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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


Instinct Synesthesia

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

perceive texture.

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

Publishers/Elsevier, 2010

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.

Normal State

Cold/Goose Bumps


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

closed doors.

said information once we’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






Schedule •

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. •

Second Semester:

Begin construction of full sized prototypes and continue research into materials and modify the project as needed according to critiques.

Juan Carlos Santos - Thesis - 01  
Juan Carlos Santos - Thesis - 01  

Thesis Statement