Designing IA for AI - Information Architecture Conference 2024
Lale, final bachelor project
1. 2.
Final bachelor project B3.2
by Tove Elfferich s102218
Coached by Johanna Kint
June 2013
Lâlean artificial flower that stimulates social-
and cultural interaction in public spaces
2. This document describes and visualizes the process
and final outcome of my final bachelor project.
‘Migrationofrituals’isacross-culturalprojectbetween
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
ofthefinalprojectandhaveservedasgreatinspiration
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
2.
3. 2.
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
shouldcollectivelyparticipatethefundraisingplatform
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
3.
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.
recommendation
2.
5.
6. Introduction
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.
StrangehabitsandunknownritualsIrubshoulder
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
6.
7. 2.
Process visual
Vision to design
Literary
research
Ideation
Conceptualisation
Research in
context
Ideation
Conceptualisation
Validating in
context
Design
User
experience
or shop russels or shop n ara
hape pro ect
ision Reseach in
context
Ideation
Validating in
context
Design
Conceptualisation
t
Research in
context
inal prototype
User
experience
usiness
inal achelor pro ect
7.
9. Introduction
2.
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.
9.
10. 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,
andpracticecollaborationandintergroupcompetition.
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.Theothermeaningderivesfromsocialanthropology.
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?
10.
11. 2.
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
versusfemininityasexplanationforculturaldifferences.
“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).
11.
12. 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
14. First encounter
The 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 approach
The 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
anotherculture?
14.
15. 2.
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 depth
As 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.
15.
16. Brussels research impression
The 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.
16.
18. 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?
18.
19. 2.
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.
Itwasevidentthateverysinglestudent(30intotal)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.
Understandablenowisthatiftwogroupswithdifferent
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.
19.
20. Ankara research impression
The 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.
20.
22. 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
22.
23. 2.
- It should be in a public space with a cultural mix
of residents
- No spoken languages should be required.
-Itshouldprovideanencounterbetweenpeople,
with a maximum of six people.
23.
25. 2.
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.
Theprocessismostlybasedonaction,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
25.
26. 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
26.
27. 2.
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.
27.
28. 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
28.
29. 2.
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.
29.
30. 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,14Turkish). Thefirstday,groupsweredivided
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
30.
31. 2.
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.
31.
32. 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.
32.
33. 2.
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.
33.
34. 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.
34.
35. 2.
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.
Thesecondexhibitiondayaftersomeminorproblems
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 -
35.
36. 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
Tenideasweregeneratedbasedontherequirements.
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
36.
37. 2.
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.
37.
38. 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.
38.
39. 2.
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.
40. 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.
41. 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.
42. 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.
47. 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.
48. 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
neighbourhoodsasforexampleBijlmerinAmsterdam
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.
WoenselWestisaneighbourhoodinEindhoven,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.
49. 2.
Impression of the plans and actions to improve the problems in the neighbourhood WoenselWest7
49.
50. 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.
52. 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
ofhimwithin 2meters.Ifso,asignisgiventotheservo
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.
54. 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.
Theprototypeconsistoutofsixultrasonicsensorsand
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.
57. 2.
Market position
ThemarketfocusoftheproductLâleisonmulticultural
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
peopleandthesocialcohesionintheirresidentialarea.
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.
58. Fundraising
Residents of the neighbourhood can collectively
stimulate the realisation of Lâle by participating
the project. To realise Lâle a certain amount of
moneyshouldberealisedtocovertheproduction
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
expressesthattheresidentsoftheneighbourhood
care about their environment and the situation of
their neighbourhood.
58.
60. Participation of the municipality
It would be beneficial for a municipality if they
haveneighbourhoodswhichshowthattheycare
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.
63. 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.
64. Acknowledgments
Thanks for the suport and feedbackmoments to my
projectmadesoftheTechnicalUniversityofEindhoven
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.
66. Appendix A
Migration 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 context
of 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
67. 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 Control
DPI45
2
The 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)
68. 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:
69. 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 expenses
for 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 Control
DPI45
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
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//Millisecondsbetweensensor
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};
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 starting
time for each sensor.
pingTimer[i] = pingTimer[i - 1] + PING_INTERVAL;
Serial.println(servoPinArray[i]);
}}
void loop() {
checkDistanceSensors();
}
72. 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];
}
}
73. 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;
}
}
}
74. 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);is
SideOpen[selectedSide] =true;}
break;
case 2:
openLeave(selectedSide);
isSideOpen[selectedSide] =true;
break;
case 3:
if(isSideOpen[selectedSide-1] &&
isSideOpen[selectedSide+1]){openLeave(selectedSide);is
SideOpen[selectedSide] =true;}
break;
case 4:
openLeave(selectedSide);
isSideOpen[selectedSide] =true;
break;
case 5:
if(isSideOpen[selectedSide-1] &&
isSideOpen[selectedSide-5]){openLeave(selectedSide);isS
ideOpen[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(selected
Side);isSideOpen[selectedSide] =false;}
break;
case 1:
closeLeave(selectedSide);
isSideOpen[selectedSide] =false;
76. References
1 - 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
