Nutrition Facts - Nadeem Haidary

© PORTFOLIO 2009
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IN-FORMED
INFORMATION IN CONTEXT

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IN-FORMED / 2008-2009 / SELF-DRIVEN
Much OF The knOwLedge and statistics in the world
exists in places like books, newspapers and web sites. You read
things like “In Britain, 20 million tons of food is thrown out
each year.” Statistics like these may be striking when you first
read them, but without context or placement in the physical
world, they are rarely remembered and they rarely change
people’s behavior. what if this kind of information crawled
off the page and seeped into the products that surround us? In-
Formed provides three case studies in embedding contextually
relevant information into everyday objects.

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THE DAILY JOURNEY
To begin, I chronicled a day in my life, paying attention to the
everyday objects that exist in my environment. From these, ideas
were quickly sketched and taped on the wall for constant reference.
The concepts explored ways of representing information in tangible
objects and how that information could change people’s behavior.

THE CONTEXT
The kitchen is the nucleus of the home. It’s where we have the most
control over the use of resources and provides a great opportunity
for informing people of their consumption habits. These are the
three categories of information I chose to delve into.
1. CALORIC CONSUMPTION
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3. WATER USAGE
2. TRASH PRODUCTION

1. CALORIC CONSUMPTION / FORKS
The data visualized in this fork is the caloric consumption per capita
in various countries, each represented by the length of the fork’s
tines. when the person uses the fork, the prongs that are longer are
more likely to pierce the food, mimicking the discrepancies of food
consumption around the world.
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DATA DISHWARE
An alternative to the forks, the plates represent the amount of
calories consumed in proportion to the surface area of the plate,
giving potential diners an informed choice as to how much food they
want to eat.

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2. WASTE PRODUCTION
This waste bin visualizes personal or household waste. The weight
of the garbage changes the angle of the waste bin, making it less
inviting and giving you a visual cue as to how much trash you
are throwing away. The main body of the bin is constructed from
polypropylene except for the middle section, which is a flexible TPe,
allowing the top portion to swing back when weight is added.

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WASTE BIN PROTOTYPE
A foamcore model was built to test the principle of weight-based
articulation. A lid at the opening of the bin allows tall kitchen trash
bags to be used.

The weight of the garbage upon the
platform pivots the top back from the
bent position via a connecting rod.
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3. WATER USAGE
The data visualized in this faucet is the amount of water consumed
each time the faucet is used. As water flows out of the faucet, a
small portion of the water gets redirected through a valve into
a glass chamber, showing the person how much water they are
currently using. The water in the chamber empties the next time the
faucet is turned on.

Floating indicator
A valve redirects a portion of
the water into the chamber
WATER CHAMBER CONTROL HANDLE
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6
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2
gallons
Pull forward to control water �ow

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BIBLIOFILE
GESTURE-POWERED READER

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BIBLIOFILE / 2008-2009 / HIGH-TECH PRODUCTS
ThIS eLecTROnIc BOOk ReAdeR uses page-turning
gestures to generate the power necessary to update an e-paper
display. These gestures provide cognitive, mechanical and digital
feedback to the person using the device. The device’s Active
Reading margin supports the reader by providing applications
like a dictionary and word games in a way that doesn’t distract
like reading texts on a computer does. By harnessing both
human and computing power, Bibliofile provides a rich reading
experience for avid readers.

or drag from text
input words with stylus
search
edit text
ScReen InTeRFAce
input words write
dictionary
PhYSIcAL InTeRFAce
wikipedia
erase input
drag words
fictional
convergences
select words
favorites
use stylus back
author title subject date language
random text
hold button
draw vector
games
use stylus
books
APPLICA-
write with stylus
newspapers
use stylus
select from menu
TURN ON
pull up page
turn the page
write number and
magazines
pull up page
hold page 5 sec
push down page
blogs
select from menu select from menu select from menu
TOOLS TIONS
select from menu - organize by
slide slide slide
ACTIVE
READING
select from list
change font
GET READ DISPLAY USERS
TEXTS
PREFER-
ENCES
INPUT MARK GO TO NEXT PREVIOUS TURN
WORDS WORDS PAGE PAGE PAGE
select from list
text size
OFF
menu style
select from menu
select from list
linear
radial
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Reasons why people don’t like reading on the computer and Bibliofile’s solutions:
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1
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hard on eyes
lacks tangibility of print
cannot mark texts
lacks portability
doesn’t show progress
myriad distractions
requires electrical energy
learning curve
don’t own an object
difficult to absorb info
lacks authority
lacks durability
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INSIGHTS ON READING
e-paper screen
tangible interactions and book metaphors
texts markable, marks searchable
bibliofile is comparable to a medium-sized book
screen edge graphically shows progress
applications enhance education and reading experience
power is generated throught page-turning gesture
functions are limited
product is owned, texts are bought
marking tools promote active reading
texts are same as print versions
electronics protected but notthing is failsafe
Before designing Bibliofile, I surveyed and interviewed people
to find the reasons why people don’t like reading digital texts.
Amongst the biggest complaints were the lack of tangibility and the
need to charge a device. Furthermore, I studied how people read,
specifically the way people turn pages. using these insights, I began
structuring the framework for an e-book reader.
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PROTOTYPING
My prototyping efforts were two-fold. On the one hand I developed
a model with a rotational page-turning gesture that generates power
and simulates the interaction using an Arduino microcontroller
and a projector. concurrently, I generated tactile models that
investigated the ideal gesture from a human factors standpoint. The
final design balances the need for power with good ergonomics.

SYNTHESIZING
Various elements of Bibliofile’s interface and hinge mechanism being
designed on paper.
HINGE MECHANISM
ICONS
FOAMCORE MOCK-UP
PAGE TORN FROM
A TALE OF TWO CITIES
PAPER PROTOTYPING
WIREFRAMES

THE FLIPPER
The interaction that was developed for the final design has a margin
that can be flipped up to go to the next page or flipped down to
go to the previous page. The flipper’s taper allows it to be read
comfortably on a flat surface.
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MATERIALS AND TECHNOLOGY
At left are alternative material combinations, including leather and
cast cork bases. Bibliofile’s stylus has two buttons (one is the nib)
that send a wireless signal to the device using the voltage generated
by applying strain to a piezoelectric element. The stylus thus does
not require batteries or charging.

EXPLODED VIEW
The major internal elements. Of particular importance is the diode
bridge, which allows current to be generated regardless of which
way the generator is turned.
SOLID STATE
HARD DRIVE
PROCESSOR
BATTERY and
PIEZOELECTRIC ELEMENTS
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DIODE BRIDGE
GEARS
GENERATOR
ACCELEROMETER
WIRELESS ANTENNA
CAPACITIVE
TOUCHSCREEN
E-PAPER DISPLAY

SORT BY AUTHOR
Absalom, Absalom!
The Adventures of Huck...
Animal Farm
Atlas Shrugged
Blink
Library
REFERENCE
Search
Dictionary
Thesaurus
Encyclopedia
Active Reading
FICTION BESTSELLERS
South of Broad
Smash Cut
The Help
That Old Cape Magic
The Girl Who Played Wi...
The Eleventh Victim
BiblioStore
TEXT
Text Size (10pt)
Typeface (Sabon)
Language (English)
Preferences
THE INTERFACE
A Border Passage
Catch-22
Common Sense
The Design of Everyday...
Don Quixote
Dress Your Family in Co...
Dr. Jekyll and Mr. Hyde
APPLICATIONS
Notes
Fictional Convergences
Comprehension Quiz
Book Club
The Neighborhood
NON-FICTION BESTSELLERS
Culture of Corruption
Outliers
Liberty and Tyranny
In the President’s Secret...
Catastrophe
The Wilderness Warrior
CONTROLS
Touchscreen
Buttons
Keyboard
Stylus
The Elements of Style
Ender's Game
The English Patient
A Farewell to Arms
The Fountainhead
The Giver
The God Delusion
GAMES
Word Search
Lingo
Speed Reading
RECOMMENDED
The Art of Looking Side...
Critical Path
Finnegan’s Wake
The God of Small Things
I Miss My Pencil
Slaughterhouse-Five
TECHNICAL
Network
Color
Audio
The Grapes of Wrath
Great Expectations
The Great Gatsby
Gulliver’s Travels
Hamlet
The Handmaid’s Tale
Heart of Darkness
EDIT
Re-write
The Editor
Fan Fiction
FREEBIES
Aesop’s Fables
The Book of Jonah
Beowulf
Gulliver’s Travels
The Invisible Man
Jane Eyre
FURTHER
About
Reset
SORT BY AUTHOR
Absalom, Absalom!
The Adventures of Huck...
Animal Farm
Atlas Shrugged
Blink
A Border Passage
Catch-22
Common Sense
The Design of Everyday...
Don Quixote
Dress Your Family in Co...
Dr. Jekyll and Mr. Hyde
The Elements of Style
Ender's Game
The English Patient
A Farewell to Arms
The Fountainhead
The Giver
The God Delusion
The Grapes of Wrath
Great Expectations
The Great Gatsby
Gulliver’s Travels
Hamlet
The Handmaid’s Tale
Heart of Darkness
The Hobbit
Hound of the Baskervilles
The Elements of Style
Ender's Game
The English Patient
A Farewell to Arms
The Fountainhead
The Giver
The God Delusion
The Grapes of Wrath
Great Expectations
The Great Gatsby
Gulliver’s Travels
Hamlet
The Handmaid’s Tale
Heart of Darkness
Library
The Hobbit
Hound of the Baskervilles
Ideas: A History of Thou...
Into Thin Air
The Joy Luck Club
The Last Lecture
The Last of the Mohicans
The Laws of Simplicity
Life of Pi
Lord of the Flies
Massive Change
Me Talk Pretty One Day
The Metamorphosis
Midnight's Children
Moby-Dick
Moll Flanders
Mythology
The Namesake
Native Son
The New Testament
No Exit
The Old Testament
Oliver Twist
One Hundred Years of S...
On the Road
Operating Manual for
Spaceship Earth
Outliers
A Passage to India
The Picture of Dorian Gr...
A Portrait of the Artist as...
A Prayer for Owen Meany
Pride and Prejudice
Processing
The Red Pony
The Republic
Robinson Crusoe
The Satanic Verses
A Seperate Peace
Siddhartha
Slaughterhouse-Five
Things Fall Apart
The Things They Carried
A Thousand Splendid S...
tee what domestic animal? Tee dash ar most courageous mariner.
Good voice he has still. No eunuch yet with all his belongings.
Listen. Bloom listened. Richie Goulding listened. And by the
door deaf Pat, bald Pat, tipped Pat, listened. The chords harped
slower.
The voice of penance and of grief came slow, embellished, tremulous.
Ben's contrite beard confessed. IN NOMINE DOMINI, in
God's name he knelt. He beat his hand upon his breast, confessing:
MEA CULPA.
Latin again. That holds them like birdlime. Priest with the
communion corpus for those women. Chap in the mortuary,
cof�n or coffey, CORPUSNOMINE. Wonder where that rat is by
now. Scrape.
Tap.
They listened. Tankards and miss Kennedy. George Lidwell,
eyelid well expressive, fullbusted satin. Kernan. Si.
The sighing voice of sorrow sang. His sins. Since Easter he had
cursed three times. You bitch's bast. And once at masstime he
had gone to play. Once by the churchyard he had passed and for
his mother's rest he had not prayed. A boy. A croppy boy.
Bronze, listening, by the beerpull gazed far away. Soulfully.
Doesn't half know I'm. Molly great dab at seeing anyone looking.
Bronze gazed far sideways. Mirror there. Is that best side of her
face? They always know. Knock at the door. Last tip to titivate.
Cockcarracarra.
What do they think when they hear music? Way to catch rattlesnakes.
Night Michael Gunn gave us the box. Tuning up. Shah of
Persia liked that best. Remind him of home sweet home. Wiped
his nose in curtain too. Custom his country perhaps. That's
music too. Not as bad as it sounds. Tootling.
272
The Tipping Point
To Kill a Mockingbird
The Trial
Ulysses
The Unbearable Lightne...
Uncle Tom's Cabin
Universal Principles of D...
The Visual Display of Qu...
When You Are Engulfed...
The Yellow Wallpaper
EXPAND LIBRARY 1 RESUME ULYSSES 2
using a color e-paper display that only consumes power when
updated and a capacitive touchscreen, Bibliofile’s interface supports
stylus or finger interaction. It was designed with the challenge of
updating the display as little as possible to conserve energy.
Press or circle Expand icon
Underline or touch Ulysses with stylus
Use stylus to write notes in the margin
Pull �ipper up to advance a page
tee what domestic animal? Tee dash ar most courageous mariner.
Good voice he has still. No eunuch yet with all his belongings.
Listen. Bloom listened. Richie Goulding listened. And by the
door deaf Pat, bald Pat, tipped Pat, listened. The chords harped
slower.
The voice of penance and of grief came slow, embellished, tremulous.
Ben's contrite beard confessed. IN NOMINE DOMINI, in
God's name he knelt. He beat his hand upon his breast, confessing:
MEA CULPA.
Latin again. That holds them like birdlime. Priest with the
communion corpus for those women. Chap in the mortuary,
cof�n or coffey, CORPUSNOMINE. Wonder where that rat is by
now. Scrape.
Tap.
They listened. Tankards and miss Kennedy. George Lidwell,
eyelid well expressive, fullbusted satin. Kernan. Si.
The sighing voice of sorrow sang. His sins. Since Easter he had
cursed three times. You bitch's bast. And once at masstime he
had gone to play. Once by the churchyard he had passed and for
his mother's rest he had not prayed. A boy. A croppy boy.
Bronze, listening, by the beerpull gazed far away. Soulfully.
Doesn't half know I'm. Molly great dab at seeing anyone looking.
Bronze gazed far sideways. Mirror there. Is that best side of her
face? They always know. Knock at the door. Last tip to titivate.
Cockcarracarra.
What do they think when they hear music? Way to catch rattlesnakes.
Night Michael Gunn gave us the box. Tuning up. Shah of
Persia liked that best. Remind him of home sweet home. Wiped
his nose in curtain too. Custom his country perhaps. That's
music too. Not as bad as it sounds. Tootling.
TAKE NOTES WITH STYLUS 3 GO TO NEXT PAGE 4
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2
3
4
272

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6
7
Push or pull �ipper while pressing right button.
Underline “crocus” while pushing button on stylus.
Touch stylus in application to release word there.
Write “140” adjacent to page number and use �ipper.
Brasses braying asses through uptrunks. Doublebasses, helpless,
gashes in their sides. Woodwinds mooing cows. Semigrand open
crocodile music hath jaws. Woodwind like Goodwin's name.
She looked �ne. Her crocus dress she wore, lowcut, belongings
on show. Clove her breath was always in theatre when she bent
to ask a question. Told her what Spinoza says in that book of
poor papa's. Hypnotised, listening. Eyes like that. She bent. Chap
in dresscircle, staring down into her with his operaglass for all he
was worth. Beauty of music you must hear twice. Nature woman
half a look. God made the country man the tune. Met him pike
hoses. Philosophy. O rocks!
All gone. All fallen. At the siege of Ross his father, at Gorey all his
brothers fell. To Wexford, we are the boys of Wexford, he would.
Last of his name and race.
I too, last my race. Milly young student. Well, my fault perhaps.
No son. Rudy. Too late now. Or if not? If not? If still?
He bore no hate.
Hate. Love. Those are names. Rudy. Soon I am old.
Big Ben his voice unfolded. Great voice, Richie Goulding said, a
�ush struggling in his pale, to Bloom, soon old but when was
young.
Ireland comes now. My country above the King. She listens. Who
fears to speak of nineteen four? Time to be shoving. Looked
enough.
-- Bless me, father, Dollard the croppy cried. Bless me and let me
go.
Tap.
Bloom looked, unblessed to go. Got up to kill: on eighteen bob a
week. Fellows shell out the dibs. Want to keep your weathereye
open. Those girls, those lovely. By the sad sea waves. Chorusgirl's
romance. Letters read out for breach of promise. From Chicka-
273
PROMPT ACTIVE READING MARGIN
5
Brasses braying asses through uptrunks. Doublebasses, helpless,
gashes in their sides. Woodwinds mooing cows. Semigrand open
crocodile music hath jaws. Woodwind like Goodwin's name.
She looked �ne. Her crocus dress she wore, lowcut, belongings
on show. Clove her breath was always in theatre when she bent
to ask a question. Told her what Spinoza says in that book of
poor papa's. Hypnotised, listening. Eyes like that. She bent. Chap
in dresscircle, staring down into her with his operaglass for all he
was worth. Beauty of music you must hear twice. Nature woman
half a look. God made the country man the tune. Met him pike
hoses. Philosophy. O rocks!
All gone. All fallen. At the siege of Ross his father, at Gorey all his
brothers fell. To Wexford, we are the boys of Wexford, he would.
Last of his name and race.
I too, last my race. Milly young student. Well, my fault perhaps.
No son. Rudy. Too late now. Or if not? If not? If still?
He bore no hate.
Hate. Love. Those are names. Rudy. Soon I am old.
Big Ben his voice unfolded. Great voice, Richie Goulding said, a
�ush struggling in his pale, to Bloom, soon old but when was
young.
Ireland comes now. My country above the King. She listens. Who
fears to speak of nineteen four? Time to be shoving. Looked
enough.
-- Bless me, father, Dollard the croppy cried. Bless me and let me
go.
Tap.
Bloom looked, unblessed to go. Got up to kill: on eighteen bob a
week. Fellows shell out the dibs. Want to keep your weathereye
open. Those girls, those lovely. By the sad sea waves. Chorusgirl's
romance. Letters read out for breach of promise. From Chicka-
273
Brasses braying asses through uptrunks. Doublebasses, helpless,
gashes in their sides. Woodwinds mooing cows. Semigrand open
crocodile music hath jaws. Woodwind like Goodwin's name.
She looked �ne. Her crocus dress she wore, lowcut, belongings
on show. Clove her breath was always in theatre when she bent
to ask a question. Told her what Spinoza says in that book of
poor papa's. Hypnotised, listening. Eyes like that. She bent. Chap
in dresscircle, staring down into her with his operaglass for all he
was worth. Beauty of music you must hear twice. Nature woman
half a look. God made the country man the tune. Met him pike
hoses. Philosophy. O rocks!
All gone. All fallen. At the siege of Ross his father, at Gorey all his
brothers fell. To Wexford, we are the boys of Wexford, he would.
Last of his name and race.
I too, last my race. Milly young student. Well, my fault perhaps.
No son. Rudy. Too late now. Or if not? If not? If still?
He bore no hate.
Hate. Love. Those are names. Rudy. Soon I am old.
Big Ben his voice unfolded. Great voice, Richie Goulding said, a
�ush struggling in his pale, to Bloom, soon old but when was
young.
Ireland comes now. My country above the King. She listens. Who
fears to speak of nineteen four? Time to be shoving. Looked
enough.
-- Bless me, father, Dollard the croppy cried. Bless me and let me
go.
Tap.
Bloom looked, unblessed to go. Got up to kill: on eighteen bob a
week. Fellows shell out the dibs. Want to keep your weathereye
open. Those girls, those lovely. By the sad sea waves. Chorusgirl's
romance. Letters read out for breach of promise. From Chicka-
273
SEARCH
DICTIONARY
cro·cus (kroh-kuhs) n.
1 Any of the small, bulbous
plants of the genus Crocus, of
the iris family
2 A deep yellow; saffron.
[ME < L < Gk krókos saffron]
— cro·cused adj.
FICT. CONVERGENCES
WORD SEARCH
SKIP TO PAGE 140
SEARCH
DICTIONARY
FICT. CONVERGENCES
WORD SEARCH
7
Same blue serge dress she had two years ago, the nap bleaching.
Seen its best days. Wispish hair over her ears. And that dowdy
toque: three old grapes to take the harm out of it. Shabby genteel.
She used to be a tasty dresser. Lines round her mouth. Only a
year or so older than Molly.
See the eye that woman gave her, passing. Cruel. The unfair sex.
He looked still at her, holding back behind his look his discontent.
Pungent mockturtle oxtail mulligatawny. I'm hungry too.
Flakes of pastry on the gusset of her dress: daub of sugary �our
stuck to her cheek. Rhubarb tart with liberal �llings, rich fruit
interior. Josie Powell that was. In Luke Doyle's long ago,
Dolphin's Barn, the charades. U.p: up.
Change the subject.
-- Do you ever see anything of Mrs Beaufoy? Mr Bloom asked.
-- Mina Purefoy? she said.
Philip Beaufoy I was thinking. Playgoers' club. Matcham often
thinks of the masterstroke. Did I pull the chain? Yes. The last act.
-- Yes.
-- I just called to ask on the way in is she over it. She's in the
lying-in hospital in Holles street. Dr Horne got her in. She's three
days bad now.
-- O, Mr Bloom said. I'm sorry to hear that.
-- Yes, Mrs Breen said. And a houseful of kids at home. It's a very
stiff birth, the nurse told me.
-- O, Mr Bloom said.
His heavy pitying gaze absorbed her news. His tongue clacked in
compassion. Dth! Dth!
-- I'm sorry to hear that, he said. Poor thing! Three days! That's
140
Same blue serge dress she had two years ago, the nap bleaching.
Seen its best days. Wispish hair over her ears. And that dowdy
toque: three old grapes to take the harm out of it. Shabby genteel.
She used to be a tasty dresser. Lines round her mouth. Only a
year or so older than Molly.
See the eye that woman gave her, passing. Cruel. The unfair sex.
He looked still at her, holding back behind his look his discontent.
Pungent mockturtle oxtail mulligatawny. I'm hungry too.
Flakes of pastry on the gusset of her dress: daub of sugary �our
stuck to her cheek. Rhubarb tart with liberal �llings, rich fruit
interior. Josie Powell that was. In Luke Doyle's long ago,
Dolphin's Barn, the charades. U.p: up.
Change the subject.
-- Do you ever see anything of Mrs Beaufoy? Mr Bloom asked.
SEARCH
-- Mina Purefoy? she said.
Philip Beaufoy I was thinking. Playgoers' club. Matcham often
thinks of the masterstroke. Did I pull the chain? Yes. The last act.
-- Yes.
-- I just called to ask on the way in is she over it. She's in the
lying-in hospital in Holles street. Dr Horne got her in. She's three
days bad now.
-- O, Mr Bloom said. I'm sorry to hear that. DICTIONARY
cro·cus (kroh-kuhs) n.
-- Yes, Mrs Breen said. And a houseful of kids at home. It's a very
SEARCH
DICTIONARY
cro·cus (kroh-kuhs) n.
1 Any of the small, bulbous
plants of the genus Crocus, of
the iris family
2 A deep yellow; saffron.
[ME < L < Gk krókos saffron]
— cro·cused adj.
FICT. CONVERGENCES
WORD SEARCH
DEFINE “CROCUS” 6
LEFT-HANDED USE
SEARCH
DICTIONARY
cro·cus (kroh-kuhs) n.
1 Any of the small, bulbous
plants of the genus Crocus, of
the iris family
2 A deep yellow; saffron.
stiff birth, the nurse told me.
-- O, Mr Bloom said.
1 Any of the small, bulbous
plants of the genus Crocus, of
the iris family
2 A deep yellow; saffron.
[ME < L < Gk krókos saffron]
— cro·cused Same adj. blue serge dress she had two years ago, the nap bleaching.
Seen its best days. Wispish hair over her ears. And that dowdy
toque: three old grapes to take the harm out of it. Shabby genteel.
FICT. CONVERGENCES
She used to be a tasty dresser. Lines round her mouth. Only a
year or so older than Molly.
See the eye that woman gave her, passing. Cruel. The unfair sex.
He looked still at her, holding back behind his look his discontent.
Pungent mockturtle oxtail mulligatawny. I'm hungry too.
Flakes of pastry on the gusset of her dress: daub of sugary �our
stuck to her cheek. Rhubarb tart with liberal �llings, rich fruit
interior. Josie Powell that was. In Luke Doyle's long ago,
WORD Dolphin's SEARCH Barn, the charades. U.p: up.
Change the subject.
-- Do you ever see anything of Mrs Beaufoy? Mr Bloom asked.
His heavy pitying gaze absorbed her news. [ME His < L tongue < Gk krókos clacked saffron] in
compassion. Dth! Dth!
— cro·cused adj.
-- Mina Purefoy? she said.
-- I'm sorry to hear that, he said. Poor thing! Three days! That's
FICT. CONVERGENCES
140
Philip Beaufoy I was thinking. Playgoers' club. Matcham often
thinks of the masterstroke. Did I pull the chain? Yes. The last act.
-- Yes.
-- I just called to ask on the way in is she over it. She's in the
lying-in hospital in Holles street. Dr Horne got her in. She's three
days bad now.
-- O, Mr Bloom said. I'm sorry to hear that.
WORD SEARCH
-- Yes, Mrs Breen said. And a houseful of kids at home. It's a very
stiff birth, the nurse told me.
-- O, Mr Bloom said.
His heavy pitying gaze absorbed her news. His tongue clacked in
compassion. Dth! Dth!
-- I'm sorry to hear that, he said. Poor thing! Three days! That's
140

CAMERA FOR THE BLIND
TANGIBLE INTERACTION DESIGN
26

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CAMERA for the BLIND / 2007 / UNIVERSAL DESIGN
deSIgnIng A cAMeRA for the visually-impaired seems
like an absurd idea. however, many blind people will share
photographs of vacations, loved ones and other memorable
things to sighted people without being able to see the image
themselves. This camera’s simple, physical interaction allows
the visually-impaired to take digital images with accompanying
audio messages for sharing with others. Additionally, the
photographs could be vectorized and laser cut, creating a new
service of developing physical pictures that can be “seen”
through touch.

ITERATIVE PROTOTYPING
Through a series of increasingly sophisticated prototypes, I explored
size, material tactility and methods of interaction. The camera’s
simple intersecting geometries can be identified easily without sight.
28

USER-TESTING
FEELING IMAGES
PICTURE TAKING PICTURE VIEWING
29
PRIMARY RESEARCH
Interviews and user-testing with the visually-impaired was done at
the Library for the Blind and Physically handicapped in Pittsburgh
In addition to garnering feedback through physical models, I
explored and tested different methods for how the blind might be
able to “see” images through touch.
I found that blind people could read outlined edges (like that of the
hand shown) better than a raised image relief, and formulated the
concept of a service for developing touchable pictures.
SCENARIO
A blind person, Marie, locates a statue using her four strong senses. She
sets up a shot to record the moment, taking a photograph and recording
an audio message about her thoughts on the statue’s cold, hard form.
Later that day Marie uses the camera to lead her sighted friend, Ben
through her trip. She uses the audio messages accompanying each
picture as a guide and catalyst for further conversation.

1. SETUP THE PICTURE
Rotating the outside ring changes the camera mode between
Off, Picture-taking and Picture-viewing. Raised
thumb indicators confirm what mode you’re
in. In setting up a shot, the user can pull
the lens toward the subject to zoom in
and use the face-recognition software
to compose the image.
2. RECORD THE MOMENT 3. SHARE THE STORY
default button position Push button down to
take a photograph
Button releases to a
higher position
Push and hold to record
an accompanying audio
message
30
In Picture-viewing mode, photographs can be cycled through
by spinning the outside ring slightly in either direction, moving
through the pictures and audio tags like a strip of film.

A TANGIBLE MODEL
The final model used moving parts to demonstrate the interactions.
It had to be quite durable to deal with all the touching it was
subjected to.
31

Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 39,851 Calories from Fat 14,076
Total Fat 1564g 1618%
Saturated Fat 566g 1756%
Cholesterol 18,051mg 6017%
Sodium 12,029mg 501%
Total Carbohydrate 1525g 407%
Dietary Fiber 262g 875%
Protein 4786g
Vitamin A 547% Vitamin C 1352%
Calcium 282% Iron 7132%
*Percent Daily Values are based on a 2,900 calorie
diet.
32
THE FOOD OF ART
NUTRITION FACTS IN PAINT
Frans Snyders

33
The FOOD of ART / 2007 / DATA VISUALIZATION
ThIS SeRIeS AnALYzeS twelve still life masterpieces for
their nutritional content through the creation of nutrition
Facts labels. Though the piece is obviously humorous, the data
is rich and often indicative of the artist’s socioeconomic status.
For example, compare the court painter Frans Snyders’ 39,851
calorie feast on the previous page to Vincent Van gogh’s wine,
tobacco and three meager onions.
THE FRAME GALLERY / PITTSBURGH

Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 145 Calories from Fat 3
Total Fat 0g 0%
Saturated Fat 0g 0%
Cholesterol 0mg 0%
Sodium 0mg 0%
Total Carbohydrate 39g
10%
Dietary Fiber 7g 23%
Protein 2g
Vitamin A 37% Vitamin C 26%
Calcium 2% Iron 4%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 5914 Calories from Fat 873
Total Fat 97g 179%
Saturated Fat 52g 161%
Cholesterol 320mg 107%
Sodium 3300mg 138%
Total Carbohydrate 1007g 269%
Dietary Fiber 128g 426 %
Protein 83g
Vitamin A 128% Vitamin C 1221%
Calcium 147% Iron 326%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 429 Calories from Fat 267
Total Fat 30g 45%
Saturated Fat 9g 45%
Cholesterol 1269mg 423%
Sodium 420mg 18%
Total Carbohydrate 3g
1%
Dietary Fiber 0g 0%
Protein 39g
Vitamin A 30% Vitamin C 0%
Calcium 15% Iron 30%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 39,851 Calories from Fat 14,076
Total Fat 1564g 1618%
Saturated Fat 566g 1756%
Cholesterol 18,051mg 6017%
Sodium 12,029mg 501%
Total Carbohydrate 1525g 407%
Dietary Fiber 262g 875%
Protein 4786g
Vitamin A 547% Vitamin C 1352%
Calcium 282% Iron 7132%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 14,943 Calories from Fat 4608
Total Fat 512g 529%
Saturated Fat 105g 327%
Cholesterol 5783mg 1928%
Sodium 8973mg 374%
Total Carbohydrate 47g 13%
Dietary Fiber 0g 0%
Protein 2389g
Vitamin A 564% Vitamin C 1517%
Calcium 394% Iron 944%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 4832 Calories from Fat 384
Total Fat 32g 64%
Saturated Fat 32g 96%
Cholesterol 0mg 0%
Sodium 44,256mg 1856%
Total Carbohydrate 1088g 352%
Dietary Fiber 96g 384%
Protein 128g
Vitamin A 640% Vitamin C 1728%
Calcium 96% Iron 480%
*Percent Daily Values are based on a 2,900 calorie
diet.
34
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 1013 Calories from Fat 216
Total Fat 24g 25%
Saturated Fat 6g 20%
Cholesterol 197mg 66%
Sodium 1264mg 53%
Total Carbohydrate 113g 30%
Dietary Fiber 20g 68%
Protein 86g
Vitamin A 3% Vitamin C 10%
Calcium 43% Iron 83%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 1478 Calories from Fat 117
Total Fat 13g 13%
Saturated Fat 1g 2%
Cholesterol 0mg 0%
Sodium 104mg 4%
Total Carbohydrate 353g 94%
Dietary Fiber 36g 118 %
Protein 29g
Vitamin A 979% Vitamin C 607%
Calcium 56% Iron 125%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 5806 Calories from Fat 2106
Total Fat 234g 243%
Saturated Fat 66g 206%
Cholesterol 1054mg 351%
Sodium 5123mg 213%
Total Carbohydrate 913g 243%
Dietary Fiber 42g 141%
Protein 76g
Vitamin A 47% Vitamin C 127%
Calcium 80% Iron 352%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 3501 Calories from Fat 1449
Total Fat 161g 167%
Saturated Fat 40g 124%
Cholesterol 5040mg 1680%
Sodium 1887mg 79%
Total Carbohydrate 10g
4%
Dietary Fiber 0g 0%
Protein 468g
Vitamin A 85% Vitamin C 0%
Calcium 64% Iron 520%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 1473 Calories from Fat 9
Total Fat 1g 1%
Saturated Fat 0g 0%
Cholesterol 0mg 0%
Sodium 103mg 4%
Total Carbohydrate 58g
15%
Dietary Fiber 5g 18%
Protein 7g
Vitamin A 0% Vitamin C 21%
Calcium 21% Iron 82%
*Percent Daily Values are based on a 2,900 calorie
diet.
Nutrition Facts
Serving Size 1 painting
Servings Per Container 12
Amount Per Serving
Calories 383 Calories from Fat 9
Total Fat 1g 2%
Saturated Fat 0g 0%
Cholesterol 0mg 0%
Sodium 45mg 2%
Total Carbohydrate 32g
9%
Dietary Fiber 0g 0%
Protein 4g
Vitamin A 2% Vitamin C 185%
Calcium 17% Iron 34%
*Percent Daily Values are based on a 2,900 calorie
diet.

35
FURNITURE
DESIGN AND CONSTRUCTION

36
FURNITURE / 2006-2009 / FURNITURE STUDIO
ThIS SecTIOn hIghLIghTS various pieces of furniture I’ve
designed and constructed. The chair and lamp seek to expose
the beauty of utilitarian materials: plywood, industrial felt and
paper. Two tables explore the boundaries of what constitutes
a surface, providing a deconstructed space for placing objects
on or in instead of a flat two-dimensional plane. The last piece
came out of a series of experiments in designing parasitic and
symbiotic furniture.

SLATTED TABLE
SYMBIOTE
THE MOLD
SILICONE FEET
PROTOTYPES
38
CLAMP-ON TABLE
PARASITE
A HOMOGENEOUS SURFACE
SPLITS INTO TWO
AND LEANS ON THE WALL

HAND-MADE
SCULPTING WITH FILM
39

40
HAND-MADE / 2008 / THE INTERACTIVE IMAGE
This project explores the idea of sculpting objects with film.
each frame of the moving image is separated by space instead
of time, resulting in three-dimensional form. Although these
unique vessels are computationally traced and cut, the form is
generated using a hand-sculpting process. Software was coded
in Processing to convert the pixel-based frames into vector
graphics for laser cutting.
Tracing works best with
high-contrast video. This is
best shot in a back-lit photo
studio environment.
each frame is converted to
black and white to provide a
distinct boundary for tracing.
A chain-code algorithm
draws a line between adjacent
boundary pixels, creating a
vector graphic.

nadeem.haidary@gmail.com
www.nadeemhaidary.com
“The FOOd OF ART” cITATIOnS:
unknown Roman; Still life with Peaches & Jar, c. 50 A.d.; naples national
Archaeological Museum
Frans Snyders (1579-1657); Still Life with Fruit, Vegetables and Dead
Game, c. 1635-1637; The detroit Institute of Arts
willem van Aelst (1627-c. 1687); Breakfast Still Life, 1671; Academy of
Fine Arts Vienna
Jean-Baptiste-Siméon chardin (1699-1779); Still Life with Slice of Salmon,
c. 1734
hermenegildo Bustos (1832-1907); Still Life with Fruit and Toad, 1874;
Museo de Alhondiga de granaditas, guanajuato, Mexico
Vincent van gogh (1853-1890); Still Life: Drawing Board, Pipe, Onions and
Sealing Wax, 1889; kröller-Müller Museum, Otterlo, The netherlands
Paul cézanne (1839-1906); Still Life with Basket of Apples, 1890-1894;
Art Institute of chicago
chaïm Soutine (1893-1943); Still Life with Skate, 1923; The cleveland
Museum of Art
Andy warhol (1928-1987); Campbell's Soup Cans, 1962; The Museum of
Modern Art, new York city
william Bailey (1930); Eggs, 1966
Fernando Botero (1932); Columbian Still Life, 1969;
Roy Lichtenstein (1923-1997); Cubist Still Life, 1974; national gallery of
Art, washington d.c.