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are born and remain relevant because they make a difference in the lives of everyone. They are more than simply brands, but have body and soul.

SOUL: Home to a brand’s core: its essence and purpose.

BODY: which holds its expressions, its productsand services.

livingbrands

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They surpass markeT expecTaTions.

They have a purpose for The world.

They play a leading role in consTrucTing a desirable fuTure.

They are able To aTTracT and reTain TalenT.

balance long Term goals and shorT Term demands.

and build meaning.

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In a world fIlled wIth uncertaIntIes and changIng Infrastructures, wIll your brand be able adjust wIthout losIng Its relevance?

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In an increasingly open landscape, companies are becoming part of a large network-driven ecosystem. In order to keep their brands alive, companies must improve their ability to adapt to change-both now and in the future.

*source: capitalism at the crossroads, stuart hart.

75%of The companies To be lisTed on The s&p 500 have yeT To be creaTed.

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an era of changewe must redesign our relationship with consumption.

resources are lImIted.

consumers are more aware.

laws are becomIng more strIct, ImpactIng envIronmental and socIal lIabIlIty.

busIness takes place wIthIn networks yet corporatIons remaIn hIerarchIcal.

everyday new competItors emerge, already In tune wIth the new consumer landscape.

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all brands have the potential to evoke such change. They have the power to guide the transformation that will generate sustainable value.

natural selectIon In the busIness world Is unmercIful.

companIes must Improve theIr abIlIty to Interpret and react to changes In context.

It Is tIme to dIsrupt fragmented structures, where departments only look after theIr own areas, and evolve to where they share one sIngle purpose, guIded sImply by the essence of the brand.

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Much more than a mere symbol to provide an identity to its products and services, brands are the synthesis of a company’s most valuable and strategic asset: its essence, its purpose, its values and competencies; its particular way of operating in the world.

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SYmBOLPOSitiOnCOmmUniCatiOn GUiDeBranD iDentitY

FROM TOmeaninGPUrPOSePrOviDinG DireCtiOn fOr tHe COrPOratiOnBranD COmmUnitY

living brands and the evolution of brands

A broad and systemic approach that inspires brands to take on a leading role to redesign the future.

how canbrands maIntaIn theIr core competencIeswhIle meetIngthe demandsof the new framework?

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To gaze the marketin an effort to develop solutions that surpass what is socially correct, ecologically adequate and economically feasible.

To delve into the souls ofcompanies to understand theirculture, comprehend their way of solving problems and identifytheir core competency.

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TáTil invesTs All iTs invesTigATive, AnAlyTicAl, And cReATive cApAciTy TO design

powerful ideas that connect brands to their purpose.

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brand strategies,eXPressiOns eXPerienCes.

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designing the strategy.dive into the brand:its market, and audiences of interest. Understand the economic, social, environmental andcultural contexts.

Reveal its purpose. Update the brand’s relevancy and generate value. design a set of strategic guidelines and engage the leaders of the company.

building eXPressiOnsTranslate the strategy through visual, verbal and other tangible expressions. This is done by identifying best practice communication, capturing the evolution of branding to develop brand guidelines found in company manifestos and manuals – both on and offline.

Crafting eXPerienCesAn opportunity to experience the essence of the brand. Find the link between the strategy and the expression, and translate it into various forms of communication, points of sale, events, digital media and packaging.

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ourapproach

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for 24 years, we have been helping brands To make a difference by changing Their business, Their markeT, Their relaTionship wiTh people and Their way of acTing in The world.

capture the essence of a brand and develop into a broad yet concise picture that can be interpreted into strategic guidelines.

give life to brands by developing visual, verbal, and other sensory expressions that inspire and build loyalty.

generate sustainable valueBranding and design are integrated to help companies generate sustainable value, and create narratives that persist over time.

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identify the purpose

build expressions

generate sustainable value

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This is The TáTil way of building a brand for we believe ThaT The conTexT has changed: uncerTainTy is The only cerTainTy. unpredicTabiliTy is now The “rule of The game” economic and markeT cycles are geTTing shorTer and fasTer.

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Because of this, organizationsare becoming more open, adaptable and interdependent on outside forces that impact their success. The boundaries between an organization’s internal and external environments are becoming more subtle and unnoticeable.

and the brand is the main interface between the organization and the world in which it lives.

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our Teams

Our offices in rio de Janeiro and são Paulo have a team of over 140 professionals with different experiences and multidisciplinary talents.

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eCO-innOvatiOnCreatiOnPrOduCtiOninsPiratiOn, strategyand business.

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OUR clienTsour work

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riO 2016where the olympic spirit meets the carioca soul.

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139 design and advertising agencies involved in the bidding process.

87 agencies selected to presenta portfolio.

24 qualified to be interviewed by the RiO 2016 committee.

8 finalists received the technical briefing to create the RIO 2016 brand.

The mosT complex visual idenTiTy of The world.

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ParalymPiC branda brand to be experienced, reaping reactions from every audience.

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a mulTisensory brand

We decided that the paralympic brand would be multisensory. it should ignite one’s senses to generate feeling and eventually illustrate meaning.

We understand that it would only be fully meaningful if it could create a bond and connect with all audiences so they recognize themselves in the brand and feel represented by that symbol.

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Our wish was for anyone – athlete or not, disabled or not – to be able to experience the brand, and, more than that, to react to that encounter.

ever since, it has been a priority to use the design as a tool to promote accessibility in an intelligent and comprehensive fashion.

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But how can we promote that experience? How should that brand interact with people?

based on the information obtained throughout the process, in conferences, meetings and interviews,we concluded that three senses should be stimulated and, through them, people should have a feeling that the brand was pulsating. more than that, the brand should appear to be alive.

As the brand is three-dimensional – and can, therefore, be touched – the first and most obvious choice was to stimulate the sense of touch. its curves should be able to represent the aggressiveness present in the performance and determination of athletes in their constant power to exceed, while also being pleasing and comfortable to touch. its shape represents discovery of the future, while it also reveals symbols that live so strongly in our subconscious.

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the COCa-COlaCOmmunitytransforming good ideas into business.

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communiTy efforT, opTimism and TransformaTion Through Technology as a creaTive collaboraTion beTween coca cola, TaTil and members of The communiTy.

the objective was to transform good ideas into business and make sustainable investments in the future of those communities by encouraging personal development and creating jobs using the coca-cola retail network.

the Coca-Cola Company wished to create a place to promote development in brazil by engaging ngOs already established in communities across the country.

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in order to create the ideal place for learning and meeting others, we sought inspirations in visual and verbal references chosen by the community through research and focus groups.

The results of our research could be found in the name, logo, furniture and other structural items found throughout the space, all influenced and impacted by feedback from the community.

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natura unacelebrating women and their unique beauty.

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natura wished to launch their premium make-up collection, una. a brand that combined sophistication with the highest quality formulas using natural products mixed with anti-aging technology.

Together with natura we developed the concept of highlighting women’s unique beauty free from preconceptions and stereotypes by launching the tagline “natura una. the best expression of yourself.” in collaboration with Tateka.

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For the Una brand identity we developed language based on “light”: natura Una encourages women to dedicate their time to self-learning, to achieve a profound awareness of themselves, which is key in discovering their unique beauty, so they can learn their strengths and shine light on them.

We developed clear and consistent brand guidelines that allowed natura to solidify its place in the premium make-up segment.

in order to materialise that idea, we put together an inspiring series designed to emulate sophistication in a feminine way. The black color, which was rarely used by natura until that moment, was an essential part of making this happen.

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natura amÓlove translated into gestures.

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Challenge: to inspire couples to rediscover their love, helping to add longevity to relationships.

we were challenged To develop a successful concepT To posiTion naTura’s new producT line: naTura amó.

It took two years of careful research, group discussions with experts, and brainstorming sessions for us to achieve natura’s goals to talk about love in a way that was unique and unprecedented.

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We formed a team of strategists, designers and writers in a co-creation process that involved clients, companies and people, until we reached the idea that love is made of cycles and that helping people revitalize their love could help to create more lasting relationships.

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The Brazilian names given to these products speak of gestures of love.

chamego,amassoe xodó.

they were the starting point for the creation of the graphic line, which added brushstrokes and colours to help set the ambiance of each expression.

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natura sOusustainable consumption and design.

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Present a new line of cosmetics with very low impact to the environment.

challenge: To try to reach a new audience with a tagline that speaks, with authority, about conscious consuming.

a challenge we Took on wiTh naTura To successfully launch inTo The second Tier markeT.

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We actively participated in developing the concept of the line, in partnership with natura and other experts. this was a collaborative process that helped to define their portfolio of products along with its respective labels and packaging.

in partnership with nó design,we developed a solution with a minimum amount of material and a strong sensory impact. This opportunity also involved research and development in europe and Japan.

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natura eKOsInspired by brazilian culture.

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our Team soughT inspiraTion in popular brazilian markeTs.

We visited markets across Brazil to explore various shapes and materials along with insight on how local merchants store products and reuse packaging using locally sourced materials and resources.

translate traditional brazilian knowledge into shapes and materials that promote a sensory experience.

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examining the bottles, the diversity of their shapes, and their multiple uses was just the starting point for creating the packaging for the natura ekos line. based on that inspiration, we blended diversity and “brazilianness” to characterize the bottles of this brand.

This allowed us to position a brand that possessed an understanding and appreciation for Brazilian culture and nature. The labels serve two purposes: 1) to offer information about the product and 2) to tell the story of the environmental impact of the packaging.

Through QR codes placed on the labels, consumers can link to more information about the product on their official Web site.

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bentôyour japanese food, in yourown time.

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develop the branding project for a new brand of a Japanese restaurant, using an innovative proposal that blends the fast in fast food with the quality of asian cuisine.

The fasT food mixed wiThjapanese cuisine.

After much research, we developed the concept “your Japanese food, in your own time.” We then created brand guidelines inspired by contemporary Japan, which led to the development of the name (Bento: the traditional Japanese single-portion takeout or home-packed meal), visual identity, verbal language and pOs materials.

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stOne agefrom extensive to compact. from complex to simple.

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stone age believes we are only in the beginning or in the “stone age” of the information era. in other words, we are on the verge of a new era in which technologies will make a breakthrough in data access, information, and knowledge – improving not only business, but people’s lives.

TáTil saw This as a huge opporTuniTy To change, improve and add differenTiaTion To The brand.

For stone Age, evolving meant to optimize access to information: making the complicated simple and the vast more compact.

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Taking into consideration the same perimeter, the area of a hexagon is larger than that of a square or triangle. it is a so-called the optimal shape. it is the inspiration behind the new brand, with all visuals created by Tátil.

ThaT is why we soughT inspiraTion in iTs mosT efficienT form: The hexagon.

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ebXboosting the growthof a whole group.

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the challenge was to construct guidelines for the cultural and brand identity for the ebX group.

balance brand x biography and leader x organizaTion.

A business group that, quickly achieved impressive business results with organic and unplanned growth.

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We were invited to form a partnership with the eBX group to develop one central corporative culture and identity for this multi-faceted group.

At a time when the company was experiencing rapid expansion, consolidation and improving stakeholder relations, we developed a team to perform a thorough investigation of their business strategy. The result was a comprehensive diagnosis of the brand, which served as the basis

to build management tools and other intangible assets, along with the visual and verbal tone of the brand.

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we redesigned The brand of The ebx group and Their main sub-brands.

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PhiliPsredesigning a new work environment.

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new headquarTers, a new idea, a new workplace concepT.

to develop the overall layout, design and atmosphere of its new head office in Sao Paulo, philips invited us to help create a work environment that was more recreational and more enjoyable for everyone.

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We sought inspiration in what is simple, sensible and better for everyday life.

We incorporated a mix of images, wording, panels and shapes to reflect the essence of the Philips brand within the office space.

The result we came up with were simple and intuitive signs, using universal language that carefully balanced and combined the simplicity of the brand’s visual language with the sensory effect of the chosen colors, photographs and other materials.

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renaultcreating stories with consumers.

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When challenged to design a new experience between people and the renault brand, we sought to create connections that were emotional, relevant and memorable.

We believed that the best way to promote the identity and values of the renault brand was to develop a consistent message both on and offline.

To do This,we firsT exploredThe deep hisTory and symbolic-culTure of cars.

we then looked at the automotive market, including the manufacturers. we understood how people interact and react to new concepts in the automotive industry and used that to dive deeper into the history and essence of renault in brazil.

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We realised that the car dealership is more than just a place to make a purchase. it is an opportunity for renault to build relationships with people and make history.

Therefore, we found that the Renault experience area should be human, astonishing and accessible.

Through a more informal and inviting presentation we created a segmented area that is interactive and easy to navigate. We designed experiences that take into consideration each person’s history and needs, creating ties between Renault and its consumers.

Thinking about each detail in the Renault Area, we proposed materials, lighting, colors and shapes that added value to the brand in every step of the process. it invited consumers to engage in a new experience, starting the moment they enter the store, to the moment they receive their new car to their post-sales service.

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drOga raianew store for a new kind of consumer

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together with Procter & gamble, droga raia wished to create an in-store purchase experience that was more emotional and enjoyable, adding differentiation and relevance through a partnership that would strengthen their brand equity while increasing their sales of P&g products.

more Than being admired, They wanTed To be desired by people.

A natural outcome of the project was the development of a new brand that represented droga Raia’s new positioning.

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For this project we combined all of the expressions of the brand to develop one central concept: Care. We translated this idea into various aspects of the model-store.

We created and put together a design code with segmentations for the health, beauty and baby categories, and generated guidelines for their implementation.

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leaves In 2008, tátil was invited to present a workshop called designing naturally at the cannes advertising festival. the workshop was designed to discuss the role of design as a tool to change the future. It required the creation of an original invitation that would reflect natural principles and raise interest, enticing one’s senses while maintaining a low environmental impact.

sOlutiOnto create the invitations with more freedom and interaction, we asked our team to send theme-related images. from airplanes to dancers, ants to soup cans, each person brought their own interpretation of the concept. we then printed those images on dry leaves with a laser beam. collected from the streets and parks of rio de janeiro, the leaves themselves served as the actual invitations, creating a product that was inspiring, recreational and ideal when looked at against the sun. they were simple and shiny flyers that, after being used, could be dropped to on the ground and returned to nature.

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tátilrana tátilrana was born in 2005. entirely made by cuts and creases, its articulated shape reminds us of childhood. eleven segments connect to form the body, creating movement, taking different positions. Tátilrana is marked with Tátil’s creative flair and invites us to have fun.

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gátil It became the most famous, tatil product and kind of a mascot to us. It acts like a real cat, always landing on its feet when falling from a high place.

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Jornal Valor --- Página 4 da edição "04/09/2012 1a CAD F" ---- Impressa por lmmorresi às 03/09/2012@16:02:58

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Especial | Resíduos sólidos

Modelo prevê R$ 70 milhões para inovação tecnológicaPaulo VasconcellosPara o Valor, do Rio

Até 2014, serão investidosR$ 70 milhões na inovação tecno-lógica das cooperativas de coletade resíduos sólidos, na capacita-ção dos catadores e na ampliaçãodos pontos de entrega voluntá-ria. A proposta faz parte do mo-delo único de logística reversapara embalagens que a coalizãoliderada pelo Compromisso Em-presarial para a Reciclagem(Cempre), reunindo 26 associa-ções nacionais representativasde 80% das empresas que produ-zem, vazam e comercializam ar-tigos com embalagens, vai apre-sentar no ano que vem ao Minis-tério do Meio Ambiente para oacordo setorial previsto no PlanoNacional de Resíduos Sólidos.

A ideia é promover o reforçoda coleta seletiva municipal dolixo em parceria com as coopera-tivas de reciclagem, instalar pon-tos de coleta voluntária em todosos supermercados do país e reali-zar a primeira grande campanhanacional de educação ambiental.A primeira fase, até 2014, se con-centrará nas doze cidades-sededa Copa do Mundo e deve atingiruma meta de redução de 22% dosresíduos recicláveis secos que vãopara os lixões. A segunda etapa,de 2015 a 2035, é reciclar 45%.

“É uma grande oportunidade de

fazer história ambiental. O Brasil játem alguns trunfos em reciclagemno mundo. A gestão de resíduossólidos brasileira talvez seja a quemais bem retrate a economia ver-de. O modelo não está pronto, mastemos todas as ferramentas parafazer a diferença”, diz Victor Bicca,presidente do Cempre.

Os acordos de logística reversaatingem cinco setores: embala-gens de óleos lubrificantes, emba-lagens em geral, lâmpadas fluores-centes, eletroeletrônicos e descartede medicamentos. O processo

mais adiantado é do embalagensde óleos lubrificantes. A propostado setor já passou por consulta pú-blica, que está em processo de aná-lise, e deve ser assinada ainda esteano. O edital para embalagens emgeral foi publicado no Diário Ofi-cial de 5 de julho. O setor tem até 5de janeiro de 2013 para apresentara proposta. O edital para a logísticareversa de lâmpadas fluorescentestambém já foi publicado.

Até o fim do ano deve ser pu-blicado o edital de eletroeletrô-nicos. O de descartes de medica-

mentos está previsto só para oinício do ano que vem. O Ministé-rio do Meio Ambiente trabalhaainda na elaboração do SistemaNacional de Informações de Resí-duos (Sinir). O portal, que deveráser alimentado por todos os ór-gãos municipais e estaduais e pe-las empresas, deverá entrar emfuncionamento até dezembrodeste ano e vai servir ao gerencia-mento dos acordos setoriais delogística reversa.

“Cada projeto de logística re-versa tem a sua especificidade.

Na de óleos lubrificantes, a em-balagem é devolvida logo que ousuário abastece o carro. Já parao de lâmpadas fluorescentes épreciso definir pontos de coleta,com distância máxima entre ospontos para que o cidadão nãotenha que andar muito para fa-zer o descarte. A logística reversae a coleta seletiva serão implan-tadas de forma gradual e pro-gressiva de acordo com a lei”,afirma Silvano Silvério, diretorde Ambiente Urbano do Ministé-rio do Meio Ambiente.

A proposta da coalizão coor-denada pelo Cempre prevê a tri-plicação do número de coopera-tiva de catadores, expansão dospontos de entrega voluntária,ampliação da coleta seletiva quehoje já é feita por 766 municí-pios, desoneração da cadeia deprodução de reciclagem e medi-das para acabar com a informali-dade do setor com mudanças le-gais que simplifiquem a consti-tuição de cooperativas. O acordotambém prevê uma definiçãomais clara da organização da co-leta por meio de parcerias entreas cooperativas e as prefeituras.

“Se em 2014 tivermos esses pon-tos em fase de implantação, princi-palmente com os postos para cole-ta de embalagens já instalados, se-rá um grande avanço. Gostei parti-cularmente porque, mais do queuma lei, existe um evento motiva-

dor para a mobilização de toda as o c i e d a d e”, afirma WalfredoSchindler, diretor-superintenden-te da Fundação Brasileira para oDesenvolvimento Sustentável(FBDS). “O conceito da parceria en-tre prefeituras e cooperativas é im-portante porque tem impacto notransporte dos descartes, que po-deria inviabilizar o processo de re-c i c l a g e m”, afirma Patrícia Guarnie-ri, professora da Universidade deBrasília (UNb).

Entidades de defesa do consu-midor acreditam que houve umavanço na mobilização da socieda-de em torno do Plano Nacional deResíduos Sólidos, mas defendemque é preciso acompanhar os pro-cessos de acordos setoriais paratentar influir nas soluções comoforma de o usuário ser reconheci-do. Há dúvida se o foco no descartevoluntário não deveria ser com-pensado com uma coleta mais efi-ciente nos domicílios e até com al-gum incentivo. “A coleta seletivanas casas atende apenas 20% dapopulação de São Paulo. Na Euro-pa, a reciclagem é maior porque hámáquinas em supermercados emque a coleta reverte em descontospara o consumidor que leva o lixoreciclável. Mas também é precisodefinir melhor a fiscalização sobreo modelo de coleta seletiva”, dizJoão Paulo do Amaral, pesquisa-dor do Instituto de Defesa do Con-sumidor (Idec).

CLAUDIO BELLI/VALOR

Costa: “Logística reversa e coleta seletiva serão implantadas de forma gradual e progressiva de acordo com a lei”

Tendências Empresas adotam processos que gerammenos resíduos e usam mais materiais recicláveis

Embalagem ganhaparâmetro verdecom o ‘ecodesig n’

D I V U LG A Ç Ã O

Fred Gelli: nem as grandes premiações internacionais de design incorporaram critérios de sustentabilidade

Andrea VialliPara o Valor, de São Paulo

De um lado, o desperdício; deoutro, a perspectiva de escassez dematérias-primas em um mundoque caminha para os 9 bilhões dehabitantes até 2050, segundo pro-jeções das Nações Unidas. A res-posta para o desafio de fazer maiscom menos deve passar pelo de-sign dos produtos e das embala-gens. Porém, a adoção de atributosde sustentabilidade, o chamadoecodesign, ainda não é recorrentenas pranchetas dos designers.

“O design ainda não incorporouessa nova inteligência focada nasustentabilidade e na redução dosimpactos ambientais dos produ-tos. E isso ocorre não só no Brasil,no mundo todo”, afirma o desig-ner Fred Gelli, sócio e diretor decriação da Tátil Design de Ideias,uma das agências precursoras emecodesign no país, que acumulaem sua trajetória a criação da logo-marca da Olimpíada Rio 2016, cu-ja licitação venceu.

Gelli, que também é professordo Departamento de Design daPUC-RJ, assinala que nem as gran-des premiações internacionais dedesign incorporaram critérios desustentabilidade na avaliação dostrabalhos. “Sou jurado de prêmioscomo Cannes e D&AD GlobalAwards e posso dizer que o designverde não é critério de avaliação,

a i n d a”, diz. “Isso é um absurdo, selevarmos em consideração que33% do lixo produzido no mundosão embalagens.”

Desde sua graduação, Gelli es-tuda formas de design aliadas ànatureza: é um pioneiro da cha-mada biomimética no Brasil — oramo do design que estuda as for-mas da natureza para tentar re-plicá-las no desenho dos produ-tos. Com esse background, suaagência vem trabalhando na cria-ção de embalagens mais ecoefi-cientes para grandes empresas,como Coca-Cola e Natura.

Com a adoção de ferramentascomo a análise de ciclo de vida(ACV) é possível determinar, porexemplo, se é mais viável ambien-talmente para uma empresa utili-zar embalagens de plástico, vidroou papelão — ou inovar no uso denovos materiais, por exemplo. Foiassim com a linha Ekos da Natura,cujas embalagens passaram a serfabricadas com maior percentualde PET reciclado, além de ter infor-mações sobre sustentabilidadepresentes no rótulo — a chamadarotulagem ambiental.

Uma tendência crescente é ochamado Cradle to Cradle, ou C2C(em tradução literal, “do berço aob e r ç o”). Formulado em 2002 peloarquiteto William McDonough epelo químico Michael Braungartem seu livro homônimo, o concei-to C2C é simples de entender, mas

ainda difícil de ser posto em práti-ca. Os autores defendem que cadanovo produto ou embalagem sejadesenhado de modo a não maisgerar resíduo ao fim de sua vidaútil, e sim se tornar a matéria-pri-ma de um novo processo produti-vo, fechando o ciclo sem perdasmateriais — ou com o mínimo deperdas possível.

A lacuna de informações sobreas aplicações de ecodesign no Bra-sil levou a designer paulista ElisaQuartim a compilar todo tipo deinformação que recebia sobre o te-ma. Assim, ela criou o site Embala-gem sustentável (www.embala-gemsustentavel.com.br), na rededesde 2008, para mostrar exem-plos tangíveis de design sustentá-vel, praticados por empresas doBrasil e do exterior.

“No Brasil, o design voltado paraa redução do impacto ambientalde um produto ou embalagemainda é pouco explorado. Mas estác o m e ç a n d o”, diz Quartim, queatualmente faz um projeto de pes-quisa sobre as embalagens de pro-dutos orgânicos no Brasil. Segun-do a designer, o processo de mu-dança de mentalidade começa pe-la redução de espessura, ou volu-me de uma embalagem. “Isso trazganhos para a empresa, como eco-nomia de materiais e menores cus-tos de logística”, diz. Além disso, osganhos econômicos costumam viracompanhados de benefícios am-

bientais, como a redução emissõesde CO2. “O que também se traduzem um ganho de reputação para asempresas”, analisa Quartim.

Uma empresa que tem busca-do essa diretriz — reduzir peso evolume das embalagens — é a fa-bricante de alimentos Danone.Em 2009 a empresa trouxe aoBrasil uma nova tecnologia, bati-zada de Foam (“e s p u m a”, em in-glês), que expande a chapa plás-tica utilizada nas embalagens,tornando-a aerada — diminuin -do o peso das embalagens em até19% e também o consumo de ma-téria-prima. Também passou autilizar o “polietileno verde”, re-sina fabricada pela Braskem a

partir da cana-de-açúcar, em em-balagens em formato garrafinha,que não podem ser moldadas nosistema Foam.

“A motivação inicial para a ado-ção dessas novas tecnologias foidiminuir a pegada de carbono dasembalagens da empresa”, explicaLucas Urbano, gerente de susten-tabilidade da Danone. “Nesse pro-cesso, tomamos conhecimento devárias ferramentas de ecodesignque estão sendo estudadas, como aanálise de ciclo de vida e os bioma-teriais”, diz Urbano.

Há quem veja a Lei de ResíduosSólidos como a oportunidade quefaltava para que o design sustentá-vel deslanche no Brasil. É o caso de

Marina Grossi, presidente do Con-selho Empresarial Brasileiro para oDesenvolvimento Sustentável(Cebds). “A lei impulsionará umanova indústria, pois responsabili-za toda a cadeia pela gestão dos re-síduos”, diz. Segundo Marina, asempresas brasileiras já têm a per-cepção de que o design precisa in-corporar o desafio do descarte cor-reto. Não por acaso, o ecodesign e agestão dos resíduos são temas dodocumento Visão 2050, do Cebds,lançado durante a Rio+20, quepretende nortear as empresas naspráticas de sustentabilidade. “O li-xo pode virar novos produtos eenergia. Essa indústria será priori-tária para o Brasil.”

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