Hi, everyone, I'm Sara Nabil from the iStudio Lab at Queen's University, Canada.
In this video, I'm thrilled to present to you the work I did with Open Lab
at Newcastle University, UK around DecorAction. So home décor does not only
define how people experience and share spaces, but the decorative elements
are actually the 'interface' of the home. Despite the opportunities of embedding
technology with these decorative elements, research to date has not explored this
fully. This pictorial brings interior decoration to interaction design in what
we call 'decoraction', utilizing decorative elements as a vehicle
to incorporate a tangible interaction in domestic spaces in an IKEA-like format.
As you can see here, we designed a product catalog of our own prototypes that
illustrate the possibilities of the nearest future.
For example, on the left here, you can see the WATERFALL.
This is a piece of interactive wall art that is a colour-changing painting made
using thermochromic paint on a conventional painting canvas featuring
water. So this dynamic will art changes the amount of physical water
in the painting in response to the water consumption rate in the household
by accessing smart meter online readings. People can realize how much water is being
consumed over time, not through numerical figures and graphs or charts, but through
multifaceted aesthetics that is part of their interior decoration. So this color
changing painting relies on an impressionistic approach that is better
suited to interior aesthetic experiences. Here is a matching partner
to the WATERFALL painting and a soft version of it in a white cotton
background. The WATERDROP cushion features a single drop of water in various shades
of blues that also resembles our planet Earth, plus some flying birds far away.
Once WATERFALL activates with the increase of water consumption, it sends a wireless
signal to its sister cushion to activate it as well, causing
the thermochromically-painted water to begin slowly disappearing. For comfort,
wires are eliminated and thermochromic paint is heated by interwoven copper
thread. Whilst they are matching the cushion will still work simultaneously
with the waterfall painting even in another room through Wi-Fi signal.
Occupants can see the change and thus appreciate running water and become more
self conscious of their usage once the cushion birds are found with no water
in their world. On the right here you can see the DESPOT lamp with spots painted
on the lampshade fabric with blue thermochromic paint that disappears with
heat emitting from the light bulb over time. The more spots vanish
from the lampshade, the more it raises occupants' awareness of their energy usage
caused by the activated lamp over time. It also has hidden spots of photochromic
paint that only appear with direct sunlight from an adjacent window,
emphasizing the brilliance of sustainable energy and solar power, urging people
to rely on natural instead of artificial lighting.
So. On the chair, you can also see the TIKALIQ.
So a shape changing throw that activates using a shape memory alloys, thin wire
sewn to the inner layer of the fabric, causing it not just to contract,
but causing its furry texture to swirl in wavy motions as if it is alive.
The malleability of the SMA does not affect the softness, affordance
and texture, we've put a lot of thought into how it would work. It comes in pairs
and one is activated when the other is stroked wirelessly through Wi-Fi.
So stroke sensing is detected using sewn conductive fabric inside. In this sense,
friends or family members can send tactile pokes that would display in their homes
of their appart loved ones. The physical interaction could be perceived as being
emotional and more sincere than touch screen mobile apps and mechanical devices.
However, the decoration catalogue represents design qualities among
and beyond the prototype artefacts. So it's not about just the prototypes,
it's about the format being a well suited IKEA like format and emphasizing placement
and context and materiality and presenting achievable speculation of near future
design and a lot of other design qualities. You can see here another page
of the catalogue showing the convex shape-changing pouffe that has pressure
sensitive fabric layered underneath its top detecting load, for example,
of sitting, supporting feet, placing objects or things like that,
and responding through a slow and gradual concave on CONVX uses
SMA again 'Shape Memory Alloy' muscle springs to contract it's concave-able
side, reflecting the pressure exerted on it over time. When objects are on top
of it are unloaded, the CONVX pops out again slowly and revert to its original
round shape, reflecting during that relaxing time the history of carrying
something over its back. So one couldn't initially distinguish the interactive
capabilities of CONVX with a stylish contemporary design and concealing all its
technology inside its vivid mustard upholstry. The LITHER rug is also a shape
changing rug that responds to ambient sound, specifically high pitches of loud
voices or noises. So every time a leather rug detects a loud voice, it deforms as
a whole, using SMA sewn underneath and relaxes, leaving behind small parts that
are kept deformed. Here's another example of the heat responsive tiles that change
their pattern in response to ambient heat in the kitchen or touch sensitivity using
Nichrome wires embedded in the back of the tiles. Another one is the MORVAZ
the shape-changing vase, that responds to proximity when placing or watering
-the flowers. -So it takes various morphing shapes,
-depending also on hand manipulation. -Another example here of another page in
the Decoraction catalogue is a curtain that changes its shape. It comes up
-and down with SMA Springs. -But unlike motor driven curtains, here the
tassels themselves are the sensors were made out of conductive thread and sewn
to the voile swag of the curtain, which is activated by a shape memory wires. So as
you can see, we've adopted a research through design methodology in three
different phases, we've used critical making to reflect on the making
and crafting of these prototypes, generating new knowledge and understanding
-by learning through making. -Then we've used critical engagement and
situated studies with participants, allowing them to evaluate these designs,
some of these designs through use, reflecting on their interaction.
Finally, to balance the blend between the roles of the thinker and a tinkerer
requiring tangiblizing these ideas, but also being aware to keep people safe.
We use critical speculation and some of them where design fiction allowed us
to explore the play of possibilities and hypothetical scenarios and avoid causing
-any possible harm to users. -Finally, some last thoughts on
Decoraction. We have presented in our pictorial some of the behind the curtains
of making these prototypes, along with some pages from our catalogue, that brings
up the capabilities of longevity, temporal appearance, changing over time and use
in different contexts, but also likely we are aware of and acknowledge
the challenges of making and deploying such interactive home décor elements,
raising issues about privacy, security, control, and leaving traces of people's
-presence (e.g., If you have visitors or... -other scenarios that form less of a
-utopian, but more of a dystopian future. -Thank you so much. We hope we have inspired you!
Stay safe and creative :)