notes, all together are techniques
used to help on getting meaningful information from different social
environments. Those methods, combined with a sensitive and empathic
approach, endorse the effort to get the understanding about people’s
reality and necessities on the streets in a global sense of research.
Analyzing extreme cultures is a way for revealing and exploiting
contradictions that can raise valuable information to design, as Gui
Bonsiepe explains in the article Are virtues an antiquated concept?
‘Respect to otherness’ is one of the virtues that the designer would
like to see inherent to design production on this century, leaving
to the past the exploratory and harmful globalization on which
developing countries are seen as ‘exotic’ references for new trends
and exploitation [1]. The comparison between different habits, lifestyle
and objects present on distinct environments can provide a better
comprehension about human necessities on the global context. As
McDonough and Braungart clarify, getting to know other realities can
certainly enrich and broaden the understanding about people’s needs
and our own, the shock of cultural diversities extend viewpoints and
can stimulate innovatory changes [2]. On their book Cradle to Cradle —
remaking the way we make things, an extensive study on eco-effective
ways of changing design production system into a status of respectful
coexistence between people and the natural world, they defend
that maintaining the diversity of the world we live in, during the
designing stage of production, is also a way of prolonging the lifetime
of the products.
4 5

8. It is common practice in applied arts, to plan research for new the other location, in other cultural environment. Together with the
projects based on travels to other countries. From that experiences observation and documentation, the Implementation was the moment
it is possible to collect new references on materials from different for experimenting concepts and ideas in the field, already with the
cultures and to have learning experiences from new creative processes. purpose of gathering some feedback and analyzing the reaction of
Unfortunately, in some cases, those international investments mean people about the situations they were exposed.
merely exploitation towards new environments, where people have as
purpose just discovering new pointless deviates in design or fashion. When considering design, there is a lot to observe and learn with the
Luckily, there are people that act differently, like the project Spagat! comparison between daily life aspects of distinct cultures, especially
Design Instanbul Tasarimi. This initiative combined pictures, local when talking about such a rich environment as the street. But how to
literature, and testimonials to explore the rich collection of design turn those potential ideas into actions that will make some difference?
production from Instanbul, Turkey — an important cultural center How to build this bridge between the lives of people and the ones that
between Europe and Asia —, revealing the multi-faceted lifestyle project the world of objects and services that they interact with? This
and design scene from the city. Max Borka and Marta Herford lived book is an attempt on exploring ways to build a connection between
in Istanbul for a period of a hundred days and the objects collected them. It aims to promote variate insights and generative possibilities
together with the knowledge learned during this time served as for design outcomes that would be possible through the research
material for an exhibition and a book about the experience [3]. methods that are presented. With documentation and the realization
of experiments on field, this guide explores design research and
Global Design: an intercultural analysis of street life in Rio de Janeiro and projecting methods for enriching and innovating the effort of the ones
Bremen explores aspects that are characteristic of each culture, Brazilian working with global contexts.
and German, in order to create a consistent basis for research on
services, behavior changes, cultural aspects and on global markets when
related to street scenarios. The research brings up the daily lives scenes
of both cities, exposed through pictures and statements of ordinary
people. Design and marketing professionals can follow into design
experiences of projecting, testing and prototyping, profiting of broader
possibilities for discussion and new insights for new procedures.
For focusing the research, three main aspects were selected as
guidance: Food, Vending and Mobility. Among other important
characteristics of the public ways, those aspects were chosen for
carrying social and cultural aspects that characterize in an efficient
manner the German and the Brazilian contexts. Each topic passed
through the following steps of research: Documentation, Analysis
“The Flâneur is almost always ingenuous. He and Implementation. The Documentation was the ‘flâneur’ moment,
stops to watch the street fights, he is the eternal
outsider at every ball, he wants to know the cake
sometimes a detective work or even stalker. This was the moment
sellers’ story; he is simply in wonder of it all. for observing, discovering, taking pictures and gathering information
And knowing every street, every alley, every
cul-de-sac, knowing a part of their story as one
concerning the lifestyle on the streets of the two cities. On the
knows the story of one’s friends (or the part they Analysis, the material collected for each city is evaluated and, along
tell), he ends up with the vague idea that the
whole spectacle of the city was specially made
with synthesis schemes and diagrams, it provides new perspectives
for his personal delectation.” [4] and insights. On the Implementation, aspects present in one city
are chosen, and transformed in experiments to be tested in field in
6 7

9. 1. Methodology

10. 1.1 Research times out of the office, also called sabbaticals, are to experience new
environments and gathering inspiration on new projects. Stephan
Sagmeister is one of the designers known for the sabbaticals he takes
Global Design: an intercultural analysis of street life in Rio de Janeiro from his office in New York. Every seven years, he stops all the production
and Bremen organizes resources that can be used to realize a work of and for one yearlong period he connects himself to other working reality,
research and sketching on design research field, for exploring global one searching for self-realization and constant inspiration. This way,
contexts. Rio de Janeiro, in Brazil, and Bremen, in Germany, are the the graphic designer integrates himself to the local life of the place he
environments chosen for this study on the way people live, the habits chooses to go, getting to work with artisans and other professionals of
they have, how they do things and how they relate themselves with the the chosen places. From those travels Sagmeister develops experimental
objects around them. and personal projects, and collect material and experiences that will
serve as inspiration for future projects. [6]
The two cities, from two different cultures, will be presented by their
everyday life scenes on public ways that were documented during
equal research periods spent in both. During this time the most
important experience was to get in contact with both realities and
document through photography, recordings, and the collection of
“The first sabbatical year worked
materials, everything that seemed interesting or peculiar during that
time. The work demanded constant curiosity about the street life
scenes and empathy with people interviewed, making it possible to
really well for me. What came out of it?
always have diverse and sharp input.
Getting to know other cultures by documentation of travels is a refresher
that turned into routine for some design offices. The purposes of those
– I really got close to design again.
– I had fun.
[Fig. 1.] [Fig. 2.]
– Basically everything we have done
in the seven years following the first
sabbatical, came out of thinking
“Talkative Chair – The text of this chair simply
refers to a diary entry written while sitting on
in that one single year.” [6]
our balcony in Bali where the chair itself would
ultimately be placed.” [5]
10 11

11. Some people have different focus and prefer to utilize their
international travels for researching on different contexts and
developing further work of dissemination of the research and of
“Make a design in the image of your
the visual material collected. Willing to do a detailed overview
on the design scene and lifestyle in Istanbul, the project Spagat!
Design Istanbul Tasarimi gathered a rich variety of materials for
beloved Istanbul, a layered city in which
its documentation: pictures of street scenes and of the urban life
environment, objects of the everyday life of people, habits and scenes
that are part of local life; everything is there. Showing socio-economic
so many parallel worlds, present, past
aspects, and cultural examples together with an analysis of the past
and the contemporary design scene, the project allows everyone to
have a better understanding on design and life in Istambul [3]. The
or futuristic, constantly interweave.
research Global Design: an intercultural analysis of street life in Rio de
Janeiro and Bremen will, as Spagat!, explore the social, cultural and
economic aspects of Rio de Janeiro and Bremen, and will show with its
Make your design be the bridge between
research that the understanding of the context is mandatory for the
work of the designers and other professionals interested on design,
marketing and services markets.
opposites that have always been held to
On the same direction, but here more market-oriented, there are
designers that are careful with the cultural aspects that are reflected
be irreconcilable, such as the abstract and
through design on a global scale. Droog, a design office in Holland,
shows concern in the relation between design and the social,
economical and cultural aspects of different contexts [8]. Between
the sensual, nature and mathematics or
On the images below, some spreads of the book
Spagat! Design Istanbul Tasarimi. On the book
it’s possible to see an extensive researh about
2009 and 2011, the office created an internal group called Droog Lab,
a special force for dealing with contemporary global issues like global
demographic and economic shifts, latest scientific developments,
the archaic and futuristic.” [7]
the city’s lifestyle, culture and design.
[Fig. 3.] [Fig. 4.] [Fig. 5.] [Fig. 6.]
12 13

12. changing societal attitudes and emerging lifestyles. The Lab, inspired
by those aspects that happen globally, works on ways to confront
them with local and specific solutions. They believe that the more they
“The global condition demands
focus for getting solutions, the more qualities the project will have
for helping on other cases of the same issue. The specialists of Droog
consider those global issues as emerging possibilities of new realities
culturally, politically, socially and
to come, and that can improve design on a global level [9].
The concerns of Droog Lab on studying international contexts make
environmentally conscious design –
them travel to specific localities for going deep on research. Also, an
important aspect of Global Design: an intercultural analysis of street
life in Rio de Janeiro and Bremen is that, in order to get accurate input
in other words, what the Lab considers
for the collection of particularities of the cities of Rio de Janeiro and
Bremen, the documentation and observation were all done in the
places of interest. Observing freely the life of people, paying attention
relevant design. Included within this,
to the small details as well as to the big picture, understanding how
they do things and why they do them, showed itself as a great help on
understanding the reality about others’ lives and their contexts.
is the human dimension, with all
One professional that defends that designers should work with
markets that they are familiar with is Jurgen Bey. Having worked
its subjectivity, notions of beauty
with Droog and currently in Studio Makkink & Bey, the designer
develops projects on architecture, interior and product design and
has already projected for some parts of the world. He believes that
and meaning, and desire for high
joining professionals from various disciplines for working together can
broaden the perspectives and the comprehension of the framework
related to the projects. Experts from different areas and backgrounds
quality experiences.
together in a work of exchange during the design process, generate
mixed and organic methods on bringing solutions for our equally
hybrid and mutating world [10][11]. This way, taking as inspiration
Through its content and Methodology,
the experiences showed on Bey’s projects, this research gets close
to real world and takes in consideration heterogeneous input of
information, from diverse natures, in order to have the most complete
the Droog Lab will aim to produce
understanding as possible.
Like Spagat!, Sagmeister, Droog and Jurgen Bey, the concerns for
globally relevant design.”
[9]
cultural, social and economic aspects are the basis for the stages of this
research. The particularities found on Rio de Janeiro and in Bremen are
taken in consideration and respected, each characteristic is considered
possible start-ups for new possibilities on research. Though the projects
cited before were the main reference for Global Design: an intercultural
14 15

13. analysis of street life in Rio de Janeiro and Bremen, some differences The two pictures on the left exemplify a
design project made for global contexts.
will appear when considering the methods of research adopted. “Pool interprets the Basin as a new typology;
When compared to Droog Lab, for example, that uses as start up for Pool is squared, metallic, refuses the idea of a
conventional basin which is pre-visualized in the
its projects the issues that affect, at the same time, distinct places of standard baths, and in that way behind its own
the world, on this work the first step was selecting the contexts for limits can be easily placed in exteriors, offices,
ateliers, bars and in public and private and in
realizing the research. After choosing for the Brazilian and German mostly any context, and also due to its inherent
cities, the focus was on putting in practice methods of research qualities and its white color, in contemporary
bath ambiances.” [13]
that would help on gathering and organizing the documentation
and providing resources for analysis and the generation of insights
for future projects. Like the project Spagat! the documentation and
analysis are the moments for providing the ones that are reading this
work with the necessary tools for getting their own impressions and
making, together with the schemes and stories on the book, their own
analysis on this cross-cultural research.
In addition to documenting and analyzing aspects of the German
and Brazilian culture, this project organized design experiences with
actions of culture exchange. The challenge, in this case, is to promote [Fig. 7.] [Fig. 8.]
learning experiences about other realities while keeping the respect protocols that give people instructions of actions, for them to develop
for the original particularities of both contexts. Martí Guixé is part their products on the way it best fits the environment they belong. Even
of a group of professionals that regards for cultural aspects while when making objects, he puts the function in first place and aspects like
producing for distinct markets. Guixé prefers to work with systems and shape and colors go to its minimalistic representation, since they can be
cultural barriers for broaden coverage on the global market [12].
“Experiment, doubt and a hodgepodge Differently from the other professionals, Martí Guixé keeps distance
from the physical aspects of the projects and tends to go deeper on
research of systems and instructions, leaving for the ones that are
way of thinking are crucial to disclose using them to make any cultural or aesthetic adaptation. The methods
adopted by Guixé represent one possibility on design production
that helps on keeping the respect for cultural and social differences that
hidden values and stories. happen on distinct contexts and markets. Instead of making a product
that would be specific for one environment, he leaves some aspects
open, so it can be used by a broader audience.
This new potential unlocks all the When comparing designers that work with global contexts on their
projects, it is possible to notice that they have particular methods. One
possible qualities to constitute new important aspect defended on this research is that regardless of the
focus or methods, if a designer works developing new physical objects
and systems or more iconographic and design research, the respect for
cultural bearers.”
16
[11]
different realities and cultural identities must remain.
17

14. 1.2 Interview with is the capability of products, physical or not, to absorb errors and still,
be able to be adapted [15]. Considering that they are made for human
Martí Guixé beings and for being used in a world that the unexpected can always
happen, do you plan a certain level of flexibility for your products?
Martí Guixé.: Of course, on all the projects I have done, every time the
result is completely different. People do different things, completely
One of the main interests of Global Design: an intercultural analysis unexpected things and if you work more on systems or platforms
of street life in Rio de Janeiro and Bremen was generating experiences you can’t know what will happen. So it is something that you already
for promoting cross-cultural learning between Germans of the city of incorporate in the final result, considering that my product is a system
Bremen and Brazilians from Rio de Janeiro. The idea was organizing for it will produce different results.
the ‘Cariocas’, people from Rio, the opportunity to experience aspects
of the daily life of ‘Bremers’ and at the same time, to observe how the I also use tools and with those tools you don’t know what people
‘Bremers’ would feel like about living a little bit of the lifestyle of the will do, they can destroy something, they can do something, but my
ones from Brazil. For sketching those ideas and putting it in practice, product is not the thing that they do, but the tool. It can be a platform, [Fig. 9.]
“Adhesive tape with golden frame pattern,
some methods were utilized. During the whole process there was a system, or a protocol. enabling you to rapidly set up a personal
special attention to the learning output — the experiments were museum” [16], the ‘Do Frame’ is a project of
Martí Guixé for Droog.
supposed to be valuable not just for this research, but also for the life T.: So would you say that it would be 100% ‘error-friendly’?
of people involved on it.
M.G.: No, because error has probably this idea of good and bad. And
For a broader input on multicultural creative process before the error, why would it be an error? It is not really an error. If you have a
implementation of experiments, an interview was conducted with wall for which you allow people to write things, you can’t say: “Oh! It’s
Marti Guixé. The encounter was an opportunity to ask Guixé — an an error!” If someone was writing unfavorable things about a brand,
important reference in design for global issues — about his methods why is this an error?
of research and processes of working, on how to work with projects
that circulate around the world and still, keep the respect to the QUESTION 2
particularities to different cultures.
T.: On your projects you express concern on changing the way people
First Part think about their habits, and on the relation they have with the objects
of everyday life. Raising questions and provocation by making them
The first questions of the interview with Martí Guixé are related to reflect about their perspective of life.
relevant topics to the research like flexibility on design products and
respect to cultural particularities on projects. During the research for this work, locals where observed while moving
“Referring to the design of socio-technical
around on streets, they were commuting, vending, having fun or eating.
systems, the concept of error-friendliness tells us QUESTION 1 For people that are commuting or vending timing must be fast and if
two fundamental things. The first one is that it is
necessary to accept the idea that each material
any unforeseen thing happens they have to quickly find a solution for
and human fact implies the manifestation of Thamya: While developing your projects, do you consider the possibility it. It there is a car accident and the traffic jam starts, they start walking
errors, and that it is necessary to act according
to this. (…)
of errors on the final product? Specially when it is on market and in use? or order quickly a motorcycle taxi for continuing their way. If there is risk
The second is that it is necessary to see in the of flood they have to go to work or leave it before the rain starts to get
errors a constitutive mark of the quality system,
meaning its flexibility and its capacity to be
There is an Italian designer, Ezio Manzinni, that argues that an strong. Street vendors have also to be connected to costumers necessities
renewed.” [15] important aspect to design projects would be ‘error-friendliness’ that and local trends. If celebrities of the soap operas start to use orange
18 19

15. earrings instead of hair ties, they have to quickly change their goods. If it
starts to rain, people at the streets won’t buy anything else but umbrellas.
With industrial production, it is rare to have the possibility of such
spontaneity during the process of designing. Considering that on your
products it’s possible to notice the concerns of being contemporary
and innovative and that them usually demand some new ways of
interaction or perception for use, how do you measure or determine the
acceptance of the market? Do you have this concern?
[Fig. 12.] [Fig. 13.] [Fig. 14.]
‘Rikimbili’ is a bicycle adapted with gasoline
M.G.: No it is difficult to follow. For example, in shops you can follow it QUESTION 3 pump water resulting on fumigation devices or
gasoline engines chainsaw. Those pictures are
because afterward people tell you about what happens. More than that, part of the research done by Ernesto Oroza in
considering products, it’s difficult to do. Well, once, when I made the T.: On this research, while documenting the daily lives of people in Cuba. [17]
‘Do Frame’ tape for Droog, somebody found a car that had the window Rio de Janeiro and Bremen it was possible to realize that, after some
broken and repaired with the tape around it, this person sent me a research, there was much more volume of material collected from Brazil
picture of it. This is an example, but it’s very difficult to know what they then from Germany. I noticed that it was, in some way, proportional
will do. For me it makes no sense to follow it. to the amount of problems that the people have to deal on their
daily lives. In Rio the government can’t afford to keep the minimum
T.: On your process of creation you try to be free from the physical aspects conditions to people like housing, education and security. This situation
On the images below, some examples of the
creativity of the street vendors of Rio de janeiro.
of products. You prefer results that are based on platforms and systems. forces people to search for alternative solutions on their own for being
Since 2009 the plastic buckets turned into a hype How do you deal with technological aspects on your creation process? able to live their lives.
need on the tables of the ‘Cariocas’, not just used
as a cleaning tool, the bucket means ‘cold beer’ in
Rio de Janeiro. M.G.: I am very interested in technology. My work is not about On your working process, do you observe society? Do you take in
Corn husks are the default napkins used for
eating the Korn prepared by the street vendors.
technology, but it is related to information technology. If I work with consideration people’s daily lives and the problems they usually have to
Novelty on the Summer of 2010 in Rio de Janeiro, open systems and platforms it is because I am fascinated about face? Does it has any relevance on your work?
the plastic swimming pools for kids were rented
and sold by vendors to refresh the ones sitting on
internet and all this platforms and systems, in a way that I try to use
the hot sand under the sun on a 45°C weather. them in my work. M.G.: I agree that if you visit societies that haven’t been very
[Fig. 10.] [Fig. 11.] industrialized, somehow they don’t have things. I spent some time in
Cuba and worked there with Ernesto Oroza. They don’t have things,
they are used to mixing. If they need a motor for something they will
re-appropriate a bicycle motor for another purpose [Figs. 12, 13 and 14].
It is somehow very ecological and also interesting.
Of course that I can imagine that in Germany it doesn’t happen like
that. I think that the role of art in problem-making is very interesting for
those countries, making people think about everything. Art would be
very important for provocation, but I can imagine that in other places
like Brazil, art is more dissipated between the thousands of things that
people are doing.
20 21

16. Second Part OUTCOME OF THE INTERVIEW
On this part of the interview Guixé commented about the material The conversation with Martí Guixé enlightened some new perspectives
documented and the analysis done for Global Design: an intercultural considering research methods on design and on the identification of
analysis of street life in Rio de Janeiro and Bremen. new possibilities for the development of design experiences. Some
valuable considerations for the Implementation stage of the work
Considering the documented material for the Vending topic, he made were highlighted during the interview. Especially when considering
an observation about the German ‘Sperrmüll’, things that people want the experiments that would be done in both cities, some new aspects
to get rid of and leave for the garbage collectors: proved valuable and were taken in consideration for improving the
results of the intercultural experience.
M.G.: In Barcelona people also leave at the streets the old furniture
that they don’t want anymore, and there are the ones that collect it. After the interview, some insights proved themselves valuable for
There were times that people were collecting things and even got being part of the content related to Vending. For testing aspects of the
collector’s pieces in the garbage. There were people from France that everyday live of Rio in Bremen, it would be interesting to bring up things
were traveling to Barcelona and they could even collect pieces from that Germans are not used to, for them to experience on the public
the seventies. spaces. One example would be the spontaneity and the impromptu
that are usual on the daily lives of Brazilians. Breaking the rhythm that
Comments done about the project itself: the German people are used to and inserting new elements to it would
certainly caught people attention.
M.G.: I think that you can discover much from that way, seeing
Germany from your Brazilian perspective and not just seeing Brazil from Guixé commented that on the everyday life of big cities, especially the
a German perspective. Seeing from outside allow you to discover many ones in the developing world, art ends up dissipating itself between
things. I think that it is important to think about attitudes more than everything that happens on people’s lives. Following this idea, for
about objects, why do they do what they do and, in what conditions making the ‘Cariocas’ disconnect for one moment from the stress of the
they do it. From this attitude, you can develop things. big city and forget about being regularly exposed to violence and other
urban issues, the intention was to bring the joy and the tranquility that
In Germany, you will never find Italian food, but the interpretation ‘Bremers’ live every day while moving around the city. This way, making
of Italian food, which is what Germans like. It has to do with the them change their habits for some moments would force them, at
interpretation, which is what matters. If you find those things, you can some point, to stop and think about their situation and how they lead
come up with a lot of possibilities. their lives.
Like art, depending on the context, design has distinct relevance on
people’s lives. The understanding of those existing differences was
an important learning aspect for this research. For the experiments
developed on each city, it became clear that the approach and the
design methods utilized for developing the experiments would have
to be adapted to each case. This way, with differentiated strategies, the
response given by those people involved on the actions turned into
valuable information about their own cultural reality and also on their
comprehension considering other contexts.
22 23

17. 1.3 Thesis
Global Design: an intercultural analysis of street life in Rio de Janeiro
and Bremen explores the lifestyle and the relation between man and
design on the streets of the Brazilian and German cities. Following
the three main aspects of research that were observed on the urban
scenario of both cities — Food, Vending and Mobility — pictures,
impressions and sketches were joined together for better visualizing
and understanding them. The research turns up itself as a guide
that can be followed by its stories and experiments, providing
contextualization to foreign eyes and new insights for future projects
on design.
The three topics were chosen because of their potential on revealing
social and cultural aspects of diferent contexts. Food, when discussed
in global circumstances, inevitably brings up a lot of preconceptions
and cliches. If people don’t travel to a city the only information that
one can get about the food of this place is from third part, what
others saw and what they thought about the food. Vending shows the
borderline world of the cities, it is one important index on the social
and economic problems that a place can have, since it is characterized
by the ones that cannot be part of the regularized labor market
but still need to find a way to earn some money. The rhythm of the
streets is given by the transport systems and the urban planning of
it. In Mobility, the public transportation and the aspects they have
to deal with when moving around will be detailed and expose other
peculiarities about Germany and Brazil.
On the book, the Documentation joins a collection of images and
texts that put in evidence the characteristics and representative
particularities from the cities. The scenes were documented on the
streets of the German and Brazilian cities and they explore social,
economic and cultural aspects of them. Together with texts and
testimonials, those images are organized in visual narratives guiding
people on their curiosity and interest to better comprehension of
those contexts.
24 25

18. The Analysis organizes material for enriching the first impression
acquired with the documentation phase promoting a better
comprehension of the aspects in question for cities of Rio de Janeiro
and Bremen. The discussions and insights that this part of the research
brings are the fuel to the next step, the Implementation. Differently
from other studies that stop on organizing and exposing the gathered
material and providing inspirational research or trends, this project
goes further. It uses design resources for testing and projecting the
ideas that were generated based on the pictures and visual stories
showed on the documentation stage. It experiments, through field
actions, the ideas and possibilities aiming the generation of insights
and discussions on global contexts. The field actions promote the
exchange of cultures and bring small pieces of the everyday lives of one
culture to the other, broadening the experience of all parts involved.
Global Design: an intercultural analysis of street life in Rio de Janeiro
and Bremen aims to question the comprehension of what it means
to live in a world that is global and what would be the role of design
on it. It doesn’t aim a global product outcome, but preferably,
experiencing design methods that would generate provocation and
discussion for this research and futures ones. This way, differently from
designers that work for the market like Martí Guixé, and keep after or not. Their goal is to make a broader audience to rethink about their
the realization of projects some distance from the people that buy ideas and preconceptions on the relation they have with the physical
their products (interview on section 1.2) this project aims the contact world around them [18].
and understanding of the ones that usually buy and use design even
if in an ubiquitous way. The main interest is on people from different This atmosphere of question and reflection is what Global Design: an
cultures and their relation with the designed world around them. intercultural analysis of street life in Rio de Janeiro and Bremen research
This way, for the Implementation part of this work, it will be planned intends to generate on the experiments. The actions proposed for
one experiment for each theme of the research — Food, Vending and the aspects researched on the three topics selected — Food, Vending
Mobility — and those experiments will consist on actions that will and Mobility — will bring the reflexion on our habits and our relation
promote possible ideas, projects and dicussions. The feedback that with the designed world around us through the comparison between
those people will give concerning the experiments contain important cultural differences that exist on the actual global world.
information about not just their impressions on other cultures, but
“Critical Design uses speculative design proposals
to challenge narrow assumptions, preconceptions
about their comprehension of their own live. The documentation will show, for example on the Food theme, what
and givens about the role products play in people from both cities eat while spending time at the streets, the
everyday life. It is more of an attitude than
anything else, a position rather than a method.
Interested to question the relation that people have with the objects type of food, and how they do it when moving around. Through the
that surround them on their everyday life, Dunne & Raby are designers sequence of images it is also possible to see how some types of food
Mainly to make us think. But also raising that try, with their products, to confront people with a new tangible are prepared, in which kind of places they are sold and how they are
awareness, exposing assumptions, provoking
action, sparking debate, even entertaining in an
reality. The duo follows the principles of what they name ‘Critical eaten. On Mobility, the research shown provides the familiarization
intellectual sort of way, like literature or film.” [18] Design’ and the pieces, designed by them, generate situations of doubt, with the transportation, the urban scenario and how people commute
provoking people to ask themselves if those objects are for being used on both cities. On the last topic, the Vending section, pictures of the
26 27

19. ones that work by themselves and try to make some money on the challenge to make the ‘Cariocas’ forget about the urban problems of
streets of Rio and Bremen will be detailed. Together with the pictures Rio, but it is worth a try.
there will be excerpts of what was said by the ones interviewed on the
streets, as well as some text from literature and from other designers Global Design: an intercultural analysis of street life in Rio de Janeiro
that are references on this work, all elements together to give a and Bremen presents a detailed research on two different cultures
broader input about the lifestyle of both cities. inserted on a global market. Through visual narratives together with
texts and testimonials, this guide will familiarize designers and other
After gathering the material for the documentation, some aspects professionals with the habits of the people that circulate around the
present on each context were highlighted. From Food, Vending, and streets of the Brazilian and German cities. Following design methods
Mobility, the habits and matters that most characterize each city of research and of projecting, the material organized presents the
on the three themes were selected for analysis. Sketches, diagrams, particularities of two different contexts and through good humor and
and pictures, together with a detailed work of synthesis, enable sharp analysis, generate more insights and project possibilities.
understanding on the issues exposed, raise questions, and give new
perspectives on the cases from Rio and the ones from Bremen.
With the analysis made, it was possible to identify some possible
directions for further development and insights that are strong
enough to be structured and projected into other reality. On Food,
taking in consideration that in the streets of Rio it is possible to find
types of food that are totally different from the ones in Germany the
idea was to cook those specialties and serve to people from Bremen
that have never tasted it before. Without explaining anything about
the flavor or how to eat it, a lunch was organized for a group of people
to taste the Brazilian specialties and discover by themselves the details
about it. What would be their impressions? How would they recept the
experiment and the new information about a differet culture?
Street vending is a characteristic that is on the DNA of the streets of
Rio. Everywhere you go, if you are walking on the streets, in the car or
inside buses there will be someone selling something. Sometimes it
can be very providential things and ‘Cariocas’ already count on those
people for some situations. What if the city of Bremen could also
experiment some improvise and enjoy the benefits of the ones offering
solutions to the most spontaneous wishes of people that are walking
on the streets? This will be the challenge for the topic of Vending.
While moving around Bremen there are almost no stress on the
streets, the transport system works quite well, the urban structure is
just great and there are no worries about violence. For Mobility the
experience was to bring a little bit of the relaxed, and sometimes,
playful lifestyle of ‘Bremers’ to the city of Rio de Janeiro. It is quite a
28 29

20. 2. Field Research

21. 2.1 Food
On daily lives of the ones that usually circulate on the streets,
there are certainly moments where they stop for eating or drinking
something. On the morning, afternoon or night, it’s common to see
people having breakfast, coffee or eating some finger-food on their
way to work, home or just moving somewhere. It’s possible to imagine
that in different places of the world it works quite the same. But,
when comparing issues related to food between cities from different
countries, what could then be specific of each place?
The food itself would be the first particularity to show specific aspects
that are especial from certain cities. What people eat is an important
characteristic of cultures and together with the rituals related to it,
it turns into a good way of better understanding different social and
cultural realities. One challenge about this cultural aspect is dealing
with the preconceptions and cliches that are inside people’s mind. Most
of the ideas of what and how other cultures eat come from third part
and even without tasting or getting accurate information it seems easy
to have opinion about them.
What would be possible to learn from those misunderstandings that
exist when considering different contexts and their food? On the
following pages, this work presents a visual documentation of the
snacks, finger food and other preferences of people on the streets of
Bremen and Rio de Janeiro. An analysis on the particularities of some
popular types of food are made and some observations ended up being
important aspects of the next step, the Implementation.
For extending the research, some types of food that are usually seen
on the streets of one city were chosen and made for people from other
context. With the cross-cultural experience it is possible to observe
which reactions and impressions the participants have as well as the
new rituals they developed for eating the “unknown” food.

22. 2.1.1 Rio de Janeiro
Documentation
The food on the streets of Rio
While walking on the streets of Rio de Janeiro, it is possible to see a wide
range of food options for ordering and eating on the run. Together with
all types of small bars, juice shops, cafes and bakeries that serve diverse
types of finger-food and fast-food to go or to eat at the balcony, there are
street vendors on the streets that sell anything from beverages to fruits.
The common type of salty food that is possible to find in every food
window of the bars on the city is called: ‘salgadinho’. It is a typical
finger food that you can eat everywhere while moving around the city.
There are different types, which basically consist of a filling surrounded
by dough. Depending on the shape and type of dough, ‘salgadinhos’
have different names. They are usually eaten with the hands and with
catchup, mustard and pepper sauce.
The ‘Cariocas’ also like to stop on bakeries for drinking coffee — usually
strong and short or with milk — with simple bread, sandwiches or
sweets. The bakeries in Rio sell the usual fresh bread with coffee, but
also warm sandwiches, meals, cakes, fresh juices and lots of sweets
made on their own kitchen.
At bars and bakeries it is also possible to find pizzas, hamburgers,
french fries and other fast-food that is more international. Some times
there are bars that sell only those kinds of foods, but somehow, they
are not majority.
Other common option is satisfying the will for eating with the goods
that the street vendors offer. On specific points of city or just moving
around the streets those people sell candies, beverages, finger-food
and even fast-food. In Rio, the offer of things to eat at the streets seem
unlimited, the customer just has to choose.
35

23. The juice bars are everywhere on Rio de Janeiro
and offer all types of juices, sandwiches and
‘salgadinhos’.

24. ‘Salgadinhos’ windows: you just need to look and
choose the one that fits your hunger the best.
Sometimes it is good to ask if they are fresh.

25. The ‘empadas’ with chicken filling must have
an olive inside.

26. Bar Caranguejo (Crab Bar)
43

27. On weekends, the bar Caranguejo sells over
a thousand ‘empadas’ – the round ‘salgadinho’
on the picture – with shrimp filling per day.
44

28. Usually, the bakeries in Rio produce their own
breads, cakes, snacks and sweets.

29. Some bakeries are open 24 hours and offer
breakfast, lunch and sometimes even dinner.
Antonio! Show your thighs to the lady!

30. 51

31. Waiter, please bring me quickly
Good coffee with milk that
isn’t warmed-over,
Bread with butter really hot,
A napkin and a glass of very cold water.
Close the door on the right very carefully
Because I am not willing
to be exposed to the sun.
Go ask the customer by our side
What was the outcome of ‘Cariocas’ have no idea how spoiled they are.
As most bakeries have ‘old school’ manual coffee
the soccer match. [19] machines, customers usually order the coffee
by color: light, dark, medium, more dark than
light and so on.
52 53

32. Sugar cane juice is very popular downtown. It is
made with a special machine that presses the
cane extracting the juice out of it.
54 55

33. Where are you going to take
those pictures? Germany?
Don’t they have this there?
‘Pastel’ being prepared in front
of the customers.
56 57

34. 58

35. Analysis
Food in Rio, the ‘salgadinhos’ typology
The most characteristic food that can be found on the streets of Rio de
Janeiro is, with no margin of doubt, the ‘salgadinhos’. Differently from
others fast-food options that have foreign origin or are well known
worldwide, the Brazilian finger food is quite exclusive.
As there are many types of ‘salgadinhos’ this analysis describes the
main concept of this food dissecting some examples of it. Most of the
‘salgadinhos’, have geometric forms — they are supposed to hold the
filling and normally have a format that make it possible to eat them
with the hands. The size is generally determined by those conditions.
The same kind of ‘salgadinho’ can be made with different types of
fillings. Some food shops are specialised in ‘empadas’ or ‘pasteis’ and
so on. What is interesting is that with one type of filling, you can make
more than one type of salgadinho, it’s only necessary to change the
dough. Each one has a different dough-making process — some are
quite simple and others take more time.
The ‘bolinho’, is a polemic ‘salgadinho’. Jokes usually come when people
eat it, such as “Oh, ‘bolinho’? What did you have for dinner yesterday?”.
Because of the way the filling inside is mixed with the dough, it looks like
it was made with yesterday’s leftovers.
The ‘salgadinhos’ are quite popular in the city and satisfy everyone and
every pocket. They are usually sold on combos with juice and it’s possible
to see people eating them for breakfast, lunch, and even dinner.
60 61

36. 62 63

37. 64 65

38. 2.1.2 Bremen
Documentation
Food you find in the streets of Bremen
In the streets of Bremen most of the shops where it is possible to stop
and grab quickly something to eat are fast-food bars and bakeries.
The last ones are quite popular in Bremen and, from morning to noon,
there are always people stopping by and ordering. The customers just
have to chose the bread or sandwiches they want to take and wait for
the coffee from the machine.
The bars that sell fast food are quite popular and sell different types
of food. Some are specialized in Turkish food and sell ‘Döners’, ‘rollos’
and ‘falafel’. There are the ones that just sell pizzas or hamburgers and
the ones that sell the German specialty, the ‘Bratwurst’. In some cases
there are the bars that try to satisfy all the customers and offer from
‘Döner’ to pizza and ‘Bratwurst’.
Among the fast-food examples, there is one that is quite particular
from Bremen, the ‘Bremer’, that is a kind of fish burger. The ‘Bratwurst’
is a long sausage, usually eaten together with a small bread that is 1/3
the size of the sausage, and the one that seems to be the most popular,
the ‘Döner’ is a sandwich of meat cut in very small pieces together
with sauce and salad inside a bread.
67

39. At Bremen’s main station it is possible to find
fast-food from all around the world.

40. The ‘Döner’ places start the day with the meat spit
full, at night it is possible to see the difference.
French-fries are very popular in Germany.
‘Kiosks’ (the bars located on the streets) usually
sell them with ketchup and mustard.

41. 72

42. There are ‘Kiosks’ selling the German ‘Bratwurst’
everywhere on Bremen.
75

43. There are a lot of different systems for adding
ketchup and mustard on the Bratwurst and
Sandwiches. This one imitates the process of
milking cows.
76

45. Take a picture! Take a picture of all this
food here, I cooked everything!
At this bar it’s possible to buy ‘Döner’ and meals
and it has a window open to the street,
so customers can order from outside.
80

46. Döner Bar
I will hold this big knife for your picture!
‘Te amo!’
83

47. One ‘Döner’ will never be like the other.
This sandwich usually vary according to the bar.
‘Döner’ Bar
85

48. Also sold on the ‘Döner’ bars: “Börek with
spinach, goat cheese or meat. Small: 1,00€
Big: 2,00€”.
86

49. Sweets on foreground and the famous German
breads on background on this typical bakery.
89

50. Fish sandwiches
90

51. “Whereas in the Ford economy, the
masses were served by many people
working to make one, uniform product,
in the Starbucks economy, the masses
are served by few people working
to make thousands of customized,
personalized products.” [21]
92

52. Analysis
Food in Bremen, you have to look
inside the bread
Comparing the types of food found while moving around the streets
of Bremen, it is possible to notice that the street food of the city
consists basically of a piece of bread cut in the middle and filling.
Even with different names — ‘Döner’, ‘Bremer’, ‘Rollo’, hot-dog,
‘Falafel’, sandwich and hamburger — they all follow the same
principle that is bread with filling.
The filling, most of the time, must be a protein: meat, fish, chicken, or
cheese. Salad can be found in some cases, from one slice of lettuce to
a sizable salad with tomatoes, lettuce, cucumber, or other vegetables.
The type of bread usually varies and can significantly change the
aspect of the food like, for example, the rollo that its super thin bread
remembers a pancake and after the filling is inside it’s rolled until it
gets a cylinder form. The most popular type of bread used is a small
salty white bread, although different types of Turkish bread, Italian
‘ciabatta’ and different types of German whole-grain breads are also
very popular.
94 95

53. 96 97

54. 2.1.3 Implementation The experiment
In Rio, people are used to eating ‘salgadinhos’ on their way to work,
home and on lunch break. This typical Brazilian food is quite different
from the food you find on the streets of Bremen. The size, the textures
From Rio de Janeiro to Bremen: and the flavors have almost no equivalent in Germany.
‘salgadinhos’ Would people from Bremen like this type of food? How would they
react when eating and tasting it?
To answer those questions, a lunch was prepared with two types of
Location ‘salgadinhos’ and it was served to a group of Germans that never
tasted them before. The ones selected to try the food sat down at a
Bremen, Germany. The event was realized at Café Lu, the student’s table with just the food itself. At a separate table, there were dishes,
cafeteria located at the University of Arts of Bremen. cutlery, napkins, sauces, salad, bread and juice. This second table had
things that people from Rio usually use while eating the ‘salgadinhos’,
participants but also things they do not use, things that Germans might like to use
or eat together with this ‘new’ food.
Number of people involved: six
Nothing was said before people got their first look at the food, nothing
Nationality: Germans about the flavor nor about how to eat it. Before starting the process,
they have already given some opinions based solely on the appearance.
Occupation: students
Age: between 21 and 29 years old
They look like something sweet, maybe
Short description
The participants were asked to give their impressions about a specific
type of Brazilian food, popular in Rio de Janeiro.
Observation
because of the paper.
Only people that were never in Brazil and didn’t know its typical food
It could be a meat pie.
joined the experiment.
98 99

55. ‘Empada’
It looks like ‘Polenta’ and it’s probably
red inside.
Looks like it’s fried but I’m not sure if it’s
salty or sweet, it looks like
it has sugar around.
It looks dry and it seems that it has cheese
and ham inside.
They look like Turkish sweets. ‘Coxinha’

57. 104 105

58. After some bites:
The filling of the ‘empada’ is chicken?
Really? I thought it was fish!
106 107

59. Question: Which way would be better to eat? How do you
think people eat it in Brazil?
They are probably sold on the streets, with
small carts that they push by hand or even
holding trays on their shoulders.
It is better to eat both with the hands.
Don’t take the ‘empada’ out of the form!
109

60. The salad irritated me, somehow it
I can’t imagine how they would eat it doesn’t belong.
walking fast on the streets, without sauce.
Q.: How much do you think it would cost?
With the bread it would be possible to eat
with the salad. The ‘coxinha’ is cheap, because it is fried.
The ‘empada’ can be more expensive
because it has butter.
‘Coxinha’: 3 for 2,00€. ‘Empada’: 1,00€,
not more than that!
Not that cheap, because of the time and
work it probably demands.
110 111

61. It was interesting to see that they started eating the two ‘salgadinhos’
in a way that Brazilians don’t usually do — in a plate with salad. After The Outcome
eating some units, they concluded that it would be better to eat it just
with their hands, adding sauces sometimes (just like people from Rio!). The people involved with the experiment were engaged and quite
confortable on tasting and testing all possible ways to eat the
Other curious thing is that the bread was also proposed as a side, and Brazilian food. Before the degustation, the impression they had on the
nobody touched it. One of the reasons why the bread was put there appearence of the food brought references of Turkish, Spanish, French
is because in Southern Brazil, a region known for its large number of and Indian food. Some specialities remembered were: ‘jalapeños’, the
people of German descent, people put the ‘salgadinhos’ inside bread French ‘patisserie’ and ‘samosas’ (see pictures on the following page).
to eat them. This way, there was some expectation that they would
at least try to eat the bread with the food. On the contrary, the only At the start of the ritual they ate the ‘coxinhas’ and ‘empadas’ in totally
reference made to the bread was in the end, when one of the invited different ways when compared with people from Rio de Janeiro. During
people said the bread could be a good idea because then she would the experiment they ate some units of both types of ‘salgadinhos’ and
have been able to add the salad and the ‘salgadinho’ inside, eating all tested different ways of eating them: with or without sauce and salad,
together. using cutlery or not, and so on. In the end, they came up with opnions
on how the ‘Cariocas’ would eat the food that was presented. Most of
them guessed exactly how the food was prepared and eaten in Brazil.
In Germany you will never find Italian They have even chosen the coxinha as the favorite of both, just like
the ‘Cariocas’.
food, but the interpretation of Italian Some of the observations were the following:
food, and that is what Germans like. This food is more like popular food, it
It has to do with interpretation, shouldn’t be expensive.
this interpretation is what matters.
[interview on section 1.2]
It’s probably eaten at streets, bought in
simple bars or with vendors selling them
on small cars.
112 113

62. They don’t eat it with salad and they eat ‘Samosas’
it with the hands.
With the end of the experiment the participants could learn about
the kind of food and eating rituals that people from Rio have while on
their busy daily lives. They could certainly add this experience to their
knowledge on others global references.
‘Jalapeños’
The participants were an important contribution for the research.
[Above: Fig. 15., below: Fig. 16.]
Through them it was possible to document opinions and reactions of
Germans about a new eating experience and dealing with new rituals,
textures and flavors. In general, they were interested in understanding
how people in Rio eat the food they were tasting, and while eating, it
was possible to notice that they were testing ways to be comfortable
and enjoy the food.
The process was probably the same, when the participants tried the
international references that they mentioned during the experiment
— the ‘samosas’, ‘jalapeños’ and the French ‘patisserie’. More
important than giving previous knowledge about what the food is
or how to eat it, analyzing the experiment it seemed necessary to
create a comfortable atmosphere for the testers, offering some things
that they are already used to, and make a comfortable start-up. This
[Fig. 19.]
cozy atmosphere made them open to experience new contexts and [Fig. 17.] [Fig. 18.]
understand foreign realities by their own.
‘Samosas’ and other types
of fried finger-food ‘Patisserie’
114 115

63. 2.2 Vending
The streets can be a very attractive environment for the ones that need
to make money and find on non-regulated work, possibilities of earning
their income. With a constant movement of people of all social classes
and backgrounds, the public spaces have potential clients of all types
and offer the most diverse opportunities during most part of the day.
On the next section the diverse vending activities usually seen on the
cities of Bremen and Rio de Janeiro are detailed. At a first moment, in
the documentation section, the alternatives developed on the streets of
the cities are exposed on its diversity. In the Analysis some special cases
were chosen and detailed on its methods of work or types of goods.
Those people that work on the streets shows us important economic,
social and cultural aspects of their cities. Exploring those aspects can
provide a better comprehension about the vendors, the collectors
and so on, together with the customers and their relation with the
environment. On activities like selling goods on the streets, the vendors
have direct contact with a great number of clients every day. They have
to understand the necessities of those people as well as to develop
good selling techniques for the amount of sold products that they have
to achieve every day. Otherwise, they have no money to take home.
In the end of this chapter — the Implementation section — one
possible way, among many others, of exploring some aspects of the
“street vending wisdom” will be tested.

64. 2.1.1 Rio de Janeiro
Documentation
Vending activities on the streets of Rio
While walking on the streets of Rio, you can see people selling all kinds
of things. Is it starting to rain? Look around and you will easily find
someone selling umbrellas. Is there a two-hour line to enter the soccer
stadium? Relax, buy a beer with the guy selling beverages next to you
and maybe also a new flag of your team.
On the streets, the vendors usually sell accessories and clothing items
like belts, earrings, watches, glasses, leggings and so on. Objects for
home — such as dishtowels, brooms, plungers and other small items
for kitchen and bathroom — are also sold. Small electronics, pirate CDs,
toys and kitschy objects are also sold by vendors and, like the others, can
be sold on the sideways or among the cars stopped on traffic jams.
Food is a popular good sold by street vendors. Home made cakes,
sweets, snacks or industrialized candies and beverages can be seen
everywhere. Usually on self made small cars, or in boxes hold by hands,
but sometimes in small trucks and pickups that announce the product
with loud speakers.
The beach is also a point where lots of vendors sell goods. From fruits
to hamburgers the vendors carry Styrofoam boxes, personalized
containers, or even Tupperware and baking trays. Sharing the clients
that are at the beach enjoying their leisure time, there are also the ones
that sell bikinis, skirts, accessories and toys.
Every place seems to be a potential point for vendors to sell their
products. Restrictions for the goods to be sold and the techniques of
selling seem to be nonexistent, there are also no limits for creativity and
invention on street vending.
119

65. Man selling vultures , the mascot of Flamengo,
the popular Brazilian soccer team. A perfect
Sunday for ‘Cariocas’ is when they go to the
beach and, afterwards, to the soccer stadium to
watch a match.

66. Man selling bikini tops, the strapless kind that
leave no tanning lines.
123

67. Man selling boiled corn on the cob.

68. Man with kid selling lychees along the sidewalk.
They stop everytime a customer asks.
Mobile sweets window, selfpropelled car for
selling cakes and other home made speciallities.

69. Popcorn vendors are usually found in front of
cinemas or schools.
129

70. ‘Saara’ the popular and overcrowded
commercial center at the city center has streets
vendors everywhere.
Bicycles like that one are used for selling
beverages, snacks and delivering services.

71. Pickup parked on the street vending pineapples.
Sometimes the drivers move around with
loudspeakers announcing their goods and
saying funny jokes.
Man offers moving services with his pickup
parked on the street.
132 133

72. Even being hard work, it isn’t as
dangerous as being drug dealer. It’s better
than stealing. As a street vendor I don’t
need to deal with guns. [22] 135