Resumo:
In this research, a game of tarot cards was started, a montage of images that articulate guiding metaphors in the transit between records, ghosts, survivals, and anachronisms of affective links formed in the relationship between human beings, spaces, and objects. In this "nebula", transdisciplinary knowledge meander that creates in the text/game an associative chain between the disciplinary fields of interior design, architecture, art history, psychoanalysis, and humanistic geography. This investigation puts forward the hypothesis that, in the processes and history of interior design, there is an overflow of personalities that go beyond the limits of the attributed mechanical and functional meanings, operating a creative action of topophilic places. Given the elaboration of the traces of survival of places, in the (de)assembling of historical records of the attributed origins and definitions of interior design, as well as the experiences lived by the author in his professional practice, specifically those that started from the traditional sense of this craft as strictly mechanical, functional and technical. In this interpretation of the spaces and objects of memory, he referred to Aby Warburg's modus operandi used in the assembly of his Atlas Mnemosyne. The art historian from Hamburg dismantled and reassembled historical records, questioning the canons of art history and its classificatory tradition. It is noteworthy that even with production dating from the 19th and 20th centuries, Warburg still inspires researchers investigating the objects of culture. Thus, here the times of yesteryear were intertwined with those of now through the reassembly of experiences lived by the author in his projectual exercise, which recalls the power of the affective encounter in the case study of the project for the Institute of Humanism of Bahia (DIABASIS), as well as the dialectical laboratory, carried out as a professor of Psychology Applied to Interior Design in semester 2020.1; this proposition guided students in experimenting with a subjective approach to the spaces of their dwellings to identify places. Thus, based on the author's findings, it is possible to contribute in this thesis with the proposal of a possible modus operandi that facilitates the becoming of the place, while assisting in the sensitive and affective creative process carried out by interior designers in the (de)assembly of spaces.
