Lale, final bachelor project


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Lale, final bachelor project

  1. 1. 2.Final bachelor project B3.2by Tove Elfferich s102218Coached by Johanna KintJune 2013Lâlean artificial flower that stimulates social-and cultural interaction in public spaces
  2. 2. This document describes and visualizes the processand final outcome of my final bachelor project.‘Migrationofrituals’isacross-culturalprojectbetweenCultural Interventions, Out of Control and WearableSenses proposed by Johanna Kint and Figen Isik.AThe aim of the project ‘Migration of Rituals’ is todesign a culture bridge between two cultures.Workshop weeks were organised during the projectto experience a lifelong design experience withmulticultural issues through design in action in in anurban context.The workshops were related to an international,cross-culture and cross-disciplinary Erasmus IPproject initiated by LUCA – School of Arts Campus StLukas Brussels and the TU/e in cooperation with aMETU partner from Ankara.Aims of the workshops (in Brussels and Ankara) andexhibition:• Develop interactive tools to look at culturaldifferentiation, reflection andintrospection on cultural issues• Make the Turkish people aware of the way weperceive them and viceversa• Create a cultural bridge between culturesThese workshops have been part and of the processofthefinalprojectandhaveservedasgreatinspirationand learning experience for the final design.The entire project the main focus was on a processbased on reflection and action upon culturallyembedded aesthetics, ethical values and theirrelevance on the language of dynamic form andgesture. There was looked for an approach basedon embodiment and phenomenology as a meansthat allows to diverge from rational thinking andpositivism. Within the context of this process thereAbstract2.
  3. 3. 2.concept could be validated based on earlier researchand experiences this project process. The final designis an artistic interactive installation for use in publicspaces in multicultural neighbourhoods. As Lâle is anon-profit product, residents of the neighbourhoodshouldcollectivelyparticipatethefundraisingplatformto realise Lâle. Working towards the realisation of Lâleis already a start of the improvement of the socialcohesion in the neighbourhood.has been looked for different ways to enhancemutual respect and appreciation as a basic attitude tocultural dialogue and understanding. This reflectionon action is an intercultural context is what was to beconsidered as a new languages.Workshops and experiences learn and emphasizethe difficulty of exchanging social- and cultural valueswith people with a different cultural background.Out of experiences there was concluded that thisexchange consists out of a long-term process, whichcannot be done in a few hours. For this reason thefinal design focuses on the stimulation of socialcohesion 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 theproject are concluded into one final design. Designdecisions made during the process for the final3.
  4. 4. 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.ConclusionProcess 24. Workshop Brussels 26.Workshop Ankara 30.Final design 34.Table of content4.
  5. 5. 2.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.recommendation2.5.
  6. 6. IntroductionI am an open minded person, not afraid for theunknown. As I am not afraid and approach theworld open-minded with a positive attitude, theunknown sometimes does bring unexpectedgood things.StrangehabitsandunknownritualsIrubshoulderwith, stories that people tell, discussions withpeople who have another point of view or just atalk with someone who sees the world throughdifferent eyes, each of these single experiencesI gain are personal enrichments and a source ofinspiration.We live in a world full of people with differentbackgrounds, different cultures and differentviews on the world. By sharing our differencesand teaching each other, we could all benefitfrom the variety in our beautiful world.The workshops in Brussels and Ankara havebeen part of my overall project process,including the approach of reflection and action.These workshops have served as a source ofinspiration, gave the opportunity to experiencethe project in context and have provided theopportunity for different iterations during theproject which made me eager to learn. All thelearning experiences and gained knowledge areprocessed in the final design, which makes mevery proud as it really translate my vision into adesign.I hope you enjoy reading as much as I enjoyedthe project and its outcomes!Kind regards,Tove6.
  7. 7. 2.Process visualVision to designLiteraryresearchIdeationConceptualisationResearch incontextIdeationConceptualisationValidating incontextDesignUserexperienceor shop russels or shop n arahape pro ectision Reseach incontextIdeationValidating incontextDesignConceptualisationtResearch incontextinal prototypeUserexperienceusinessinal achelor pro ect7.
  8. 8. RESEARCH
  9. 9. Introduction2.Culture, cultural differences and everything relatedto it, is something that should be experienced. It isnot something that can be learned from books.Research will contribute to the value and awarenessof the experience, but will not guarantee a desiredexperience.In this project the main focus was, according to theproposer, on a process based on reflection andaction upon culturally embedded aesthetics andethical values and their relevance on the languageof dynamic form and gesture.There was looked for an approach based onembodiment and phenomenology as a meansthat allows to diverge from rational thinking andpositivism. Within the context of this process therehas been looked for different ways to enhancemutual respect and appreciation as a basic attitudeto cultural dialogue and understanding. Thisreflection on action is an intercultural context is whatwill be considered as a new languages.1Research of this project has been divided into threeparts.1. What is culture? Literary research was done todefine the definition, meaning and most importantaspects of culture.2. How to get in touch with culture? By means ofchoreography, movement and bodily interactionthere was tried to understand and experience thecultural differences with the Turkish communityliving in the neighbourhood and to develop culturalprobes.3. How to exchange cultural values? During theworkshop in Ankara, the design process was asearch for a way to exchange cultural values throughan installation. But not only the design process itself,but also the collaboration with Turkish students wasa challenge and search for exchange of values.9.
  10. 10. The goal of this literary research part of this projectwas to create an understanding of the content of theproject, to define the definition, meaning and mostimportant aspects of culture.Human natureEvery person in this world has his or her uniquepersonality, history and interest, but even thoughhuman seems to have a common nature. For agesthe discussion has been going on about the question‘is human behaviour motivated by a universal “humannature” or is human behaviour learned throughculture?’According to some anthropologist as Donald Brown2humans do share a common human nature. Theshared humans nature is intensely social: human aregroup animals. Humans use language and empathy,andpracticecollaborationandintergroupcompetition.But the unwritten rules of how human do these thingsdiffer from one human group to another. Accordingto Hofstede3is it ‘culture’ that creates the differencesbetween these groups.Definition cultureThe word “culture” stems from a Latin root that meansthe tilling of the soil, like in agriculture.Nowadays the word is used in a figurative sense, withtwo meanings that should not be confused.1. The world culture can refer to the meaning of‘civilization’, including education, manners, arts, craftsand products.2.Theothermeaningderivesfromsocialanthropology.It refers to the way people think, feel and act. As GeertHofstede defined in a simple way: ‘the unwritten rulesof the social game’.Learn a cultureDuring most of this time, competition between bandsof gatherer-hunters was a powerful evolutionarypressure. As a result our social and intellectual skillsWhat is culture?10.
  11. 11. 2.have become ever bigger. But we did not lose theelements of our behaviour that identify us as socialmammals. Fights for dominance, competition forpartners, a wish to belong and to know who does notbelong - all of these basic drives are alive in us.An individual human being acquires most of her or hisprogramming during childhood, before puberty. Inthis phase of our lives we have an incredible capacityfor absorbing information and following examplesfrom our social environment: our parents and otherelders, our siblings and playmates. But all of this isconstrained by our physical environment: its wealthor 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 agroup to function smoothly.Different culturesHuman culture is the result of hundreds of thousandsof years of evolution. Distinguished countries (ratherthan individuals) has since the beginning dealtwith anthropological problem areas that differentnational societies handle differently: ways of copingwith inequality, ways of coping with uncertainty, therelationship of the individual with her or his primarygroup, and the emotional implications of having beenborn as a girl or as a boy.Hofstede4describes these four dimensions of nationalculture: power distance, uncertainty avoidance,individualism versus collectivism and masculinityversusfemininityasexplanationforculturaldifferences.“Culture has been definedin a number of ways, butmost simply, as the learnedand shared behaviour of acommunity of interactinghuman beings”Useem, J., & Useem, R. (1963). HumanOrganizations, 22(3).11.
  12. 12. Greeting seems to be something that is related as it is an act of communication in which human beingsinternationally make their presence known to each other, to show attention to, and to suggest a type of relationshipor social status. While greeting customs are highly cultural and situation-specific and may change within a culturedepending on social status and relationship, they exist in all known human cultures.Moodboard cultural greetings
  13. 13. 2.
  14. 14. First encounterThe very first day the assignment was to get toknow the neighbourhood and its residents.This is a very hard task if there is no clue whereto start, no specific subject to talk about and nospecific reason to ask someone something. Whatis the meaning of ‘getting in touch’ and ‘how doyou get introduced to a culture’?To just start somewhere, there was decided toapproach people on the street for a small talk.First approach: shopkeepers as they do not needto go anywhere and do have stuff in the shop totalk about. Resulting in small talks about objectswithout diverging to broader subjects, as it wasthe shopkeepers about selling and not talking.During lunch in the park there was a man sittingon a couch, while is little child was walking around.This was adorable to see, and a smile appeared onthe faces the three students. As this child was theconnection between the man and the students, aconversation started in a very natural way.This research question has been based on theworkshop that was given in Brussels. The intentionof the assignment was to get an understandingand experience the cultural differences with theTurkish community living in the neighbourhoodand develop cultural probes. Within the context ofthis project there was looked for a different way toenhance mutual respect and appreciation as basicattitude to cultural dialogue and understanding.Research approachThe main aspects for this approach was an openattitude, interest, respect and the ability to changethe chosen attitude if necessary. This reflectionon action in an intercultural context is what wasconsider to be a new language. By means ofchoreography, movement and bodily interactionthere was tried to understand and experience thecultural differences with the Turkish communityliving and to develop cultural probes.How to get in touch withanotherculture?14.
  15. 15. 2.Out of this and similar encounters that day aconclusion could be made out of experiences.To approach someone an open attitude isrequired. Showing interest or having a commoninterest helps the conversation to start. Ask politequestions or give small compliments helps tokeep the conversation going. Do not attackthe approached person with reproaches andprejudice, but let him or her be the one who doesthe talk.Getting in touch, more in depthAs a specific subject for the final design wasfounded, more research had to be done in depth.For the final design more knowledge had tobe acquired about the Hijab, the head scarf forTurkish women. To acquire this knowledge,Turkish women had to be approached to ask ifthey were willing to tell more about this specificsubject.Remarkable was that when a specific questionabout culture was asked or interest was shown,people are willing to tell and explain everythingthey know. One of the requirements is to approachthe conversation open-mined and not to createprejudice immediately.An important and very difficult aspect of doingresearch by movement and bodily interaction isthe depth of knowledge that can be transmitted.Ways that the Hijab can be worn could be actedout, but for more information about for examplehistory and values of the Hijab a spoken languageswould be very helpful. But as the people in theneighbourhood did speak Turkish and French andthe students spoke Dutch and English, a spokenconversation was excluded.The final design has been realised through theapproach of action, reflection. This all by theuse of body languages, as there was no spokenlanguages. This research did not only contributeto the knowledge and experience of getting incontact, it also contributed to the process of thedesign as contact with the user was very valuablefor the process. More about this process at page26.15.
  16. 16. Brussels research impressionThe following pictures do give an impression of all the different people that were approached to learn how toget in touch with people with a different cultural background.16.
  17. 17. 2.17.
  18. 18. Recognizable were the two different meanings ofculture that are described in chapter 1. These clashedwere caused by different educational backgroundsand manners, but also as the students had differentways of communicating and acting.An example from an experience: Turkish people arevery polite. A group students walked on the street andgot lost. One of the Turkish students asked a passer-by the right direction. They sent the students to acertain direction. After 10minutes they were still lostand asked another passer-by for the direction again.They were sent a totally different way than the firsttime. People are so polite, if you ask them for the rightdirection and they do not know where to send you,they make something up just to be polite and to showthat they are willing to help.The same politeness was experienced during theteamwork. Dutch students are being educated toconduct discussions and to approach things critically.The aim from the workshop in Ankara was to developinteractive tools to look at cultural differentiation,reflection and introspection on cultural issues. Tomake Turkish people aware of the way they areperceived by people and vice versa.This design process had to be done in a group of fivestudents: one from Jordan, three from Turkey andone Dutch student. The design process itself wasbased on a research about how to create a bridgeto exchange cultural values, but the composition ofthis cultural mixed group made the teamwork andcommunication a research project itself.Exchange values within the teamworkDoor intensieve samenwerking tussen een mix vanStudenten met verschillende culturen waren er in deeerste week van de workshop behoorlijk wat clashes.How to exchange culturalvalues?18.
  19. 19. 2.Caused by the politeness of the Turkish students,there was no way to conduct a discussion as theysaw an argue as something to agree with, instead ofto approach critical.Trying to exchange cultural values is something toexperience, to reflect upon and to improve the wayof action.Itwasevidentthateverysinglestudent(30intotal)haddifficulties during the teamwork and communicationwith cultural differences that caused cultural clashes.with the result that students of the same nationalitypulled toward each other with their frustrations aboutthe other culture. As there were strict deadlines therewas not much time to avoid further teamwork. Tryingto adopt to each other was the ingredient for smoothteamwork.Visible were the individual differences between howthe students reacted upon the cultural differencesand how they acted upon it, this was easier for onethan for another one.This experiment of exchanging values from differentcultures between groups with different culturalbackgrounds was done in a small setting with only30 students.Understandablenowisthatiftwogroupswithdifferentbackgrounds have to face each other, this will resultin nothing or in extra bonding between de individualsfrom the group and extra tension between the twogroups.The exchange of cultural values, or at least the firstencounters should be in with a small amount ofpeople at the same time, to keep it manageable.19.
  20. 20. Ankara research impressionThe following pictures do give an impression of the way there was tried to exchange social- and culturalvalues during the workshop in Ankara. The group picture on the right shows a very special moment: theend of the exhibition, the group students that started two weeks earlier as individuals with their own culturalbackground which causes lots of clashes in the first week were two weeks later a close group with muchmore understanding and respect for each other.20.
  21. 21. 2.21.
  22. 22. Culture: unwritten rules in a social context. Thefact that most of those rules are unwritten, iswhat is makes so hard to learn and understanda specific culture as outsider.The meaning of a specific culture, the mind-set and the cultural values could be introducedto outsiders if the culture is open-mindedapproached. In this case it is important that theoutsider let go his reproaches and prejudicesand show interest. People do encounter moreeasily if they have a common interest to talkabout.The exchange of cultural values requires along process, that will not occur during a firstencounter.Languages is an important aspect that makesit sometimes very hard to exchange betweenpeople with different cultural backgrounds asthey often do not speak the same languages.To stimulate first encounters between peoplewith different backgrounds there should becreated a kind of meeting point.Out of this research a few requirements for thefinal design are formulated:The final design should bring people withdifferent cultural backgrounds together for a firstencounter, as that is the first step towards theexchange of cultural values between peoplewith different cultural backgrounds.- The design should be attractive for people withdifferent cultural backgroundsConclusion - research22.
  23. 23. 2.- It should be in a public space with a cultural mixof residents- No spoken languages should be required.-Itshouldprovideanencounterbetweenpeople,with a maximum of six people.23.
  24. 24. PROCESSiterations + final design
  25. 25. 2.The final design should be an conclusion of allthe gained knowledge and experiences duringthis project. Design decisions made during theprocess for the final concept could be validatedbased on earlier research and experiences thisproject process.Theprocessismostlybasedonaction,reflection.All designs have passed through the processfrom design, validating in context and redesign,this way the user was actively participated in thedesign process.The following part of the report will giveinformation about the design process andcreation of the individual designs and finally howthose have played a role in the creation of thefinal product.Introduction25.
  26. 26. Design goal:The aim of the workshop in Brussels was to getan understanding and experience the culturaldifferences with the Turkish community living in theneighbourhood and develop cultural probes. Usingthis experience a product had to be chosen out of theTurkish culture to redesign. The redesign should be abridge between two cultures.As object there was chosen to focus on the Hijab,the scarf Turkish women wear. The challenge was tomake the Hijab and its function understandable andto create a low threshold for Western women, as abridge between the Turkish and Western culture.ObservationTo create a new design of the Hijab, some knowledgeabout the Hijab was required. Therefor observationwas done. Results shows that there are a lot ofdifferent Hijabs with different textures, colours andremarkable: different ways to wear.Workshop Brussels iteration 126.
  27. 27. 2.InterviewsThrough interviews with users there was searchedfor the (cultural) value of the Hijab. Concluded frominterviews, there are different ways to wear a Hijaband these different ways to wear do have differentmeanings. Learned was that the function of the Hijabis not only expression of religion. Research showed41% of the women wears it to express identity and35% uses it as a fashion item.Design decisionThe results of the interviews were decisive for thedesign direction of the final design. As expression ofidentity and fashion is something that is well known inthe Western culture as well, this should be the focusfor the re-design of the Hijab. There was decided totranslate the meaning and function of the traditionalTurkish scarf and to adopt it into a stylish Westernform as cultural bridge.First designsDuring the first iterations of the design, it seemed notto be a very simple task. A Dutch girl wearing a scarfquickly looks like a ‘Dutch farm girl’, even if the scarswas made from Turkish fabric.27.
  28. 28. New observationsAfter the disappointing results of the first iterationthere was decided to go back to theTurkish experts to gain even more experience andconnection with this object. With more experienceand information there was concluded to focus onone aspect of the scarf that could be implementedin the Western society: Scarfs as jewellery and hairaccessory.New observations28.
  29. 29. 2.Final designNew fabrics were bought in different colours and textures,hear bands and elastics as hair accessory that could beimplemented. The new focus was on abstracting theHijab, but keeping the cultural value in mind.The final design exist out of 6 different designs, differingin model and colour. The re-designed Hijabs can beworn by Turkish women and Western women. So doesthe new design cover the hair as that is required for theTurkish women, but it is covered in a fashionable way soit is also wearable for Western women. Another modeldoes cover the hair in a nonchalant way, where the endof the scarf becomes a necklace.All the designs are very flexible and can be worn in theway the women want: nonchalant or tightly pinned. Thisoffers the possibility to wear it in the way it expresses thedesired expression of identity. The choice of differentcolours increases the possibility find the best scarf for thedesired expression and fashion statement.29.
  30. 30. The aim of the project was to develop interactivetools to look at cultural differentiation, reflection andintrospection on cultural issues. To create a culturalbridge between cultures.24 Students participated in the project (7 Dutch, 3Belgian,14Turkish). Thefirstday,groupsweredividedby the students them-selves based on interests andskills. My final group existed out of 3 Turkish students,1 Jordanian and myself as Dutch person. Our groupwas formed by a common interest to stimulate socialinteraction without a spoken languages betweenpeople with different backgrounds.ObservationAs we were interested in stimulating socialinteraction between people, we started the projectwith observation. We observed how people movein public spaces and how they (do not) interact witheach other.Based on the observation we came to the conclusionthat walking down the is an everyday activity with theresult that the people are not aware of this action.ExplorationWith the first exploration we tried to make peopleaware of their action by breaking their route with post-its. Interesting to see that placing something that doesnot belong on the ground, causes people to look upand around them. Like they are wondering where itcomes from.We made sketches from the movement of peopleduring the observation without interrupting the routeand with interrupting the route.Workshop Ankara iteration 230.
  31. 31. 2.From this we can conclude that by breaking the routethat people are used to, you can make them moreaware of their environment. The question is for howlong a route interruption works, as people will getused to that as well.Acting outTo experience the movement and greeting momentourselves, we have done some acting out exercises.Passing by, encounter, saying hello, greeting gesturesand more. As we had act out the normal situation, wedid another acting out exercise with an ‘imaginary’installation that stimulates the encountering. Fromthis acting out we learned that there might be a riskthat the installation that grabs the attention at theexpense of the encountering of the people.31.
  32. 32. During testing we realized that the final tube shouldbe very big, like 2 meter high and 1 diameter, butthen we realized that filling this with water would costaround 6000 litre of water.First prototypeFor the first prototype we experimented with an objectthat tracks the attention of people, but as the object istransparent, people will encounter through the object.The object is an plastic tube where bubbles will popup when two people encounter each other. As theygot attracted to the object, they will have a closer lookand see each other through the object. After testingand discussions with several participants we hadto note a few things. It was the unaware passing byaction that stimulated the bubbles. It was not clearthat the presence of the people was the activator ofthe bubbles.The installation was like the post-its something thatdoes not belong at that place and therefor it did grabthe attention. But as soon the bubbles disappeared,the attention disappeared and people continuedtheir way. For the next iteration we should explore amedium that last for a longer time, so people won’tcontinue their route after two seconds.32.
  33. 33. 2.Second prototypeFor the second prototype two improvements weretaken; the form of the installation and stimulation ofthe interaction with it. As the tube would be too big tofill with water we made the form rectangular. To makesure it is only the installation that grabs the attentionand not the structure around it to make it stand, thesecond prototype was hung to the ceiling.The previous prototype grabbed the attention ofpeople while they walked by, not being aware of theiraction. To make this unaware action into an awarecontribution of the people, the prototype invitespeople to touch it. As one person does interact, theprototype gives the feedback that another personshould interact as well. The prototype invited peopleto touch by handprints. These handprints actuallyforced the people to make this ‘hi’ gesture. Aftertesting we found out this way was too forced, peoplecould not give their own interpretation or explore theworking of the installation themselves.33.
  34. 34. Final prototypeDue to the time limit decisions had to be takenbased on the explorations and experiments so far.A plexiglass expert was approached to make awaterproof aquarium from 150cm x 3cm x 70cm.The amount of water that would be needed to will theaquarium was calculated. Based on the weight of theaquarium, a framework for the aquarium could bemade. Due to technical problems there was decidedto make the frame on top of a table, to make sure itwould be stable enough to interact with it by touchingit.Continuing the process it was concluded that placingthe installation on top of a table, it would be at theexpense of the look and feel of the installation. Therewas last minute considered to make a hangingframework, calculations were done and the buildingprocess could begin.Third prototypeThis iteration focused on the happening that wouldbe created by the people, rather than the bubblesas they disappeared too quick. A small scaledrectangular aquarium was made to explore differentways to visualize the communication. We werelooking for a medium that would disappear slowerthan the bubbles, but it should be as abstract as thebubbles. We explored with different kind of paint, inkand oil. Then we did some experiments with ecoline.The outcome was very fascinating. It was surprisingthat from different workplaces came to see the resultand stayed for a while, as the experience remainedfascinating.34.
  35. 35. 2.When all the separate parts were ready, those wereplaced together at the location. A last test was donebefore placing it together and separately everythingworked.After putting everything together, nothing workedanymore. The aquarium seemed to have a leak thatcaused a short circuit. Everything had to be takenapart to fix the leak.Thesecondexhibitiondayaftersomeminorproblemsthat had to be fixed the installation worked!As this prototype was not tested in its workingstadium, it was a great experience to see the resulthanging. People really stopped to interact withit, enjoyed the installations and talked with eachother about it. The effect of the installation andthe interaction which was stimulated through theinstallation worked even better than expected.- Film of the final prototype: -35.
  36. 36. The final design should be an conclusion of all thegained knowledge and experiences during thisproject. Design decisions made during the processfor the final concept could be validated based onearlier research and experiences this project process.Research and the workshop-weeks in Brussels andAnkara have had a very big influence on the finaldesign process as requirements had accumulated.RequirementsThe final design will be an installation in a publicspace. An installation that offers the opportunity forpeople to meet, to have their first encounter. It is notthe attention to force people to go there, but theyshould be triggered by an interesting aspect or thebeauty of the design.Out of the experiences in Brussels, one of therequirements is that a spoken languages is notneeded for interaction. This will make the thresholdto interact lower.The experience in Ankara has proven that it should beabout a small group of people, maximum six.The last requirement is the way of interaction with theinstallation. The installation in Ankara asked for anaware action, as there should be something touchedas action before there was a reaction. This workedwell in the context of the campus, as people act if theyhave seen another doing it, which was mostly thecase as the campus was a crowded environment.As the context of the final design will probably not beas crowded as the campus and the threshold shouldbe even lower, there is chosen for an unaware actionthat starts the interaction for the final design.Idea generationTenideasweregeneratedbasedontherequirements.All ten ideas were practical concepts to reach thegoal of bringing people together and to create anencounter moment. But something was missing.Interacting with the Ankara installation people sharedFinal design - process iteration 336.
  37. 37. 2.this magic and fascinating moment of creatingsomething together; the ecoline drop in the water.That magic, fascinating and unexpected momentwas needed to make the final installation into asuccess as well.37.
  38. 38. An inspiring moodboard was made with as goal tofind this magic that the design needed. Somethinginspiring that people can create themselves, but mostimportant, together.With reference to the moodboard there wasconcluded that the magic should be in doingsomething together. Like the more people there arearound, the brighter a light will glow. The more peoplethere are involved, the bigger the effect. This will be anextra motivation to activelyask other people to involve.38.
  39. 39. 2.Concept ideaFor a new idea there was thought of making aflower, very large flower. This flower will perk up itsenvironment as the flower will look really pretty. Theattention of passers-by will be drawn as a petal ofthe 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 moreand remain close got the chance to experience anfascinating moment. The flower does open one petalper person, so to open the entire flower, there will bemore people needed. When the flower has open upcompletely, something magical will happen.Why a flower?Flowers have been used for centuries by humansworldwide for many different purposes, like food,perfume, medicine and as symbol and as a symbolon important occasions. Flowers are gifts from natureand mostly all kind of flowers do have this naturalbeauty and innocence appearanceThe design flower would be an abstraction from atulip. Although tulips are often associated with theNetherlands, commercial cultivation of the flowerbegan in the Ottoman Empire.[8] Tulips, or lâleh asthey are also called in Iran, Turkey, Macedonia andBulgaria comprise many species that together areindigenous to a vast area encompassing parts ofAsia, Europe and north Africa. A multicultural flower,which fits the purpose of the project.Development of the concept39.
  40. 40. First sketches were made, dimensions and technicalpossibilities was thought of and the tulip wasstudied. The following paragraphs will describe thedevelopment per aspect.FormAs the flower would be an abstraction of the tulip,the tulip was studied and there was decided to givethe design flower six petals. Six is a manageableamount and like said in the chapter about exchangeof cultural values, the amount should not be too bigto keep it manageable, but not too small to keep thediversity and objectivity.Due to practical reasons for the realisation of thedesign, there was decided to make the petals of theflower around 50 cm. Thereby is 50 cm a remarkablesize for a flower, but it is not too big and it is still clearwhat the object is. On the right side an processoverview of the development of the form.40.
  41. 41. 2.Technical aspectsThe flower should react on the movement ofsomeone passing by, therefor there should beworked with distance sensors. First experimentswere done with infrared sensors, but as this kind ofsensors does not work precisely in the sun whichalso contains infrared there was chosen was to workwith ultrasonic sensors. Ultrasonic sensors work ona principle similar to radar or sonar which evaluateattributes of a target by interpreting the echoes fromradio or sound waves respectively. Ultrasonic sensorsgenerate high frequency sound waves and evaluatethe echo which is received back by the sensor.Sensors calculate the time interval between sendingthe signal and receiving the echo to determine thedistance to an object.The petals of the flowers had to be able to moveindividually. Decided was to work with six separateservomotors. A servomotor is a rotary actuatorthat allows for precise control of angular position. Itconsists of a motor coupled to a sensor for positionfeedback.The big challenge was in creating the design of theflower in such a way that the technology would notdisturb the beauty of the design. A hexagon box wasdesigned to cover all the electronics and to lower theends of the petals in a covered way.42.
  42. 42. Magical appearanceTo 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 fascinatingmoment. Due to a lack of time there was decidedto first focus on the working opening/closing part ofthe flower and if time would be left, there would bethought of further options to create this fascinatingaspect.While the flower and the technical working aspectswere in development, it seemed that only the openingand closing part of the flower was already somethingfascinating for passers-by. This was not expected asthe opening and closing of the flower was meant tobe a way to reach to the fascinating aspect of theflower.A nice looking, but simple inner part for the flowerwas designed. Consisting of a hemisphere, whichgives light that fades in and out as the inner part ofthe flower is breathing.look of the flower..42.
  43. 43. 2.43.
  44. 44. Process pictures44.
  45. 45. 2.45.
  46. 46. FINALDESIGNand future design
  47. 47. 2.The final design is a conclusion of all the gainedknowledge and experiences during this project.Design decisions made during the process for thefinal concept can be validated based on earlierresearch and experiences this project process.This part of the report describes the current prototypeof the flower and the improvements that should bedone before putting the design in context for real.Lâle is the name of the flower. What does itmean Lâle? It does not tell anything. That causesmisunderstandings? Frustrations? Lack of interest?Prejudices? Some same feelings which arise asanother culture is not understood. The name explainsitself in another language, but that is not understoodby everyone. And that is the subject of the project isabout. Acceptance of a lack of understanding andthe patience and interest to find out the meaning andvalue of the unknown.Final design47.
  48. 48. Context and target groupAs the aim of the flower is give people with differentcultural backgrounds the chance to encounter in apublic space, a multicultural neighbourhood waschosen as context to design for. There definitelyis a difference between different multiculturalneighbourhoodsasforexampleBijlmerinAmsterdamwhere most of the residents areSurinamese orAntillean, or Woensel in Eindhoven where 21% of theresidents has a Turkish origin.5As the entire process was focussed on the Turkishculture and centred around experiences with theTurkish culture there was decided to design for amulticultural Turkish neighbourhood: Woensel West.WoenselWestisaneighbourhoodinEindhoven,since2012 as it is called a ‘Krachtwijk’6neighbourhoodsthat need extra attention. This means the ministry ofEnvironment, Housing, Communities and Integrationwill give extra money and time to invest to strengthand improve the neighbourhood. In Holland there are37 other ‘Krachtwijken’.Problems in such a district include unemployment,violence, crime and addiction problems. In problemareas, housing associations often have a monopoly,with a market share of 80 to 100%, the range consistsmainly of social housing. Groups of people with lowereducation and lower incomes often live in this socialhousing. The concentration of people with lowereducation, lower income and other socially excludedgroups would cause problems in neighbourhoods.So WoenselWest is not only a mixed neighbourhoodwith residents with different cultural backgrounds,but it is a Krachtwijk, a neighbourhood which isinvested by the ministry. A flower as this design wouldcontribute to the social improvements of residents.48.
  49. 49. 2.Impression of the plans and actions to improve the problems in the neighbourhood WoenselWest749.
  50. 50. MaterialThe flower is an installation with the aim to standoutside, in a public space. This has consequencesfor the choice of materials as weather conditions andvandalism should be taken into account.With reference to the weather conditions, the flowershould be made of water- and rustproof materials. Atthe same time should all the technology be coveredin a water-, and rustproof box.The current design has been made of Perspexleaves, a water- and rust proof material. Even thoughthis leaves are not outside proof as the weather factorwind 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 windcan blow through it, so it will not affect the positionof the leaves. For example a certain pattern thatwould be cut out of the leaves. Two: a much strongermaterial as for example metal, in combination with avery strong construction to make the petals stay.This second option is preferred, as a stronger materialalso is an aspect that prevents vandalism. As thepetals of the flower will be made from metal, theweight will become more, resulting in a stronger typeof servos that should be used.On the next page some examples of flower art inthe public space made of metal. As it shows, severaloptions for colour use and expressions are possible.It will be a trial and error process to find out the mostappropriate metal and best way to connect the petalsin such a way that they are still flexible.For the exhibition the box of the flower was coveredwith fabric. For the design in context will this not be anoption with regards to weather and vandalism. Thebox should also be made of metal and the leavesshould be connected to it with screws to make surethey cannot be taken out easily.50.
  51. 51. 2.51.
  52. 52. BehaviourThe schematic graphic on the next page showsthat the flower performs a certain behaviour.The ultrasonic measures if there is something in frontofhimwithin 2meters.Ifso,asignisgiventotheservowhich opens slowly. The order of the petals had to betaken into account for the programming as there areinner- and outer petals, which means the inner petalscannot be opened as the outer ones are still closed.The schematic drawing on the right shows the innerand outer petals from above.The inner petal can only be opened if outer petals onboth sides (-1 and +1) are open. The outer petal canonly close if inner petals (-1 and +1) are closed.The schematic drawings on the next page explainhow the flower reacts on passers-by. There has beenmade a distinction between the program for the outerpetals and inner petals.First should be opened the outer petals, before theinner petals are in the ability to open. As a petal isactivated and opens up, it waits 5 seconds beforethe next measurement. If there is five seconds laterstill an object in front of it, it remains open. If there isno object measured anymore, the petal will closedepending on the position of the neighbour petals.This five second rule it to pretend that someone canopen the entire flower alone.52.
  53. 53. 2.53.
  54. 54. and a voltage pin. All Echo pins are connected toPWM ports on the arduino and the Trigger pins to theanalog inputs.The servomotors are also connected to individualPWM ports. The six voltage pins are connected withan external power supply to give the servomotors themaximum strength.Every petal has its own side on the hexagon, evenas every couple existing of one servomotor and oneultrasonic sensor.The arduino code can be found in the appendix B.TechnologyThe process of technology within this project was indevelopment at the same time as the explorations ofthe materials was done.The movement of petals has been realised throughthe use of an ultrasonic sensor which controls theservomotor. The petal is connected to the servo-armwith a transparent wire. By use of trial and error therewas searched for a balance between the strengthof the servomotor and the shortest torque to lift theweight.Theprototypeconsistoutofsixultrasonicsensorsandsix servomotors, each individual sensor connectedto an individual servomotor. This to translate theaction on one side directly to a reaction on that side.Breadboard setupThe ultrasonic sensor exist out of a Trigger and aEcho sensor for the sending and receiving, a ground54.
  55. 55. 2.
  56. 56. BUSINESS
  57. 57. 2.Market positionThemarketfocusoftheproductLâleisonmulticulturalneighbourhoods and its residents. The market isspecified on Dutch multicultural neighbourhoods, butwith some adjustments it could be expand to othermulticultural neighbourhoods in West Europe. Lâledoes not focus on specific people, but on a group ofpeopleandthesocialcohesionintheirresidentialarea.Also the municipality will be involved in the purchaseof the art installation, as she does also benefit fromsocial cohesion in one of her neighbourhoods.The market position will be influenced by the factthat Lâle is a non-profit product to improve socialpurposes in public space and to stimulate culturalencounters.ExposureLâle is an interactive art installation that stimulatessocial and cultural interactions in a public space.At the same time does the installation perk upthe neighbourhood with its beautiful design. Theinstallation does add something uniques to theneighbourhood, causing the residents of theneighbourhood are proud to have this installation intheir neighbourhood.The material of the installation should be weather andvandalism resistant, but it will not affect the beauty ofthe design.Introduction to the marketLâle is an art installation with a meaning. Aneighbourhood possess this installation meansthat residents of the neighbourhood are improvingcollectively the social cohesion of their environment.Residents should collectively put effort in order toensure the realization of the purchase.In this way the goal of Lâle to improve the socialcohesion in the neighbourhood has already beenstimulated before the installation is actually realized.Introduction57.
  58. 58. FundraisingResidents of the neighbourhood can collectivelystimulate the realisation of Lâle by participatingthe project. To realise Lâle a certain amount ofmoneyshouldberealisedtocovertheproductioncosts. However, the platform is not about themoney, it is about the residents showing they arewilling to invest in their neighbourhood.Participants pay subscription costs, a certainamount of money that is for the realisation of theinstallation. People are free to pay more if theywant, as investment for improvements of theneighbourhood in the future.Another rule to realize Lâle, is that at least 40residents should subscribe. This to emphasisethat it is not about the money, but about thesocial cohesion that is needed to realise Lâle.Why would people invest?There are several reasons why a resident wouldinvest in Lâle.1. Lâle is an artistic installation. It is an investmentin the artistic expression of the neighbourhoodthat adds value to the environment.2. Lâle is an interactive installation that stimulatesthe improvement of the social cohesion in aneighbourhood. Participating the project is thefirst step towards the improvement of socialcohesion, the realisation of Lâle is the secondstep.3. Realisation of Lâle in the neighbourhoodexpressesthattheresidentsoftheneighbourhoodcare about their environment and the situation oftheir neighbourhood.58.
  59. 59. 2.
  60. 60. Participation of the municipalityIt would be beneficial for a municipality if theyhaveneighbourhoodswhichshowthattheycareabout their environment. This is like a statementfor a good neighbourhood, a neighbourhoodwhich cares and is willing to pay attention toimprovement.It is not allowed for the municipality to invest theentire amount of money to realise the flower,as this would be at the expense of the socialcohesion which preceded the realisation ofLâle. It is allowed for the municipality to help theresidents to realise the installation, by paying apercentage of the complete needed amount.This way, the participation costs for residents willslightly reduce, but there are still 40 participantsper neighbourhood needed to realise Lâle.BattleOn the platform can be seen which cities andwhich neighbourhoods have participatedthe project and are the proud owners of aLâle. This statics will motivate other cities andneighbourhoods to participate as they will notbe left behind.60.
  61. 61. 2.61.
  62. 62. DISCUSSION
  63. 63. 2.The possibilities to improve the design hasalready been discussed in the chapter ‘finaldesign’ As said, there is lots of work to do beforethe final installation could be put in its context.There is one more overall aspect of this projectthat I would like to discuss. The entire processfrom research, to conceptualisation to realisationhas mostly been based on personal experiencesthat were gained during this semester. Cultureis something interpretable. The way all thegained knowledge and experiences have beenreceived during this project by me, might havebeen received totally different by someone else,resulting in a completely different design.The workshops and the intensive cooperationwith students with different cultural backgroundshave contributed to a multifaceted look at theprojects.Even though there was a lot of cooperationbetween students with different culturalbackgrounds during the workshops, the finaldesign has been made by one Dutch student.Even though users were approached to discussthe installation with, it would be interesting to seethe outcome of this project if it would be done incollaboration with a Turkish designer.63.
  64. 64. AcknowledgmentsThanks for the suport and feedbackmoments to myprojectmadesoftheTechnicalUniversityofEindhovenLotte Oude Weernink, Daniëlle Peverelli, Banaz Palaniand Anouk van Ranst.Thanks to my partner Ahmad Hasan for the greatexperience during the workshop in Brussels.Thanks to Nagihan Tuna, Yunus Tuncel, Güzin Sen forthe valuable and great experiences in Ankara duringthe workshop weeks.Thanks to Johanna Kint, my coach during thissemester, for the feedback and suport.Thanks to Joep Elderman for the technical suport ofmy prototype.64.
  65. 65. 2.
  66. 66. Appendix AMigration of ritualsA cross-cultural project between Cultural Interventions/ Out of Control andWearable SensesThe 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 rationalthinking. We fell into the trap of procedures without content. We are on theverge of a new era as alternative to cultural standardization and thepostmodern hype of styles, subcultures and social status. (Kint, 2010)In this project we focus our attention on a different process asreflection and action upon culturally embedded aesthetic and ethical valuesand their relevance on the language of dynamic form and gesture. We lookfor an approach based on embodiment and phenomenology as a means thatallows us to diverge from rational thinking and positivism. Within the contextof this process we look for different ways/venues to enhance mutual respectand appreciation as a basic attitude to cultural dialogue and understanding.This reflection on action in an intercultural context is what we consider to beour new language.By means of choreography, movement and bodily interaction(Klooster, 2005) we explore the complex rituals revolving around marriageand develop a ritual based on expressive, interactive and physicalized‘forms’ and ‘gestures’. We map this choreography process and let result itsdevelopment into a new tangible ritual of movements, captured in a movie asa visual encounter of the complex mapping process. The mapping of thechoreography covers the question how and in what way we interact with thecultural context of ritual and migration of rituals. The camera is activelyengaged in this ritual development and mapping process. In company of the
  67. 67., the choreographer maps her path through the complex stages ofrituals.Marriage migration between communities in Western Europe andemigration regions in Turkey is a popular issue. In Belgium the majority ofimmigrants with a Turkish background come from the region of Emirdag. Wewant to focus on the question why so many young people, born and raised inWestern Europe, opt for an unknown partner from a region that is largelyunknown to them but proves to be their parents’, or even grandparents’,region of origin? Why does migration remain such a valuable life project formany young people in these regions of origin? The existence of a ‘culture ofmigration’ binding the region of origin with the region of destination in whichthe family as an institution builds a bridge between tradition and everydayreality, is crucial for understanding the popularity of ‘marriage migration’.(Timmerman, 2009)What is the ritual upholding? What function does it serve? Whatsocial structures does it maintain? How do we understand them? How and inwhat way do these rituals ‘migrate’? With ‘Migration of Rituals’ we want toreveal, through the medium of choreography, the hidden processes of whata ritual, and marriage ritual in specific, is about. From this process andresearch progress, we want to give shape, in an organic way, to a newritualized form or ‘gesture’, bringing it to life and giving it a new meaning. Out of ControlDPI452The project is an INTERNATIONAL, CROSS-CULTURAL AND CROSS-DISCIPLINARY ERASMUS IP project initiated by LUCA - School of ArtsCampus St Lukas Brussels, Belgium and the TU/e in cooperation with ourMETU partner from Ankara, Turkey. Five students from social design (B)
  68. 68. and 10 industrial design students (N) will engage in an iterative process with10 ID students of the Technical University of Ankara (METU). A total ofabout 25 students participate and share one another’s experiences andworking processes.The first stage of this Erasmus IP project revolved around framing andreframing Turkish cultural heritage and took place in Istanbul as culturalcapital of Europe in 2010. LIGHT THROUGH CULTURE ANKARA 2012 wasthe second stage. You probably visited the 3 light installations we realized inAnkara, that were on show at the DDW.Our first meeting together will be during a one-week workshop, to be heldin Brussels from 4 till 8 March 2013. During a one-week stay at LUCABrussels we will try to understand and experience the cultural differenceswith the Turkish community living in the neighborhood and develop culturalprobes. We will meet prof. dr. C. Timmerman, who will give us a lecture onmarriage at the intersection between tradition and globalization. We inviteSietske Klooster, who will give a workshop on design-choreography andexploration of the neighborhood through movement and bodily interaction.Oscar Tomico also will join us that week. By interacting with theneighborhood, we will develop ritual related and video registeredperformances and actions.Our second meeting will be during a two-week workshop in Ankara, from1 till 14 April 2013. We will join the Turkish team with Figen Isik, expert insociology.Aims of the workshop (in Brussels and Ankara) and exhibition:• Develop interactive tools to look at cultural differentiation, reflection andintrospection on cultural issues• Make the Turkish people aware of the way we perceive them and viceversa• Create a cultural bridge between cultures.StakeholdersCoaches:
  69. 69. 2.Johanna Kint (TU/e, LUCA Brussels, project initiator), Oscar Tomico (TU/eexpert), Inge Ferwerda (concept designer LUCA Brussels, communicationexpert), Sietske Klooster (design choreographer), Figen Isik (METU expertsociology Ankara)Clients/ stakeholdersERASMUS 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. Thequestions 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 ControlDPI453appreciation and tolerance towards other cultures in a society that politicallyand ideologically is outspokenly right winged? What can your responsibilityin this socio-cultural context be? Through design in action in an urbancontext we opt for active participation and durable and lifelong designexperiences with multicultural issues.Development themeMigration of rituals is an international, cross-disciplinary and cross-culturalexploration of ‘Cultural Interventions’. Culture continuously evolves andcannot be contained. Aim is to design meaningful interaction points for anactive dialogue and collaboration.
  70. 70. 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.#definePING_INTERVAL30//Millisecondsbetweensensorpings (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 20unsigned long pingTimer[SONAR_NUM]; // Holds thetimes when the next ping should happen for each sensor.unsigned int cm[SONAR_NUM]; // Where the pingdistances 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 whichsensor is active.NewPing sonar[SONAR_NUM] = { // Sensor object array.NewPing(2, 42, MAX_DISTANCE), // Each sensor’s triggerpin, 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};
  71. 71. 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 startingtime for each sensor.pingTimer[i] = pingTimer[i - 1] + PING_INTERVAL;Serial.println(servoPinArray[i]);}}void loop() {checkDistanceSensors();}
  72. 72. void checkDistanceSensors(){for (uint8_t i = 0; i < SONAR_NUM; i++) { // Loop throughall the sensors.if (millis() >= pingTimer[i]) { // Is it this sensor’s timeto ping?pingTimer[i] += PING_INTERVAL * SONAR_NUM; // Setnext time this sensor will be pinged.//if (i == 0 && currentSensor == SONAR_NUM - 1){processOccupiedSides(currentSensor);handleLeaveState(currentSensor);// } // Sensor ping cycle complete, do something withthe results.sonar[currentSensor].timer_stop(); // Make sureprevious timer is canceled before starting a new ping(insurance).currentSensor = i; // Sensor being[currentSensor] = 255; // Make distancezero in case there’s no ping echo for this sensor.sonar[currentSensor].ping_timer(echoCheck); // Do theping (processing continues, interrupt will call echoCheck tolook 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];}}
  73. 73. 2.void echoCheck() { // If ping received, set the sensordistance 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;}}}
  74. 74. void handleLeaveState(int selectedSide){//for (int i = 0; i < SONAR_NUM; i++){ // Set the starting timefor 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;
  75. 75. 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);}
  76. 76. References1 - Project proposal Migration of Rituals by Kint,J. 2012 Human Universals, Human Nature & Humanculture by Donald E. Brown. 2004 What is culture? By Hofstede G. - Cultures and Organizations: Software of theMind, Third Edition by Hofstede G. 20105- Kerncijfers Woensel West by GemeenteEindhoven 2012 – Visie Woensel West by Gemeente Eindhoven2011
  77. 77. 2.MOODBOARD page 12, 13,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_& resources
  78. 78. html%3B300%3B451,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&
  79. 79. 2.ource=og&sa=N&tab=wi&ei=TYG8UdvKBaiZ0AXu5oCIDQ&biw=1600&bih=775&sei=T4G8Udb-Aajt0gXM84GQCw#um=1&hl=en&tbm=isch&sa=1&q=gretings+different+cultures&oq=gretings+different+cultures&gs_l=img.3...480.2708.0.2776.,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_& 2 page 38, 39,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&biw=1600&bih=775&pdl=300&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=JLm-UbTZBuqm0QWbs4D4Cg#facrc=_&,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&biw=1600&bih=775&pdl=300&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=JLm-UbTZBuqm0QWbs4D4Cg#um=1&hl=en&tbm=isch&sa=1&q=installation+interactive&oq=installation+interactive&gs_l=img.3..0i5j0i24.489859.489989.0.490171.,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=86d9d50ea3c3c28a&biw=1600&bih=775&facrc=_&
  80. 80. BELLENBLAAS,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=ea6687d1a15d3eb2&biw=1600&bih=775&facrc=_& METAL WEST,or.r_cp.r_qf.&bvm=bv.47883778,d.d2k&fp=e3cde2849eed36a5&biw=1600&bih=775&q=woensel%20west&facrc=_&¬¬ndernemers%252F%3B1378%3B936
  81. 81. 2.