This degree work positions itself in the field of textile design, in the form of a sculptural andarchitectonic installation focusing on tactility. Modern architecture has lost its totality since we live in the hegemony of the vision —excluding tactility, meaning sensation and other senses. The importance of this issue has to do with non-reconciliation with nature when tactility is excluded in architecture. Tactile sensation is important within space, for our consciousness and contact with others. The aim of the work is to design Jacquard woven textiles with haptic (tactile) qualities, that will function as surface on a modular construction. A design process that exclusively involves elements that the eye can perceive, design set in computer programs, results more often in materialism that lack haptic and tactile quality. Deconstructivism demonstrates strained spaces that have reached a peak, and the role of the architectural lane in this study is that it stands as an ultimate representation of the consequense of digital based design. The study was based on the definition of Deconstructivism; such as Modernistic figures that are distorted. Defining words such as disharmony, asymmetry and distortion were targeted. The design process of this degree work consisted of examining modern architecture, to design constructions and patterns, and tactile explorations in the Jacquard weave. Deconstructing Modernistic figures and applying tactile surfaces on a construction gave the result of three different interpretations of tactility within Deconstructivism. The study subsists as textile design in an architectural context, from the perspective of modern architecture and the lack of tactility within contemporary, digital based design. The value of this work is its haptic focal point, existing in an architectural context that has lost its haptic materiality.