Cenários panoramáticos: metodologia para projetação em design estratégico

Abstract

At the threshold between design, art, and culture, we propose the projection through panoramatic scenarios, a methodology that promotes the transformation of reality using imagery narratives. We have developed a theoretical-methodological path that involves the sensitive dimension of design, from the perspective of aesthetics and the perspective of meaning. We infer from Adorno (2004) that art alters the perception of reality, as it is through aesthetic experience that it is possible to overcome the limits of rationality and deny what dominates reality, and thus frees man from a state of alienation. Therefore, we follow a track based on art that involves aesthetics, ethics, and politics. We also reframed the processes of perception, interpretation, and transformation in the light of design. Our project course is presented as a narrative course that involves image and imagination. And, the image in this study is a significant matter of a polysemic nature and acts in the production of meaning (BARTHES, 2012). And yet, the photographic image (RANCIÈRE, 2005) promotes imagination because it articulates the visible and the saying in a game that sees the invisible. For this reason, the photographic image is our main design input. And yet, photography allows us to enter the optical unconscious (BENJAMIN, 2017) of the city, locus of imagination, and transformation for design. Strategic design is understood by the triad: (a) doing together (typical of the collective activity), (b) sociocultural transformation (which aims at social well-being), and (c) strategy (which guides the project course). And, two main strategies guide our path: utopia and transculturality. In this way, the strategy moves the projecting process at the metadesign level, which happens through the shift between the project levels, which is equivalent to the displacement among the levels of knowledge; metalinguistic. In scenario, (re)assembly and fragmentation are the main techniques that work in transforming reality. And, making oneself seen (CANEVACCI, 2011) is the subject's reflexive action, the researcher's emotional and interpretive gaze, a sine qua non condition for this type of projection. Furthermore, the notion of the future in this kind of scenario acts as an agent for transforming the present, so it cannot be anticipated or predicted. Thereupon, we carry out a design experience – which is specific for our method – and qualifies the presented methodology. Our experience involved weaving narratives produced in three different cities: São Paulo, New York and Mexico City. In each city, we perform a participatory observation activity, with photographic records and an artistic workshop about the “Utopian city” theme. The registered photographs were fragmented and exchanged between cities, to favor transculturality employing cultural dialogic. From this, the imagery narratives produced in the workshops were read and transformed into an artistic and also meaningful – semantic and syntagmatic – process that resulted in a sensitive scheme. Therefore, design is also transformation.