lale, final bachelor project

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Final bachelor project B3.2by Tove Elffer ich s102218 Coached by Johanna Kint June 2013

Lâlean art ific ia l flower that st imulates social- and cultural interact ion in publ ic spaces

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This document describes and visualizes the process

and final outcome of my final bachelor project.

‘Migration of rituals’ is a cross-cultural project between

Cultural Interventions, Out of Control and Wearable

Senses proposed by Johanna Kint and Figen Isik.A

The aim of the project ‘Migration of Rituals’ is to

design a culture bridge between two cultures.

Workshop weeks were organised during the project

to experience a lifelong design experience with

multicultural issues through design in action in in an

urban context.

The workshops were related to an international,

cross-culture and cross-disciplinary Erasmus IP

project initiated by LUCA – School of Arts Campus St

Lukas Brussels and the TU/e in cooperation with a

METU partner from Ankara.

Aims of the workshops (in Brussels and Ankara) and

exhibition:

• Develop interactive tools to look at cultural

differentiation, reflection and

introspection on cultural issues

• Make the Turkish people aware of the way we

perceive them and vice

versa

• Create a cultural bridge between cultures

These workshops have been part and of the process

of the final project and have served as great inspiration

and learning experience for the final design.

The entire project the main focus was on a process

based on reflection and action upon culturally

embedded aesthetics, ethical values and their

relevance on the language of dynamic form and

gesture. There was looked for an approach based

on embodiment and phenomenology as a means

that allows to diverge from rational thinking and

positivism. Within the context of this process there

Abstract

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concept could be validated based on earlier research

and experiences this project process. The final design

is an artistic interactive installation for use in public

spaces in multicultural neighbourhoods. As Lâle is a

non-profit product, residents of the neighbourhood

should collectively participate the fundraising platform

to realise Lâle. Working towards the realisation of Lâle

is already a start of the improvement of the social

cohesion in the neighbourhood.

has been looked for different ways to enhance

mutual respect and appreciation as a basic attitude to

cultural dialogue and understanding. This reflection

on action is an intercultural context is what was to be

considered as a new languages.

Workshops and experiences learn and emphasize

the difficulty of exchanging social- and cultural values

with people with a different cultural background.

Out of experiences there was concluded that this

exchange consists out of a long-term process, which

cannot be done in a few hours. For this reason the

final design focuses on the stimulation of social

cohesion between people with cultural backgrounds,

as this is the first step towards the exchange of social-

and cultural values.

All the gained knowledge and experiences of the

project are concluded into one final design. Design

decisions made during the process for the final

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Abstract 2.

Introduction 6.

Project process 7.

Research 8.What is culture? 10.How to get in touch with other cultures? 14.How to exchange cultural values? 18.Conclusion

Process 24. Workshop Brussels 26.Workshop Ankara 30.Final design 34.

Table of content

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Final design 46. Introduction 47.Context and target group 48.Materials 50.Behaviour 52.Technology 54.

Business 56.Market position 57.Fundraising 58.

Discussion and 63.recommendation

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Introduction

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I am an open minded person, not afraid for the

unknown. As I am not afraid and approach the

world open-minded with a positive attitude, the

unknown sometimes does bring unexpected

good things.

Strange habits and unknown rituals I rub shoulder

with, stories that people tell, discussions with

people who have another point of view or just a

talk with someone who sees the world through

different eyes, each of these single experiences

I gain are personal enrichments and a source of

inspiration.

We live in a world full of people with different

backgrounds, different cultures and different

views on the world. By sharing our differences

and teaching each other, we could all benefit

from the variety in our beautiful world.

The workshops in Brussels and Ankara have

been part of my overall project process,

including the approach of reflection and action.

These workshops have served as a source of

inspiration, gave the opportunity to experience

the project in context and have provided the

opportunity for different iterations during the

project which made me eager to learn. All the

learning experiences and gained knowledge are

processed in the final design, which makes me

very proud as it really translate my vision into a

design.

I hope you enjoy reading as much as I enjoyed

the project and its outcomes!

Kind regards,

Tove

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Process visual

Vision to design

Literary research

Ideation

Conceptualisation

Research in context Ideation

Conceptualisation

Validating incontext

Design User experience

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�hape pro�ect �ision Reseach in

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Validating in context

Design

Conceptualisationt

Research in context

�inal prototype

User experience

�usiness

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1. 2.RESEARCH

Introduction

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Culture, cultural differences and everything related

to it, is something that should be experienced. It is

not something that can be learned from books.

Research will contribute to the value and awareness

of the experience, but will not guarantee a desired

experience.

In this project the main focus was, according to the

proposer, on a process based on reflection and

action upon culturally embedded aesthetics and

ethical values and their relevance on the language

of dynamic form and gesture.

There was looked for an approach based on

embodiment and phenomenology as a means

that allows to diverge from rational thinking and

positivism. Within the context of this process there

has been looked for different ways to enhance

mutual respect and appreciation as a basic attitude

to cultural dialogue and understanding. This

reflection on action is an intercultural context is what

will be considered as a new languages.1

Research of this project has been divided into three

parts.

1. What is culture? Literary research was done to

define the definition, meaning and most important

aspects of culture.

2. How to get in touch with culture? By means of

choreography, movement and bodily interaction

there was tried to understand and experience the

cultural differences with the Turkish community

living in the neighbourhood and to develop cultural

probes.

3. How to exchange cultural values? During the

workshop in Ankara, the design process was a

search for a way to exchange cultural values through

an installation. But not only the design process itself,

but also the collaboration with Turkish students was

a challenge and search for exchange of values.

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The goal of this literary research part of this project

was to create an understanding of the content of the

project, to define the definition, meaning and most

important aspects of culture.

Human nature

Every person in this world has his or her unique

personality, history and interest, but even though

human seems to have a common nature. For ages

the discussion has been going on about the question

‘is human behaviour motivated by a universal “human

nature” or is human behaviour learned through

culture?’

According to some anthropologist as Donald Brown2

humans do share a common human nature. The

shared humans nature is intensely social: human are

group animals. Humans use language and empathy,

and practice collaboration and intergroup competition.

But the unwritten rules of how human do these things

differ from one human group to another. According

to Hofstede3 is it ‘culture’ that creates the differences

between these groups.

Definition culture

The word “culture” stems from a Latin root that means

the tilling of the soil, like in agriculture.

Nowadays the word is used in a figurative sense, with

two meanings that should not be confused.

1. The world culture can refer to the meaning of

‘civilization’, including education, manners, arts, crafts

and products.

2. The other meaning derives from social anthropology.

It refers to the way people think, feel and act. As Geert

Hofstede defined in a simple way: ‘the unwritten rules

of the social game’.

Learn a culture

During most of this time, competition between bands

of gatherer-hunters was a powerful evolutionary

pressure. As a result our social and intellectual skills

What is culture?

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have become ever bigger. But we did not lose the

elements of our behaviour that identify us as social

mammals. Fights for dominance, competition for

partners, a wish to belong and to know who does not

belong - all of these basic drives are alive in us.

An individual human being acquires most of her or his

programming during childhood, before puberty. In

this phase of our lives we have an incredible capacity

for absorbing information and following examples

from our social environment: our parents and other

elders, our siblings and playmates. But all of this is

constrained by our physical environment: its wealth

or poverty, its threats or safety, its level of technology.

All human groups, from the nuclear family to society,

develop cultures as they go. Culture is what enables a

group to function smoothly.

Different cultures

Human culture is the result of hundreds of thousands

of years of evolution. Distinguished countries (rather

than individuals) has since the beginning dealt

with anthropological problem areas that different

national societies handle differently: ways of coping

with inequality, ways of coping with uncertainty, the

relationship of the individual with her or his primary

group, and the emotional implications of having been

born as a girl or as a boy.

Hofstede4 describes these four dimensions of national

culture: power distance, uncertainty avoidance,

individualism versus collectivism and masculinity

versus femininity as explanation for cultural differences.

“Culture has been defined in a number of ways, but

most simply, as the learned and shared behaviour of a community of interacting

human beings” Useem, J., & Useem, R. (1963). Human

Organizations, 22(3).

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Greeting seems to be something that is related as it is an act of communication in which human beings

internationally make their presence known to each other, to show attention to, and to suggest a type of relationship

or social status. While greeting customs are highly cultural and situation-specific and may change within a culture

depending on social status and relationship, they exist in all known human cultures.

Moodboard cultural greetings

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First encounterThe very first day the assignment was to get to know the neighbourhood and its residents. This is a very hard task if there is no clue where to start, no specific subject to talk about and no specific reason to ask someone something. What is the meaning of ‘getting in touch’ and ‘how do you get introduced to a culture’?

To just start somewhere, there was decided to approach people on the street for a small talk. First approach: shopkeepers as they do not need to go anywhere and do have stuff in the shop to talk about. Resulting in small talks about objects without diverging to broader subjects, as it was the shopkeepers about selling and not talking.

During lunch in the park there was a man sitting on a couch, while is little child was walking around. This was adorable to see, and a smile appeared on the faces the three students. As this child was the connection between the man and the students, a conversation started in a very natural way.

This research question has been based on the workshop that was given in Brussels. The intention of the assignment was to get an understanding and experience the cultural differences with the Turkish community living in the neighbourhood and develop cultural probes. Within the context of this project there was looked for a different way to enhance mutual respect and appreciation as basic attitude to cultural dialogue and understanding.

Research approachThe main aspects for this approach was an open attitude, interest, respect and the ability to change the chosen attitude if necessary. This reflection on action in an intercultural context is what was consider to be a new language. By means of choreography, movement and bodily interaction there was tried to understand and experience the cultural differences with the Turkish community living and to develop cultural probes.

How to get in touch with another culture?

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Out of this and similar encounters that day a conclusion could be made out of experiences. To approach someone an open attitude is required. Showing interest or having a common interest helps the conversation to start. Ask polite questions or give small compliments helps to keep the conversation going. Do not attack the approached person with reproaches and prejudice, but let him or her be the one who does the talk.

Getting in touch, more in depthAs a specific subject for the final design was founded, more research had to be done in depth. For the final design more knowledge had to be acquired about the Hijab, the head scarf for Turkish women. To acquire this knowledge, Turkish women had to be approached to ask if they were willing to tell more about this specific subject. Remarkable was that when a specific question about culture was asked or interest was shown, people are willing to tell and explain everything

they know. One of the requirements is to approach the conversation open-mined and not to create prejudice immediately.

An important and very difficult aspect of doing research by movement and bodily interaction is the depth of knowledge that can be transmitted. Ways that the Hijab can be worn could be acted out, but for more information about for example history and values of the Hijab a spoken languages would be very helpful. But as the people in the neighbourhood did speak Turkish and French and the students spoke Dutch and English, a spoken conversation was excluded.

The final design has been realised through the approach of action, reflection. This all by the use of body languages, as there was no spoken languages. This research did not only contribute to the knowledge and experience of getting in contact, it also contributed to the process of the design as contact with the user was very valuable for the process. More about this process at page 26.

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Brussels research impressionThe following pictures do give an impression of all the different people that were approached to learn how to

get in touch with people with a different cultural background.

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Recognizable were the two different meanings of

culture that are described in chapter 1. These clashed

were caused by different educational backgrounds

and manners, but also as the students had different

ways of communicating and acting.

An example from an experience: Turkish people are

very polite. A group students walked on the street and

got lost. One of the Turkish students asked a passer-

by the right direction. They sent the students to a

certain direction. After 10minutes they were still lost

and asked another passer-by for the direction again.

They were sent a totally different way than the first

time. People are so polite, if you ask them for the right

direction and they do not know where to send you,

they make something up just to be polite and to show

that they are willing to help.

The same politeness was experienced during the

teamwork. Dutch students are being educated to

conduct discussions and to approach things critically.

The aim from the workshop in Ankara was to develop

interactive tools to look at cultural differentiation,

reflection and introspection on cultural issues. To

make Turkish people aware of the way they are

perceived by people and vice versa.

This design process had to be done in a group of five

students: one from Jordan, three from Turkey and

one Dutch student. The design process itself was

based on a research about how to create a bridge

to exchange cultural values, but the composition of

this cultural mixed group made the teamwork and

communication a research project itself.

Exchange values within the teamwork

Door intensieve samenwerking tussen een mix van

Studenten met verschillende culturen waren er in de

eerste week van de workshop behoorlijk wat clashes.

How to exchange cultural values?

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Caused by the politeness of the Turkish students,

there was no way to conduct a discussion as they

saw an argue as something to agree with, instead of

to approach critical.

Trying to exchange cultural values is something to

experience, to reflect upon and to improve the way

of action.

It was evident that every single student (30 in total) had

difficulties during the teamwork and communication

with cultural differences that caused cultural clashes.

with the result that students of the same nationality

pulled toward each other with their frustrations about

the other culture. As there were strict deadlines there

was not much time to avoid further teamwork. Trying

to adopt to each other was the ingredient for smooth

teamwork.

Visible were the individual differences between how

the students reacted upon the cultural differences

and how they acted upon it, this was easier for one

than for another one.

This experiment of exchanging values from different

cultures between groups with different cultural

backgrounds was done in a small setting with only

30 students.

Understandable now is that if two groups with different

backgrounds have to face each other, this will result

in nothing or in extra bonding between de individuals

from the group and extra tension between the two

groups.

The exchange of cultural values, or at least the first

encounters should be in with a small amount of

people at the same time, to keep it manageable.

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Ankara research impressionThe following pictures do give an impression of the way there was tried to exchange social- and cultural

values during the workshop in Ankara. The group picture on the right shows a very special moment: the

end of the exhibition, the group students that started two weeks earlier as individuals with their own cultural

background which causes lots of clashes in the first week were two weeks later a close group with much

more understanding and respect for each other.

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Culture: unwritten rules in a social context. The

fact that most of those rules are unwritten, is

what is makes so hard to learn and understand

a specific culture as outsider.

The meaning of a specific culture, the mind-

set and the cultural values could be introduced

to outsiders if the culture is open-minded

approached. In this case it is important that the

outsider let go his reproaches and prejudices

and show interest. People do encounter more

easily if they have a common interest to talk

about.

The exchange of cultural values requires a

long process, that will not occur during a first

encounter.

Languages is an important aspect that makes

it sometimes very hard to exchange between

people with different cultural backgrounds as

they often do not speak the same languages.

To stimulate first encounters between people

with different backgrounds there should be

created a kind of meeting point.

Out of this research a few requirements for the

final design are formulated:

The final design should bring people with

different cultural backgrounds together for a first

encounter, as that is the first step towards the

exchange of cultural values between people

with different cultural backgrounds.

- The design should be attractive for people with

different cultural backgrounds

Conclusion - research

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- It should be in a public space with a cultural mix

of residents

- No spoken languages should be required.

- It should provide an encounter between people,

with a maximum of six people.

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1. 2.PROCESSiterations + final design

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The final design should be an conclusion of all

the gained knowledge and experiences during

this project. Design decisions made during the

process for the final concept could be validated

based on earlier research and experiences this

project process.

The process is mostly based on action, reflection.

All designs have passed through the process

from design, validating in context and redesign,

this way the user was actively participated in the

design process.

The following part of the report will give

information about the design process and

creation of the individual designs and finally how

those have played a role in the creation of the

final product.

Introduction

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Design goal:

The aim of the workshop in Brussels was to get

an understanding and experience the cultural

differences with the Turkish community living in the

neighbourhood and develop cultural probes. Using

this experience a product had to be chosen out of the

Turkish culture to redesign. The redesign should be a

bridge between two cultures.

As object there was chosen to focus on the Hijab,

the scarf Turkish women wear. The challenge was to

make the Hijab and its function understandable and

to create a low threshold for Western women, as a

bridge between the Turkish and Western culture.

Observation

To create a new design of the Hijab, some knowledge

about the Hijab was required. Therefor observation

was done. Results shows that there are a lot of

different Hijabs with different textures, colours and

remarkable: different ways to wear.

Workshop Brussels iteration 1

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Interviews

Through interviews with users there was searched

for the (cultural) value of the Hijab. Concluded from

interviews, there are different ways to wear a Hijab

and these different ways to wear do have different

meanings. Learned was that the function of the Hijab

is not only expression of religion. Research showed

41% of the women wears it to express identity and

35% uses it as a fashion item.

Design decision

The results of the interviews were decisive for the

design direction of the final design. As expression of

identity and fashion is something that is well known in

the Western culture as well, this should be the focus

for the re-design of the Hijab. There was decided to

translate the meaning and function of the traditional

Turkish scarf and to adopt it into a stylish Western

form as cultural bridge.

First designs

During the first iterations of the design, it seemed not

to be a very simple task. A Dutch girl wearing a scarf

quickly looks like a ‘Dutch farm girl’, even if the scars

was made from Turkish fabric.

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New observations

After the disappointing results of the first iteration

there was decided to go back to the

Turkish experts to gain even more experience and

connection with this object. With more experience

and information there was concluded to focus on

one aspect of the scarf that could be implemented

in the Western society: Scarfs as jewellery and hair

accessory.

New observations

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Final design

New fabrics were bought in different colours and textures,

hear bands and elastics as hair accessory that could be

implemented. The new focus was on abstracting the

Hijab, but keeping the cultural value in mind.

The final design exist out of 6 different designs, differing

in model and colour. The re-designed Hijabs can be

worn by Turkish women and Western women. So does

the new design cover the hair as that is required for the

Turkish women, but it is covered in a fashionable way so

it is also wearable for Western women. Another model

does cover the hair in a nonchalant way, where the end

of the scarf becomes a necklace.

All the designs are very flexible and can be worn in the

way the women want: nonchalant or tightly pinned. This

offers the possibility to wear it in the way it expresses the

desired expression of identity. The choice of different

colours increases the possibility find the best scarf for the

desired expression and fashion statement.

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The aim of the project was to develop interactive

tools to look at cultural differentiation, reflection and

introspection on cultural issues. To create a cultural

bridge between cultures.

24 Students participated in the project (7 Dutch, 3

Belgian, 14 Turkish). The first day, groups were divided

by the students them-selves based on interests and

skills. My final group existed out of 3 Turkish students,

1 Jordanian and myself as Dutch person. Our group

was formed by a common interest to stimulate social

interaction without a spoken languages between

people with different backgrounds.

Observation

As we were interested in stimulating social

interaction between people, we started the project

with observation. We observed how people move

in public spaces and how they (do not) interact with

each other.

Based on the observation we came to the conclusion

that walking down the is an everyday activity with the

result that the people are not aware of this action.

Exploration

With the first exploration we tried to make people

aware of their action by breaking their route with post-

its. Interesting to see that placing something that does

not belong on the ground, causes people to look up

and around them. Like they are wondering where it

comes from.

We made sketches from the movement of people

during the observation without interrupting the route

and with interrupting the route.

Workshop Ankara iteration 2

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From this we can conclude that by breaking the route

that people are used to, you can make them more

aware of their environment. The question is for how

long a route interruption works, as people will get

used to that as well.

Acting out

To experience the movement and greeting moment

ourselves, we have done some acting out exercises.

Passing by, encounter, saying hello, greeting gestures

and more. As we had act out the normal situation, we

did another acting out exercise with an ‘imaginary’

installation that stimulates the encountering. From

this acting out we learned that there might be a risk

that the installation that grabs the attention at the

expense of the encountering of the people.

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During testing we realized that the final tube should

be very big, like 2 meter high and 1 diameter, but

then we realized that filling this with water would cost

around 6000 litre of water.

First prototype

For the first prototype we experimented with an object

that tracks the attention of people, but as the object is

transparent, people will encounter through the object.

The object is an plastic tube where bubbles will pop

up when two people encounter each other. As they

got attracted to the object, they will have a closer look

and see each other through the object. After testing

and discussions with several participants we had

to note a few things. It was the unaware passing by

action that stimulated the bubbles. It was not clear

that the presence of the people was the activator of

the bubbles.

The installation was like the post-its something that

does not belong at that place and therefor it did grab

the attention. But as soon the bubbles disappeared,

the attention disappeared and people continued

their way. For the next iteration we should explore a

medium that last for a longer time, so people won’t

continue their route after two seconds.

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Second prototype

For the second prototype two improvements were

taken; the form of the installation and stimulation of

the interaction with it. As the tube would be too big to

fill with water we made the form rectangular. To make

sure it is only the installation that grabs the attention

and not the structure around it to make it stand, the

second prototype was hung to the ceiling.

The previous prototype grabbed the attention of

people while they walked by, not being aware of their

action. To make this unaware action into an aware

contribution of the people, the prototype invites

people to touch it. As one person does interact, the

prototype gives the feedback that another person

should interact as well. The prototype invited people

to touch by handprints. These handprints actually

forced the people to make this ‘hi’ gesture. After

testing we found out this way was too forced, people

could not give their own interpretation or explore the

working of the installation themselves.

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Final prototype

Due to the time limit decisions had to be taken

based on the explorations and experiments so far.

A plexiglass expert was approached to make a

waterproof aquarium from 150cm x 3cm x 70cm.

The amount of water that would be needed to will the

aquarium was calculated. Based on the weight of the

aquarium, a framework for the aquarium could be

made. Due to technical problems there was decided

to make the frame on top of a table, to make sure it

would be stable enough to interact with it by touching

it.

Continuing the process it was concluded that placing

the installation on top of a table, it would be at the

expense of the look and feel of the installation. There

was last minute considered to make a hanging

framework, calculations were done and the building

process could begin.

Third prototype

This iteration focused on the happening that would

be created by the people, rather than the bubbles

as they disappeared too quick. A small scaled

rectangular aquarium was made to explore different

ways to visualize the communication. We were

looking for a medium that would disappear slower

than the bubbles, but it should be as abstract as the

bubbles. We explored with different kind of paint, ink

and oil. Then we did some experiments with ecoline.

The outcome was very fascinating. It was surprising

that from different workplaces came to see the result

and stayed for a while, as the experience remained

fascinating.

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When all the separate parts were ready, those were

placed together at the location. A last test was done

before placing it together and separately everything

worked.

After putting everything together, nothing worked

anymore. The aquarium seemed to have a leak that

caused a short circuit. Everything had to be taken

apart to fix the leak.

The second exhibition day after some minor problems

that had to be fixed the installation worked!

As this prototype was not tested in its working

stadium, it was a great experience to see the result

hanging. People really stopped to interact with

it, enjoyed the installations and talked with each

other about it. The effect of the installation and

the interaction which was stimulated through the

installation worked even better than expected.

- Film of the final prototype: vimeo.com/64370980 -

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The final design should be an conclusion of all the

gained knowledge and experiences during this

project. Design decisions made during the process

for the final concept could be validated based on

earlier research and experiences this project process.

Research and the workshop-weeks in Brussels and

Ankara have had a very big influence on the final

design process as requirements had accumulated.

Requirements

The final design will be an installation in a public

space. An installation that offers the opportunity for

people to meet, to have their first encounter. It is not

the attention to force people to go there, but they

should be triggered by an interesting aspect or the

beauty of the design.

Out of the experiences in Brussels, one of the

requirements is that a spoken languages is not

needed for interaction. This will make the threshold

to interact lower.

The experience in Ankara has proven that it should be

about a small group of people, maximum six.

The last requirement is the way of interaction with the

installation. The installation in Ankara asked for an

aware action, as there should be something touched

as action before there was a reaction. This worked

well in the context of the campus, as people act if they

have seen another doing it, which was mostly the

case as the campus was a crowded environment.

As the context of the final design will probably not be

as crowded as the campus and the threshold should

be even lower, there is chosen for an unaware action

that starts the interaction for the final design.

Idea generation

Ten ideas were generated based on the requirements.

All ten ideas were practical concepts to reach the

goal of bringing people together and to create an

encounter moment. But something was missing.

Interacting with the Ankara installation people shared

Final design - process iteration 3

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this magic and fascinating moment of creating

something together; the ecoline drop in the water.

That magic, fascinating and unexpected moment

was needed to make the final installation into a

success as well.

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An inspiring moodboard was made with as goal to

find this magic that the design needed. Something

inspiring that people can create themselves, but most

important, together.

With reference to the moodboard there was

concluded that the magic should be in doing

something together. Like the more people there are

around, the brighter a light will glow. The more people

there are involved, the bigger the effect. This will be an

extra motivation to actively

ask other people to involve.

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Concept idea

For a new idea there was thought of making a

flower, very large flower. This flower will perk up its

environment as the flower will look really pretty. The

attention of passers-by will be drawn as a petal of

the flower will open up the moment they walk by.

For those just passing by, it will close its petal again.

But the curious passers-by who want to see more

and remain close got the chance to experience an

fascinating moment. The flower does open one petal

per person, so to open the entire flower, there will be

more people needed. When the flower has open up

completely, something magical will happen.

Why a flower?

Flowers have been used for centuries by humans

worldwide for many different purposes, like food,

perfume, medicine and as symbol and as a symbol

on important occasions. Flowers are gifts from nature

and mostly all kind of flowers do have this natural

beauty and innocence appearance

The design flower would be an abstraction from a

tulip. Although tulips are often associated with the

Netherlands, commercial cultivation of the flower

began in the Ottoman Empire.[8] Tulips, or lâleh as

they are also called in Iran, Turkey, Macedonia and

Bulgaria comprise many species that together are

indigenous to a vast area encompassing parts of

Asia, Europe and north Africa. A multicultural flower,

which fits the purpose of the project.

Development of the concept

39.

1. 2.

First sketches were made, dimensions and technical

possibilities was thought of and the tulip was

studied. The following paragraphs will describe the

development per aspect.

Form

As the flower would be an abstraction of the tulip,

the tulip was studied and there was decided to give

the design flower six petals. Six is a manageable

amount and like said in the chapter about exchange

of cultural values, the amount should not be too big

to keep it manageable, but not too small to keep the

diversity and objectivity.

Due to practical reasons for the realisation of the

design, there was decided to make the petals of the

flower around 50 cm. Thereby is 50 cm a remarkable

size for a flower, but it is not too big and it is still clear

what the object is. On the right side an process

overview of the development of the form.

40.

1. 2.

Technical aspects

The flower should react on the movement of

someone passing by, therefor there should be

worked with distance sensors. First experiments

were done with infrared sensors, but as this kind of

sensors does not work precisely in the sun which

also contains infrared there was chosen was to work

with ultrasonic sensors. Ultrasonic sensors work on

a principle similar to radar or sonar which evaluate

attributes of a target by interpreting the echoes from

radio or sound waves respectively. Ultrasonic sensors

generate high frequency sound waves and evaluate

the echo which is received back by the sensor.

Sensors calculate the time interval between sending

the signal and receiving the echo to determine the

distance to an object.

The petals of the flowers had to be able to move

individually. Decided was to work with six separate

servomotors. A servomotor is a rotary actuator

that allows for precise control of angular position. It

consists of a motor coupled to a sensor for position

feedback.

The big challenge was in creating the design of the

flower in such a way that the technology would not

disturb the beauty of the design. A hexagon box was

designed to cover all the electronics and to lower the

ends of the petals in a covered way.

42.

1. 2.

Magical appearance

To create a kind of magic when the flower opens,

there was thought of working with a bubble blower,

as floating soap bubbles do create this fascinating

moment. Due to a lack of time there was decided

to first focus on the working opening/closing part of

the flower and if time would be left, there would be

thought of further options to create this fascinating

aspect.

While the flower and the technical working aspects

were in development, it seemed that only the opening

and closing part of the flower was already something

fascinating for passers-by. This was not expected as

the opening and closing of the flower was meant to

be a way to reach to the fascinating aspect of the

flower.

A nice looking, but simple inner part for the flower

was designed. Consisting of a hemisphere, which

gives light that fades in and out as the inner part of

the flower is breathing.

look of the flower..

42.

1. 2.

43.

1. 2.

Process pictures

44.

1. 2.

45.

1. 2.

FINAL DESIGN

and future design

1. 2.

The final design is a conclusion of all the gained

knowledge and experiences during this project.

Design decisions made during the process for the

final concept can be validated based on earlier

research and experiences this project process.

This part of the report describes the current prototype

of the flower and the improvements that should be

done before putting the design in context for real.

Lâle is the name of the flower. What does it

mean Lâle? It does not tell anything. That causes

misunderstandings? Frustrations? Lack of interest?

Prejudices? Some same feelings which arise as

another culture is not understood. The name explains

itself in another language, but that is not understood

by everyone. And that is the subject of the project is

about. Acceptance of a lack of understanding and

the patience and interest to find out the meaning and

value of the unknown.

Final design

47.

1. 2.

Context and target group

As the aim of the flower is give people with different

cultural backgrounds the chance to encounter in a

public space, a multicultural neighbourhood was

chosen as context to design for. There definitely

is a difference between different multicultural

neighbourhoods as for example Bijlmer in Amsterdam

where most of the residents areSurinamese or

Antillean, or Woensel in Eindhoven where 21% of the

residents has a Turkish origin.5

As the entire process was focussed on the Turkish

culture and centred around experiences with the

Turkish culture there was decided to design for a

multicultural Turkish neighbourhood: Woensel West.

WoenselWest is a neighbourhood in Eindhoven, since

2012 as it is called a ‘Krachtwijk’6 neighbourhoods

that need extra attention. This means the ministry of

Environment, Housing, Communities and Integration

will give extra money and time to invest to strength

and improve the neighbourhood. In Holland there are

37 other ‘Krachtwijken’.

Problems in such a district include unemployment,

violence, crime and addiction problems. In problem

areas, housing associations often have a monopoly,

with a market share of 80 to 100%, the range consists

mainly of social housing. Groups of people with lower

education and lower incomes often live in this social

housing. The concentration of people with lower

education, lower income and other socially excluded

groups would cause problems in neighbourhoods.

So WoenselWest is not only a mixed neighbourhood

with residents with different cultural backgrounds,

but it is a Krachtwijk, a neighbourhood which is

invested by the ministry. A flower as this design would

contribute to the social improvements of residents.

48.

1. 2.

Impression of the plans and actions to improve the problems in the neighbourhood WoenselWest7

49.

1. 2.

Material

The flower is an installation with the aim to stand

outside, in a public space. This has consequences

for the choice of materials as weather conditions and

vandalism should be taken into account.

With reference to the weather conditions, the flower

should be made of water- and rustproof materials. At

the same time should all the technology be covered

in a water-, and rustproof box.

The current design has been made of Perspex

leaves, a water- and rust proof material. Even though

this leaves are not outside proof as the weather factor

wind should be taken into account.

To make the flower windproof there are two solutions.

One: to re-design the leaves in such a way that wind

can blow through it, so it will not affect the position

of the leaves. For example a certain pattern that

would be cut out of the leaves. Two: a much stronger

material as for example metal, in combination with a

very strong construction to make the petals stay.

This second option is preferred, as a stronger material

also is an aspect that prevents vandalism. As the

petals of the flower will be made from metal, the

weight will become more, resulting in a stronger type

of servos that should be used.

On the next page some examples of flower art in

the public space made of metal. As it shows, several

options for colour use and expressions are possible.

It will be a trial and error process to find out the most

appropriate metal and best way to connect the petals

in such a way that they are still flexible.

For the exhibition the box of the flower was covered

with fabric. For the design in context will this not be an

option with regards to weather and vandalism. The

box should also be made of metal and the leaves

should be connected to it with screws to make sure

they cannot be taken out easily.

50.

1. 2.

51.

1. 2.

Behaviour

The schematic graphic on the next page shows

that the flower performs a certain behaviour. The ultrasonic measures if there is something in front

of him within 2 meters. If so, a sign is given to the servo

which opens slowly. The order of the petals had to be

taken into account for the programming as there are

inner- and outer petals, which means the inner petals

cannot be opened as the outer ones are still closed.

The schematic drawing on the right shows the inner

and outer petals from above.

The inner petal can only be opened if outer petals on

both sides (-1 and +1) are open. The outer petal can

only close if inner petals (-1 and +1) are closed.

The schematic drawings on the next page explain

how the flower reacts on passers-by. There has been

made a distinction between the program for the outer

petals and inner petals.

First should be opened the outer petals, before the

inner petals are in the ability to open. As a petal is

activated and opens up, it waits 5 seconds before

the next measurement. If there is five seconds later

still an object in front of it, it remains open. If there is

no object measured anymore, the petal will close

depending on the position of the neighbour petals.

This five second rule it to pretend that someone can

open the entire flower alone.

52.

1. 2.

53.

1. 2.

and a voltage pin. All Echo pins are connected to

PWM ports on the arduino and the Trigger pins to the

analog inputs.

The servomotors are also connected to individual

PWM ports. The six voltage pins are connected with

an external power supply to give the servomotors the

maximum strength.

Every petal has its own side on the hexagon, even

as every couple existing of one servomotor and one

ultrasonic sensor.

The arduino code can be found in the appendix B.

Technology

The process of technology within this project was in

development at the same time as the explorations of

the materials was done.

The movement of petals has been realised through

the use of an ultrasonic sensor which controls the

servomotor. The petal is connected to the servo-arm

with a transparent wire. By use of trial and error there

was searched for a balance between the strength

of the servomotor and the shortest torque to lift the

weight.

The prototype consist out of six ultrasonic sensors and

six servomotors, each individual sensor connected

to an individual servomotor. This to translate the

action on one side directly to a reaction on that side.

Breadboard setup

The ultrasonic sensor exist out of a Trigger and a

Echo sensor for the sending and receiving, a ground

54.

1. 2.BUSINESS

1. 2.

Market position

The market focus of the product Lâle is on multicultural

neighbourhoods and its residents. The market is

specified on Dutch multicultural neighbourhoods, but

with some adjustments it could be expand to other

multicultural neighbourhoods in West Europe. Lâle

does not focus on specific people, but on a group of

people and the social cohesion in their residential area.

Also the municipality will be involved in the purchase

of the art installation, as she does also benefit from

social cohesion in one of her neighbourhoods.

The market position will be influenced by the fact

that Lâle is a non-profit product to improve social

purposes in public space and to stimulate cultural

encounters.

Exposure

Lâle is an interactive art installation that stimulates

social and cultural interactions in a public space.

At the same time does the installation perk up

the neighbourhood with its beautiful design. The

installation does add something uniques to the

neighbourhood, causing the residents of the

neighbourhood are proud to have this installation in

their neighbourhood.

The material of the installation should be weather and

vandalism resistant, but it will not affect the beauty of

the design.

Introduction to the market

Lâle is an art installation with a meaning. A

neighbourhood possess this installation means

that residents of the neighbourhood are improving

collectively the social cohesion of their environment.

Residents should collectively put effort in order to

ensure the realization of the purchase.

In this way the goal of Lâle to improve the social

cohesion in the neighbourhood has already been

stimulated before the installation is actually realized.

Introduction

57.

1. 2.

Fundraising

Residents of the neighbourhood can collectively

stimulate the realisation of Lâle by participating

the project. To realise Lâle a certain amount of

money should be realised to cover the production

costs. However, the platform is not about the

money, it is about the residents showing they are

willing to invest in their neighbourhood.

Participants pay subscription costs, a certain

amount of money that is for the realisation of the

installation. People are free to pay more if they

want, as investment for improvements of the

neighbourhood in the future.

Another rule to realize Lâle, is that at least 40

residents should subscribe. This to emphasise

that it is not about the money, but about the

social cohesion that is needed to realise Lâle.

Why would people invest?

There are several reasons why a resident would

invest in Lâle.

1. Lâle is an artistic installation. It is an investment

in the artistic expression of the neighbourhood

that adds value to the environment.

2. Lâle is an interactive installation that stimulates

the improvement of the social cohesion in a

neighbourhood. Participating the project is the

first step towards the improvement of social

cohesion, the realisation of Lâle is the second

step.

3. Realisation of Lâle in the neighbourhood

expresses that the residents of the neighbourhood

care about their environment and the situation of

their neighbourhood.

58.

Participation of the municipality

It would be beneficial for a municipality if they

have neighbourhoods which show that they care

about their environment. This is like a statement

for a good neighbourhood, a neighbourhood

which cares and is willing to pay attention to

improvement.

It is not allowed for the municipality to invest the

entire amount of money to realise the flower,

as this would be at the expense of the social

cohesion which preceded the realisation of

Lâle. It is allowed for the municipality to help the

residents to realise the installation, by paying a

percentage of the complete needed amount.

This way, the participation costs for residents will

slightly reduce, but there are still 40 participants

per neighbourhood needed to realise Lâle.

Battle

On the platform can be seen which cities and

which neighbourhoods have participated

the project and are the proud owners of a

Lâle. This statics will motivate other cities and

neighbourhoods to participate as they will not

be left behind.

60.

1. 2.

61.

1. 2.DISCUSSION

1. 2.

The possibilities to improve the design has

already been discussed in the chapter ‘final

design’ As said, there is lots of work to do before

the final installation could be put in its context.

There is one more overall aspect of this project

that I would like to discuss. The entire process

from research, to conceptualisation to realisation

has mostly been based on personal experiences

that were gained during this semester. Culture

is something interpretable. The way all the

gained knowledge and experiences have been

received during this project by me, might have

been received totally different by someone else,

resulting in a completely different design.

The workshops and the intensive cooperation

with students with different cultural backgrounds

have contributed to a multifaceted look at the

projects.

Even though there was a lot of cooperation

between students with different cultural

backgrounds during the workshops, the final

design has been made by one Dutch student.

Even though users were approached to discuss

the installation with, it would be interesting to see

the outcome of this project if it would be done in

collaboration with a Turkish designer.

63.

1. 2.

AcknowledgmentsThanks for the suport and feedbackmoments to my

projectmades of the Technical University of Eindhoven

Lotte Oude Weernink, Daniëlle Peverelli, Banaz Palani

and Anouk van Ranst.

Thanks to my partner Ahmad Hasan for the great

experience during the workshop in Brussels.

Thanks to Nagihan Tuna, Yunus Tuncel, Güzin Sen for

the valuable and great experiences in Ankara during

the workshop weeks.

Thanks to Johanna Kint, my coach during this

semester, for the feedback and suport.

Thanks to Joep Elderman for the technical suport of

my prototype.

64.

1. 2.

Appendix AMigration of rituals

A cross-cultural project between Cultural Interventions/ Out of Control and Wearable Senses

The lack of solutions for the complexities of the modern world – i.e. environmental issues, cultural clashes and the breakdown of cultures -

indicates that Western society touches on the limits of positivism and rational thinking. We fell into the trap of procedures without content. We are on the

verge of a new era as alternative to cultural standardization and the postmodern hype of styles, subcultures and social status. (Kint, 2010)

In this project we focus our attention on a different process as reflection and action upon culturally embedded aesthetic and ethical values and their relevance on the language of dynamic form and gesture. We look

for an approach based on embodiment and phenomenology as a means that allows us to diverge from rational thinking and positivism. Within the contextof this process we look for different ways/venues to enhance mutual respect and appreciation as a basic attitude to cultural dialogue and understanding. This reflection on action in an intercultural context is what we consider to be

our new language. By means of choreography, movement and bodily interaction

(Klooster, 2005) we explore the complex rituals revolving around marriage and develop a ritual based on expressive, interactive and physicalized

‘forms’ and ‘gestures’. We map this choreography process and let result its development into a new tangible ritual of movements, captured in a movie as

a visual encounter of the complex mapping process. The mapping of the choreography covers the question how and in what way we interact with the

cultural context of ritual and migration of rituals. The camera is actively engaged in this ritual development and mapping process. In company of the

1. 2.

camera, the choreographer maps her path through the complex stages of rituals.

Marriage migration between communities in Western Europe and emigration regions in Turkey is a popular issue. In Belgium the majority of

immigrants with a Turkish background come from the region of Emirdag. We want to focus on the question why so many young people, born and raised in

Western Europe, opt for an unknown partner from a region that is largely unknown to them but proves to be their parents’, or even grandparents’,

region of origin? Why does migration remain such a valuable life project for many young people in these regions of origin? The existence of a ‘culture of migration’ binding the region of origin with the region of destination in which the family as an institution builds a bridge between tradition and everyday reality, is crucial for understanding the popularity of ‘marriage migration’.

(Timmerman, 2009) What is the ritual upholding? What function does it serve? What

social structures does it maintain? How do we understand them? How and in what way do these rituals ‘migrate’? With ‘Migration of Rituals’ we want to

reveal, through the medium of choreography, the hidden processes of what a ritual, and marriage ritual in specific, is about. From this process and research progress, we want to give shape, in an organic way, to a new

ritualized form or ‘gesture’, bringing it to life and giving it a new meaning. Out of ControlDPI45

2The project is an INTERNATIONAL, CROSS-CULTURAL AND CROSS- DISCIPLINARY ERASMUS IP project initiated by LUCA - School of Arts

Campus St Lukas Brussels, Belgium and the TU/e in cooperation with our METU partner from Ankara, Turkey. Five students from social design (B)

1. 2.

and 10 industrial design students (N) will engage in an iterative process with 10 ID students of the Technical University of Ankara (METU). A total of

about 25 students participate and share one another’s experiences and working processes.

The first stage of this Erasmus IP project revolved around framing and reframing Turkish cultural heritage and took place in Istanbul as cultural

capital of Europe in 2010. LIGHT THROUGH CULTURE ANKARA 2012 was the second stage. You probably visited the 3 light installations we realized in

Ankara, that were on show at the DDW. Our first meeting together will be during a one-week workshop, to be held

in Brussels from 4 till 8 March 2013. During a one-week stay at LUCA Brussels we will try to understand and experience the cultural differences

with the Turkish community living in the neighborhood and develop cultural probes. We will meet prof. dr. C. Timmerman, who will give us a lecture on marriage at the intersection between tradition and globalization. We invite Sietske Klooster, who will give a workshop on design-choreography and

exploration of the neighborhood through movement and bodily interaction. Oscar Tomico also will join us that week. By interacting with the

neighborhood, we will develop ritual related and video registered performances and actions.

Our second meeting will be during a two-week workshop in Ankara, from 1 till 14 April 2013. We will join the Turkish team with Figen Isik, expert in

sociology.Aims of the workshop (in Brussels and Ankara) and exhibition:

• Develop interactive tools to look at cultural differentiation, reflection and introspection on cultural issues

• Make the Turkish people aware of the way we perceive them and vice versa

• Create a cultural bridge between cultures. Stakeholders

Coaches:

1. 2.

Johanna Kint (TU/e, LUCA Brussels, project initiator), Oscar Tomico (TU/e expert), Inge Ferwerda (concept designer LUCA Brussels, communication expert), Sietske Klooster (design choreographer), Figen Isik (METU expert

sociology Ankara) Clients/ stakeholders

ERASMUS IP covers the Ankara flight and accommodation expensesfor the Ankara workshop from 1>14 April 2013.

NEXTDOOR Brussels is initiated by Johanna Kint and Inge Ferwerda. The questions laying at the basis of this project are: how can we confront you –

as one of the decision makers in the society of tomorrow - with an active Out of ControlDPI45

3appreciation and tolerance towards other cultures in a society that politically and ideologically is outspokenly right winged? What can your responsibility

in this socio-cultural context be? Through design in action in an urban context we opt for active participation and durable and lifelong design

experiences with multicultural issues. Development theme

Migration of rituals is an international, cross-disciplinary and cross-cultural exploration of ‘Cultural Interventions’. Culture continuously evolves and

cannot be contained. Aim is to design meaningful interaction points for an active dialogue and collaboration.

http://w3.id.tue.nl/fileadmin/id/Education_Documentation/Project_descriptions/1213-S2-Out_of_Control-longs.pdf

1. 2.

Appendix B

#include <NewPing.h>#include <VarSpeedServo.h>

#define SONAR_NUM 6 // Number or sensors.#define MAX_DISTANCE 240 // Maximum distance (in cm) to ping.#define PING_INTERVAL 30 // Milliseconds between sensor pings (29ms is about the min to avoid cross-sensor echo).#define SENSOR_TRIGGER_DISTANCE 150//#define SENSOR_UNTRIGGER_DISTANCE 180//#define SERVO_OPEN 20#define SERVO_HALF_OPEN 80#define SERVO_CLOSED 150#define AVARAGE_POOL_SIZE 10#define SLOWSERVOSPEED 20

unsigned long pingTimer[SONAR_NUM]; // Holds the times when the next ping should happen for each sensor.unsigned int cm[SONAR_NUM]; // Where the ping distances are stored.unsigned int cmFinalAvarage[SONAR_NUM];long meetIntervalTimer[SONAR_NUM];

unsigned int avarageCm[SONAR_NUM][AVARAGE_POOL_SIZE];

int avarageCmCounter =0;boolean isSideActive[SONAR_NUM];boolean isSideOpen[SONAR_NUM];boolean isSideHalfOpen[SONAR_NUM];

uint8_t currentSensor = 0; // Keeps track of which sensor is active.

NewPing sonar[SONAR_NUM] = { // Sensor object array. NewPing(2, 42, MAX_DISTANCE), // Each sensor’s trigger pin, echo pin, and max distance to ping. NewPing(3, 43, MAX_DISTANCE), NewPing(4, 44, MAX_DISTANCE), NewPing(5, 45, MAX_DISTANCE), NewPing(6, 46, MAX_DISTANCE), NewPing(7, 47, MAX_DISTANCE)}; VarSpeedServo myservo[SONAR_NUM]; int servoPinArray[SONAR_NUM] ={8,9,10,11,12,13};

1. 2.

void setup() { Serial.begin(115200); pingTimer[0] = millis() + 75; // First ping starts at 75ms, gives time for the Arduino to chill before starting. for (uint8_t i = 0; i < SONAR_NUM; i++){ myservo[i].attach(servoPinArray[i]); meetIntervalTimer[i] = millis(); isSideOpen[i] = false; } for (uint8_t i = 1; i < SONAR_NUM; i++){ // Set the starting time for each sensor. pingTimer[i] = pingTimer[i - 1] + PING_INTERVAL;

Serial.println(servoPinArray[i]);}}

void loop() { checkDistanceSensors(); }

1. 2.

void checkDistanceSensors(){ for (uint8_t i = 0; i < SONAR_NUM; i++) { // Loop through all the sensors. if (millis() >= pingTimer[i]) { // Is it this sensor’s time to ping? pingTimer[i] += PING_INTERVAL * SONAR_NUM; // Set next time this sensor will be pinged. //if (i == 0 && currentSensor == SONAR_NUM - 1){ processOccupiedSides(currentSensor); handleLeaveState(currentSensor); // } // Sensor ping cycle complete, do something with the results. sonar[currentSensor].timer_stop(); // Make sure previous timer is canceled before starting a new ping (insurance). currentSensor = i; // Sensor being accessed. cm[currentSensor] = 255; // Make distance zero in case there’s no ping echo for this sensor. sonar[currentSensor].ping_timer(echoCheck); // Do the ping (processing continues, interrupt will call echoCheck to look for echo). } }}

void avarageSensorValues(){ avarageCmCounter ++; if(avarageCmCounter > AVARAGE_POOL_SIZE){ avarageCmCounter =0; for (uint8_t i = 0; i < SONAR_NUM; i++) { for(int z =0; z < AVARAGE_POOL_SIZE; z++){ cmFinalAvarage[i]= cmFinalAvarage[i]+avarageCm[i][z]; } cmFinalAvarage[i]= cmFinalAvarage[i]/AVARAGE_POOL_SIZE; } } for (uint8_t i = 0; i < SONAR_NUM; i++) { avarageCm[i][avarageCmCounter]= cm[i]; } }

1. 2.

void echoCheck() { // If ping received, set the sensor distance to array. if (sonar[currentSensor].check_timer()) cm[currentSensor] = sonar[currentSensor].ping_result / US_ROUNDTRIP_CM;}

void oneSensorCycle(int i) { // Sensor ping cycle complete, do something with the results. Serial.print(“sensor”); Serial.print(i); Serial.print(“=”); Serial.print(cm[i]); Serial.print(“cm and: “); Serial.print(isSideActive[i]); Serial.print(“is active “); Serial.println();}

void processOccupiedSides(int selectedSide){

oneSensorCycle(selectedSide);

if(cm[selectedSide]< SENSOR_TRIGGER_DISTANCE){ //if(cmFinalAvarage[i]< SENSOR_TRIGGER_DISTANCE){ isSideActive[selectedSide] = true; } else{ if(cm[selectedSide]> SENSOR_UNTRIGGER_DISTANCE){ isSideActive[selectedSide] = false; } } }

1. 2.

void handleLeaveState(int selectedSide){ //for (int i = 0; i < SONAR_NUM; i++){ // Set the starting time for each sensor. if( isSideActive[selectedSide] && isSideOpen[selectedSide] == false){ switch (selectedSide) { case 0: openLeave(selectedSide); isSideOpen[selectedSide] =true; break; case 1: if(isSideOpen[selectedSide-1] && isSideOpen[selectedSide+1]){openLeave(selectedSide);isSideOpen[selectedSide] =true;} break; case 2: openLeave(selectedSide); isSideOpen[selectedSide] =true; break; case 3: if(isSideOpen[selectedSide-1] && isSideOpen[selectedSide+1]){openLeave(selectedSide);isSideOpen[selectedSide] =true;} break; case 4: openLeave(selectedSide); isSideOpen[selectedSide] =true;

break; case 5: if(isSideOpen[selectedSide-1] && isSideOpen[selectedSide-5]){openLeave(selectedSide);isSideOpen[selectedSide] =true;} break; } meetIntervalTimer[selectedSide] = millis(); } else{ if( isSideActive[selectedSide] == false && isSideOpen[selectedSide] == true){ if(millis() > meetIntervalTimer[selectedSide]+ 5000){ meetIntervalTimer[selectedSide] = millis(); switch (selectedSide) { case 0: if(isSideOpen[selectedSide+5]== false && isSideOpen[selectedSide+1] == false){closeLeave(selectedSide);isSideOpen[selectedSide] =false;} break; case 1: closeLeave(selectedSide); isSideOpen[selectedSide] =false;

1. 2.

break; case 2: if(isSideOpen[selectedSide-1]== false && isSideOpen[selectedSide+1] == false){closeLeave(selectedSide);isSideOpen[selectedSide] =false;} break; case 3: closeLeave(selectedSide); isSideOpen[selectedSide] =false; break; case 4: if(isSideOpen[selectedSide-1]== false && isSideOpen[selectedSide+1] == false){closeLeave(selectedSide);isSideOpen[selectedSide] =false;} break; case 5: closeLeave(selectedSide); isSideOpen[selectedSide] =false; break; } }} }

}

void openLeave(int sideNumber){ myservo[sideNumber].slowmove(SERVO_OPEN,SLOWSERVOSPEED);

}

void openLeaveHalf(int sideNumber){ myservo[sideNumber].slowmove(SERVO_HALF_OPEN,SLOWSERVOSPEED);}

void closeLeave(int sideNumber){ myservo[sideNumber].slowmove(SERVO_CLOSED,SLOWSERVOSPEED); }

1. 2.

References1 - Project proposal Migration of Rituals by Kint,

J. 2012

http://w3.id.tue.nl/fileadmin/id/Education_

Documentation/Project_descriptions/1213-S2-

Out_of_Control-longs.pdf

2- Human Universals, Human Nature & Human

culture by Donald E. Brown. 2004

http://humiliationstudies.org/documents/

BrownUniversalsDaedalus.pdf

3- What is culture? By Hofstede G.

http://www.geerthofstede.nl/culture

4 - Cultures and Organizations: Software of the

Mind, Third Edition by Hofstede G. 2010

5- Kerncijfers Woensel West by Gemeente

Eindhoven 2012

http://www.forum.nl/portals/si/Documenten/

gemeente_pagina/Kerncijfers%20Woensel-

West.pdf

6 – Visie Woensel West by Gemeente Eindhoven

2011

http://www.slideshare.net/trudo/visie-woensel-

west

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MOODBOARD 2 page 38, 39

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3A%3BbJfl7tq9W7EJdM%3Bhttp%253A%252F%252Fwww.yatzer.com%252Fasse

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feest%252F%3B331%3B242

TULP

https://www.google.nl/search?q=tulp&um=1&ie=UTF-8&hl=en&tbm=isch&sourc

e=og&sa=N&tab=wi&ei=wvG-UYCnD4rP0AXvy4D4Cg&biw=1600&bih=775&sei=P

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flickr.com%252Fphotos%252Fstruijlaart%252F3460511534%252F%3B640%3B520

FLOWERS METAL

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n&tbm=isch&source=og&sa=N&tab=wi&ei=bG-_Uay9Aa6N0wXao4H4Cw

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jpg%3Bhttp%253A%252F%252Fnycpix.wordpress.com%252F2011%252F04%252

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WOENSEL WEST

https://www.google.nl/search?q=woensel+west+krachtwijk&um=1&ie=UTF-8&hl=

en&tbm=isch&source=og&sa=N&tab=wi&ei=FnK_Ub2UCLON0wWM8oGIAw&bi

w=1600&bih=738&sei=F3K_UaDXOeqa0AWjnoCYCg#um=1&hl=en&tbm=isch&oq

=woensel+west+&gs_l=img.3..0i24.24566.24566.0.24767.1.1.0.0.0.0.43.43.1.1.0...0.0.0..

1c.1.17.img.K72-FVRI_DU&bav=on.2,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=e3cd

e2849eed36a5&biw=1600&bih=775&q=woensel%20west&facrc=_&imgrc=PwbW9

8iEJpcG4M%3A%3BFo_XjdSx70T79M%3Bhttp%253A%252F%252Fwww.hallo040.

nl%252Fwp-content%252Fuploads%252F2011%252F05%252FWoensel-West.

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west-zoekt-bijzondere-o¬¬ndernemers%252F%3B1378%3B936

lale, final bachelor project

Technology

overall project process

final bachelor project

cultural bridge

project process7

entire project

final design34

experiencethe project

final designis