TexDoor/S.M.A.R.T DOOR Juan Carlos Santos Andrade Design and Technology
Dilemma/Question How can real time information of what is occurring inside a room, behind a closed door, be relayed through the use of the sense of touch and alternative materials?
Synethesia Tactile Info
How do we proccess it? Pros doesn’t really overwhelm with information
much more memorable
What can it tell us?
can be misinterpreted can only give so much info limited
Mind Map/Key Terms • •
Texture Tactile Info
Readings/Citation For the most part, my research, in terms of articles and books, has primarily been focused into
Fox, Michael, and Miles Kemp. Interactive architec-
ture. New York: Princeton Architectural Press, 2009.
looking interfaces and how we use and understand them as well as looking into examples of and how we
in design. U.S. ed. San Diego, Calif.: Laurel Glen, 2000.
Hoppen, Kelly, and Helen Chislett. In touch: texture
Jeﬀ Johnson’s “Designing with the mind in mind?” has been of great help in regards in understand-
ing how to design an interface that is intuitive for the
simple guide to understanding user interface design
general population, which is an objective in this thesis
rules. Amsterdam: Morgan Kaufmann
project since I want the final product to be easily
Johnson, Jeﬀ. Designing with the mind in mind:
understood in order to for people to understand immediately what is going in a room. With Kelly
Hoppen and Helen Chislett’s “In Touch: texture in
things we touch aﬀect our judgments and decisions"
design”, I’ve been looking into the associations we can
Discover Blogs | Discover Magazine.
make with certain textures. This will be useful in the
future as I begin to decide which textures I will use to
convey information and which ones have the strongest
general associations that people can make on the spot.
/#more-1925 (accessed October 12, 2012).
Yong, Ed. "Heavy, rough and hard – how the
Inspiration/Research Projects Tengu Crispin Jones
BIX Communicative Display Skin Jan Edler and Tim Edler
Tengu, an interactive toy named after Heavenly Dog, a mischievous supernatural creature from Japanese
BIX is a permanent light-and-media installation for
folklore, plugs into a computer’s USB port and reacts to
Kunsthaus Graz, Austria, the biomorphic art museum
sounds with its eyes and mouth, as if singing along to
designed by Peter Cook and Colin Fournier, which
music or speaking when he hears someone speak. He
opened in 2003. BIX consists of a Plexiglas facade with
requires no care from his owner—like the famous pet
930 fluorescent tubes on the building’s eastern side.
rocks of the 1970s—but he reacts when attention is
The facade thus functions as an oversize, undulating
paid to him.
urban screen, with each light ring adjustable for brightness and functioning as a pixel in a dynamic, lowresolution art gallery, as if the building were tattooed with larger-than-life images, text, and film sequences. The designers want BIX to act as “an architectural ‘enabler’ enhancing the building’s communicative possibilities” as well as its range and identity.
Inspiration/Research Projects The Disgusted Object Katrin Baumgarten The Disgusted Object series explores the phenomenon of revulsion. Katrin Baumgarten’s prototypes are abstract but simulate human reactions: one replicates the pilomotor reflex, slowly developing goose bumps when handled; another squirms when held, as if trying to escape or move away. Baumgarten explores interactions with objects that are not fully under the user’s control— that have what she calls “anthropomorphised will” and reactions we only expect from sentient beings.
Bill Gates’ House Bill Gates A house in which guests wear pins that upon entrance of a room automatically adjust temperature, music, and lighting based on the guest’s preferences.
Inspiration/Research Projects Most of the projects that I have researched and
The second work that has inspired me quite a
that have inspired me for my thesis have come from the
bit is the BIX Communicative Display Skin by Jan and
Talk to Me exhibition at the MoMA last year (2011). Two
Tim Edler for the Kunsthaus Graz in Austria. The piece
of the works in that exhibit have led me to the concept I
itself works as one big low resolution display through
wish to develop.
the use of 930 fluorescent light tubes behind a Plexiglas
The first and most important, in terms of
façade functioning like pixels with the purpose of
inspirition, was the work of Katrin Baumgarten,
“enhancing” the structure communicative possibilities.
Disgusted Objects, a piece that explores the transfor-
Here the fact that the building is able to “communicate”
mation between the states of comfort to disgust. This
is what is inspiring for me. In essence we are giving an
was done through the use of objects that would react
inanimate structure a trait of a living being, personify-
upon being held, whereby these would try to squirm
ing it. This, the idea of personification, is a means for me
out of the users hand or develop a goose bump like
to achieve the solution of my dilemma.
texture that would try to make the user uncomfortable. What was inspiring to me and relatable to the thesis project was how a reactive surface/texture was used on an inanimate object to be able to communicate with the user. This formed my interest in using textures as an alternate means of transmitting information.
Focus Group/Audience Prior to the new direction in which this project is now heading, when the concept was still in creating a modular door which could be assembled and disassembled for ease of transportation from store to home and beyond, the product was intended for home owners. To be more specific, home owners looking to buy or replace their door. Of course, since the concept has since moved away from that idea so has the focus group. At the present moment the focus group is not as specifically targeted but rather being seen as groups that have potential use for the door. Two of these would be schools and businesses under the context that they could benefit from having information real time information of what is happening behind the door. Once knowing this information they can decide what actions and decisions to proceed with if they do decide to enter the door or if they decide to avoid entering said room.
Solution/Concept The suggested solution that I wish to explore
interpreted the textural information people will then be
and use to resolve this dilemma revolves around
able to know ahead of time what is going behind
textural information and how we as humans interpret
said information once weâ€™ve touched or seen a particu-
Using temperature as an example, imagine if a
lar texture. How will this idea be applied? The core
room is below a comfortable temperature, the interface
concept is to have a door which will display textural
would develop a bumped texture akin to that of goose
information that conveys the conditions and occur-
bumps that humans develop when placed in a substan-
rences that are ongoing behind said door, essentially
tially cool environment. With this information on hand
giving it the trait of being able to communicate. To be
the individual can now decide whether they should go
more precise, however, the door itself is not what is
look for a sweater or coat to keep themselves warm
going to be created. What will be created is a mount-
while inside or, alternatively, avoid the room until it
able physical interface that will morph into various
comes to a much reasonable temperature. Ultimately
textures depending on the information input it receives
the individual(s) is now aware of the conditions in the
from the particular room it has been assigned to. These
room and can now take a much more informed
textures, like previously stated, will be what people see
decision, which is the end goal of this project.
and touch and as they approach the door of said space. As well, these will be textures that people can easily relate to in an almost intuitive manner. Once having
DE CE M
NO VE M
BE R CT O O
October 15 - 31:
Look into other textures and information useful to someone entering a room. •
November 1 – 31:
Look into materials and surfaces that can potentially show several diﬀerent forms of textures •
December 1 – 18:
Begin to create miniature prototypes that show usage and presentation. •
Begin construction of full sized prototypes and continue research into materials and modify the project as needed according to critiques.
Published on Oct 16, 2012