Catalogue of Making · 2026

Vibration
as Design
Material

A collection of experiments and prototypes exploring vibration as a single design material that produces both sound and haptic sensation, rather than two parallel outputs.

The experiments trace the project's early tests in gesture, rhythm, frequency, and pressure. The three prototypes then extend these ideas through presence, transmission, and interiority.

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Experiment 1

Semester 1
Explorations

A tap on screen triggers a point and sound. As you keep going, a lot of points create a shape and they can playback based on the temporal pattern they were tapped in.

Similar to the first one except this one has sound associated with letters that we can compose and create a whole composition with.

A touch based experiment trying to understand how I can test different gestures.

A pressure based experiment to understand what properties of virbation can be connected with gesture.

Experiment 2

Gesture
Exploration

Weighted Presence. It has audio cues to alert if the glass is empty.

Proximity. It has audio cues to alert you are getting closer to something you should not be or vice versa..

Slding. As you slide your hand on the table the volume would increase or decrease.

Add/Remove. As you picked up and dropped something it would provide audio cues for the same.

Experiment 3

Tap
to Sound

Interaction with the shapes.

Full setup. Visual changes after interaction.

Interaction Video

The interface to understand all the values.

Experiment 4

Pressure
to Intensity

Setup with wood board coaster.

Setup with foam coaster.

Interaction

Interface

Experiment 5

Rhythmic
Recording

The setup.

Playing with the different funtions to understadn how it works.

Interaction

Interface

Prototype 1

Imperfect
Hum

Prototype 2

The
Liar

Can an object lie through vibration? And if it can, can it also speak?

Two identical objects respond to the same touch in almost the same way. One of them is lying — its vibration doesn't quite match what the hand expects. The longer you hold them, the more you learn to tell truth from deception.

The difference is small: a half-beat delay in the response, a slightly different intensity, a pattern that doesn't quite match its neighbour. Individually, neither object feels 'wrong.' It's only in comparison that the lie becomes audible through the hand.

Deception becomes a language in itself. Holding both objects, you start to notice things that would be invisible at the scale of one: the texture of sincerity, the feel of a hedge, the moment when an object equivocates.

Prototype 3

The Object
That Breathes

What would it feel like to share a room with an object that has its own personality?

An object that doesn't signal anything. It simply breathes slowly when left alone, grows nervous when you get close, and goes quiet when you bond through touch. Over time it reveals eight internal states — and over time you learn to read them.

The states aren't listed anywhere or labeled. They're inferred. The object trembles a little when a hand approaches, then calms as the hand rests. Left alone in a room, it settles into a slow, almost breath-like pattern. It has preferences you can learn to notice. This prototype asked what it would mean to live with an object that has a temperament rather than a function. Not a companion, not a pet — something smaller and stranger. A small pressure on your attention.

Vibration as Design Material

Vibration
as Design
Material